📘 E-Issue 05 ––VCE Fall 2022
  1. Editor’s Note
  2. What’s On in VCE
  3. Pop(Corn): UAE National Pavilion
  4. Rapport: Venice
  5. Zeitgeist of our Time: Füsun Onur for the Turkish Pavilion at the 59th Venice Biennale
  6. GAD’s Top Picks: National Pavilions
  7. Strangers to the Museum Wall: Kehinde Wiley’s Venice Exhibition Speaks of Violence and Portraiture
  8. Questioning Everyday Life: Alluvium by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian at OGR Torino in Venice

📒 E-Issue 04 ––IST Spring 2022
  1. Editor’s Note
  2. What’s On in IST
  3. Pop(Corn): Refik Anadol
  4. Rapport: Istanbul
  5. Independent Spaces in Istanbul: Sarp Özer on Operating AVTO

E-04++ Spring/Summer 2022
Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS
How Pearl Lam Built Her Gallery Between China and Europe
What’s On in the UAE: Our Top Summer Picks
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery
 Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models
📘 E-Issue 03 –– TYO Fall 2021
  1. Editor’s Note
  2. What’s On in TYO
  3. Pop(Corn): Nimyu
  4. Ahmad The Japanese: Bady Dalloul on Japan and Belonging
  5. Rapport: Tokyo 
  6. Alexandre Taalba Redefines Virtuality at The 5th Floor
  7. Imagining Distant Ecologies in Hypersonic Tokyo: A Review of “Floating Between the Tropical and Glacial Zones”
  8. Ruba Al-Sweel Curates “Garden of e-arthly Delights” at SUMAC Space
  9. Salwa Mikdadi Reflects on the Opening of NYU Abu Dhabi’s Arab Center for the Study of Art

E-03++ Fall/Winter 2021-22
Art Dubai Digital, An Alternative Art World?
Must-See Exhibitions in Dubai - Art Week Edition 2022
Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022
 Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421
AAN The Labor of Art and the Art of Labor: Christopher Benton on His First Exhibition in Al Ain
IST “Once Upon a Time Inconceivable”: A Review and a Conversation
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

📕 E-Issue 02
NYC Spring 2021
  1. Editor’s Note
  2. What’s On in NYC
  3. Pop(Corn): Zeid Jaouni
  4. You Can Take The Girl Out Of The City 
  5. Rapport: NYC
  6. Kindergarten Records Discuss The Future of Electronic Music
  7. Sole DXB Brings NY Hip-Hop To Abu Dhabi
  8. Wei Han Finds ‘Home’ In New York
  9. Vikram Divecha: Encounters and Negotiations

E-02++ Spring/Summer 2021
DXB “After The Beep”: A Review and Some Reflections
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka
AUH “Total Landscaping”at Warehouse 421
TYO “Mimicry of Hollows” Opens at The 5th Floor
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre
BAH Mihrab: Mysticism, Devotion, and Geo-Identity
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London
DXB Ana Escobar: Objects Revisited
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy
DXB A Riot Towards Landscapes
DXB A ‘Menu Poem’ and All That Follows
DXB Alserkal Art Week Top Picks 
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421
DXB There’s a Hurricane at the Foundry

📙 E-Issue 01 –– AUH/DXB Summer 2020 
  1. Editor’s Note 
  2. What’s On in the UAE
  3. Pop(Corn): Hashel Al Lamki
  4. Tailoring in Abu Dhabi
  5. Rapport: Dubai 
  6. Michael Rakowitz From the Diaspora

E-01++ Fall/Winter 2020-21
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists    
DXB Sa Tahanan Collective Redefines Home for Filipino Artists
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer
AUH SEAF Cohort 7 at Warehouse 421 
DXB 101 Strikes Again with Second Sale at Alserkal Avenue
DXB Spotlight on Dubai Design Week 2020
DXB Melehi’s Waves Complicate Waving Goodbye
DXB Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre
DAM Investigating the Catalogues of the National Museum of Damascus
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE
TYO James Jarvis Presents Latest Collages at 3110NZ
DXB Do You See Me How I See You?
DXB Thaely Kicks Off Sustainable Sneakers
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh
MIA a_part Gives Artists 36 Hours to React

UAE Tawahadna Introduces MENA Artists to a Global Community
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’
DXB Alserkal Arts Foundation Presents Mohamed Melehi
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting
AUH Sarah Almehairi Initiates Conversations
DXB Augustine Paredes Taking Up Space
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism
BEY GAD Map: Arts & Culture Relief for Beirut

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🎙️ GAD Talk Series –– Season 1 2020
   1. What is GAD? 2015 to Now

    2. Where is GAD? An Open Coversation on Migration as Art Practitioners

    3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover
   4. Young Curators in Tokyo: The Making of The 5th Floor
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SEAF Cohort 7 at Warehouse 421

By Sarah Daher

Published on November 23, 2020

          The UAE art calendar is marked by a number of events that come around once every 12 months and cumulatively build up what is rapidly becoming a rich history and community of local cultural production. Arguably one of the most anticipated moments in the calendar year is the opening of the SEAF show which takes place each fall at the Warehouse 421 gallery on the fringe of Abu Dhabi city. The Salama Bint Hamdan Emerging Arts Fellowship, colloquially known as SEAF, is now in its seventh year and its latest cohort is nothing shy of extraordinary.

1. Installation view, Community and Critique: Salama bint Hamdan Emerging Artists Fellowship (SEAF) 2019/20 Cohort 7, Warehouse 421. 
2. Zainab Imad Eldin, Colored Black, 2020. Ink on acetate, reproduced on photo paper. Detail view. 
3. Maitha Hamdan, Till we are back to heaven, 2020. Fabric, laundry clothes clips, laundry rope, wall, wall spray, nails, lighting. 

The program, which runs in partnership with the world-renowned Rhode Island School of Design (RISD), provides around 15 young UAE-based artists with 10 months of artistic training and development. At the culmination of the 10 months, their works are exhibited in a group show, and the graduates have the opportunity to continue their studies in a fully-funded MA program at RISD.

This year’s cohort of 16, nurtured through their studio-based practice under 2020’s extraordinary conditions has produced a vivid and colorful reflection on the ways that artistic practice can crystallize a way of being in the world. Ruminations on architecture large and small, interior and exterior, intersect with self-reflexive corporeal pieces and practices that tease many senses. Traveling through the show one is led on an insightful journey that illustrates where the future of art might be going when led by the most talented of this young generation.

4. Nabla Yahya, A Visitation, 2020. Gypsum, felt, steel. 

Ruminations on architecture large and small, interior and exterior, intersect with self-reflexive corporeal pieces and practices that tease many senses.

It is difficult to miss the stark juxtaposition between material and subject in the work of artists such as Fatma Al-Ali, Malak Elghuel, Faissal El-Malak, and Sara Ahli.

Al-Ali’s My mother told me not to collect bricks. turns the heavy foundational building block of a brick into a melting, collapsing pile of brick shells made of the rubber-like urethane. Her bricks do not so much crumble but fold in on themselves, the epidermis peeling and slipping off of the gypsum blocks.

Her bricks do not so much crumble but fold in on themselves, the epidermis peeling and slipping off of the gypsum blocks.

5. Fatma Al Ali, My mother told me not to collect bricks., 2020. Flexible urethane, gypsum. 

One hears Elghuel’s If I Could Trace You… If I Could Hear You long before seeing it with its phantasmagorical tune reaching as far as the entrance of the gallery. Her work, at once an auditory experience and a meticulous visual one, speaks to the amalgamated personal experiences of mass displacement. The translation of information from brutal experience to data bereft of nuance and feeling is her starting point; she then ingeniously re-translates this numerical data into a musical language, the melody of which juxtaposes form and content.

Her work, at once an auditory experience and a meticulous visual one, speaks to the amalgamated personal experiences of mass displacement.

6. Malak Elghuel, If I Could Trace You... If I Could Hear You, 2020. Sound, time, mark, paper, music box, text, video.  

El-Malak’s installation Scene for croissant evokes the corporeal abundantly, but it is his concretized sweat in the form of glazed ceramic pieces that catches me off guard. The fluid-turned-object is but a trace of his physical exertion, but its reimagining as a relic of its own significance points to a profound awareness of practice as a form of intricate documentation.

7. Faissal El-Malak, Scene for croissant, 2020. Canvas, oil paint, glazed ceramic, video and sound, colored pencil, and plaster on paper. 

The guttural forms of Ahli’s sculptural pieces spill out onto several surfaces in the corner of the last leg of the exhibition. Impossibly reminiscent of innards, her How long can I stay imprinted in your memory? stretches out languidly in the sun streaming through a courtyard window of the gallery. Interrupting the clean gallery space, it reclines like a marble figure of a lady at rest and provokes senses by bringing the unseen insides of the body out onto a plinth.

8. Sara Ahli, [in order of appearance] How long can I stay imprinted in your memory?, 2020. Imprint on memory foam. Balloon Baggage, 2020. Latex balloons, plaster. 

In a separate vein, a number of works in the show appear to interrogate the effect of architecture and space on the body. Scene for croissant’s film installation depicts a set that is “activated” by the artist’s body. Abdulla Alneyadi’s Urban Presence looks at the city’s corners and how the body is implicated within it. Aisha Al Ahamadi’s room installation of mirrors and LED lights immerses the viewer, reflecting and fragmenting the image of the self through irregularly textured mirrors.

A number of works in the show appear to interrogate the effect of architecture and space on the body.

9. Abdulla Alneyadi, Urban Presence, 2020. Black and white silent film.

There is no corner of the SEAF exhibition that doesn’t excite and enthrall in its own right. One would be remiss to skip this rich showing of the work of names we will no doubt be hearing time and time again.  

10. Aisha Al Ahmadi, Signs: Vehicles to Truth, 2020. 12 LED signs, mirrors.

The Community and Critique: Salama bint Hamdan Emerging Artists Fellowship (SEAF) 2019/20 Cohort 7 show will run from 14 November to 20 December, 2020.

Follow Salama bint Hamdan Foundation on Instagram.
Follow Warehouse 421 on Instagram.
Register for virtual Artist Talks on Warehouse 421’s website.

Sarah Daher is a curator and researcher who graduated with a BA in Theater and Economics from New York University Abu Dhabi and is currently completing her Masters in Curating Contemporary Art at the Royal College of Art in London. She is based between the UAE and London. She cares about the role of art in building and preserving communities and shared identities. 

All photographs were taken by Sarah Daher at the exhibition venue.