E-Issue 07 –– AUH
Winter 2023-24

January 29th, 2024

  1. Editor’s Note
  2. What’s On in Abu Dhabi/Dubai
  3. Cover Interview: Shaikha Al Ketbi on Darawan
  4. Rapport: Public Art in the Gulf and a Case Study of Manar Abu Dhabi
  5. Hashel Al Lamki’s Survey Exhibition Maqam Reflects on a Decade of Practice in Abu Dhabi
  6. “You Can’t Stand on a Movement”: Michelangelo Pistoletto Interviews Benton Interviewing Pistoletto

Winter/Spring 2024

Curators Interview May 14, 2024
AUH Embracing Change through an Open System: Maya Allison and Duygu Demir on “In Real Time” at NYUAD Art Gallery

About ––

    What We Do
    Editorial Board

Interviews ––

    Selected Archive

Open Call ––

    E-08 Seoul

Newsletter ––

Chronological Archive ––

    Selected Archive

Artist Interview November 18th, 2016
AUH Raed Yassin in Abu Dhabi

Editorial March 1st, 2018
AUH Abu Dhabi Is The New Calabasas

Exhibition Listing May 22nd, 2018
DXB Christopher Benton: If We Don't Reclaim Our History, The Sand Will

Artist Interview June 15th, 2018
TYO An Interview with BIEN, a Rising Japanese Artist

Artist Interview July 17th, 2018
TYO Rintaro Fuse on Selfies and Cave Painting

Artist Interview August 28th, 2018
BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”

Artist Interview September 1st, 2018
NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev

Artist Interview September 1st, 2018
PAR Hottest Spices: Michèle Lamy

E-Issue 01 –– AUH/DXB
Summer 2020

August 1st, 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

Fall/Winter 2020-21

Artist Interview August 23rd, 2020
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism

Artist Interview August 24th, 2020
DXB Augustine Paredes Taking Up Space

Artist Interview August 26th, 2020
AUH Sarah Almehairi Initiates Conversations

Market Interview August 28th, 2020
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting

Exhibition September 1st, 2020
DXB Alserkal Arts Foundation Presents Mohamed Melehi

Market Interview September 4th, 2020
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’

Artist Interview September 7th, 2020
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear

Artist Interview September 10th, 2020
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia

Curator Interview September 14th, 2020
UAE Tawahadna Introduces MENA Artists to a Global Community

Exhibition Review September 24th, 2020
MIA a_part Gives Artists 36 Hours to React

Artist Interview September 27th, 2020
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh

Market Interview October 14th, 2021
DXB Thaely Kicks Off Sustainable Sneakers

Exhibition Review October 19th, 2020
DXB Do You See Me How I See You?

Exhibition October 22nd, 2020
TYO James Jarvis Presents Latest Collages at 3110NZ

Exhibition Review October 22nd, 2020
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE

Book Review October 28th, 2020
DAM Investigating the Catalogues of the National Museum of Damascus

Exhibition Review November 13th, 2020
Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre

Exhibition Review November 16th, 2021
DXB Melehi’s Waves Complicate Waving Goodbye

Exhibition Review November 19th, 2020
DXB Spotlight on Dubai Design Week 2020

Exhibition Review November 21st, 2020
DXB 101 Strikes Again with Second Sale at Alserkal Avenue

Exhibition Review
November 23rd, 2020

AUH SEAF Cohort 7 at Warehouse 421

Exhibition Review December 9th, 2020
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer

Curator Interview January 25th, 2021
DXB Sa Tahanan Collective Redefines Home for Filipino Artists

Exhibition Review February 21st, 2021
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists  

🎙️GAD Talk Series –– Season 1 2020

November 1st, 2020
1. What is Global Art Daily? 2015 to Now

November 16th, 2020
2. Where is Global Art Daily? An Open Coversation on Migration as Art Practitioners

November 29th, 2020
3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover

December 20th, 2020
4. Young Curators in Tokyo: The Making of The 5th Floor

January 27th, 2021
5. How To Create Digital Networks in The Art World?

E-Issue 02 –– NYC
Spring 2021

February 21st, 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

Spring/Summer 2021

Exhibition Review March 3rd, 2021
DXB There’s a Hurricane at the Foundry

Exhibition Review March 7th, 2021
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421

Curator Interview March 21st, 2021
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation

Exhibition March 28th, 2021
DXB Alserkal Art Week Top Picks

Exhibition Review April 1st, 2021
DXB A ‘Menu Poem’ and All That Follows

Exhibition Review April 5th, 2021
DXB A Riot Towards Landscapes

Exhibition April 16th, 2021
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy

Artist Interview April 26th, 2021
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto

Exhibition Review April 27th, 2021
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel

Artist Interview April 28th, 2021
DXB Ana Escobar: Objects Revisited

Exhibition May 9th, 2021
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London

Artist Interview May 11th, 2021
BAH Mihrab: Mysticism, Devotion, and Geo-Identity

Curator Interview May 20th, 2021
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre

Market Interview May 26th, 2021
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age

Exhibition June 11th, 2021
TYO “Mimicry of Hollows” Opens at The 5th Floor

Exhibiton Review June 20th, 2021
AUH “Total Landscaping”at Warehouse 421

Artist Interview June 30th, 2021
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka

Exhibition Review August 9th, 2021
DXB “After The Beep”: A Review and Some Reflections

E-Issue 03 ––TYO
Fall 2021

October 1st, 2022

  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

Fall/Winter 2021-22

Market Interview October 6th, 2021
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance

Exhibition October 7th, 2021
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity

Curator Interview October 15th, 2021
IST “Once Upon a Time Inconceivable”: A Review and a Conversation

Exhibition Review October 16th, 2021
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421

Exhibition Review February 11th, 2022

Artist Interview February 26th, 2022
TYO Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project

Artist Interview March 10th, 2022
DXB Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022

Exhibition March 11th, 2022
DXB Must-See Exhibitions in Dubai - Art Week Edition 2022

Exhibition Review March 14th, 2022
DXB Art Dubai Digital, An Alternative Art World?

E-Issue 04 –– IST
Spring 2022

March 15th, 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

Spring/Summer 2022

Curator Interview March 21st, 2022

Market Interview March 28th, 2022
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models

Exhibition April 23rd, 2022
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall

Exhibition May 6th, 2022
Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”

Artist Interview May 13th, 2022
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery

Artist Interview June 13th, 2022
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation

Exhibition June 21st, 2022
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis

Exhibition June 27th, 2022
What’s On in the UAE: Our Top Summer Picks

Curator Interview July 9th, 2022
IST Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS

E-Issue 05 –– VCE
Fall 2022

September 5th, 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

Fall/Winter 2022-23

Market Interview June 28th, 2022
How Pearl Lam Built Her Gallery Between China and Europe

Exhibition November 11th, 2022
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX

Exhibition December 2nd, 2022
TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

Artist Interview December 9th, 2022
DXB Navjot Altaf Unpacks Eco-Feminism and Post-Pandemic Reality at Ishara Art Foundation

Artist Interview January 8th, 2023
TYO Shu Yonezawa and the Art of Animation

Artist Interview January 19th, 2023
NYC Reflecting on Her Southwestern Chinese Bai Roots, Peishan Huang Captures Human Traces on Objects and Spaces

Exhibition Review February 9th, 2023
DXB Augustine Paredes Builds His Paradise Home at Gulf Photo Plus

Artist Interview February 22nd, 2023
DXB Persia Beheshti Shares Thoughts on Virtual Worlds and the State of Video Art in Dubai Ahead of Her Screening at Bayt Al Mamzar

E-Issue 06 –– DXB/SHJ
Spring 2023

April 12th, 2023

  1. Editor’s Note
  2. What’s On in the UAE
  3. Pop(Corn): Jumairy
  4. Rapport: Art Dubai 2023
  5. Highlights from Sharjah Biennial 15
  6. Is Time Just an Illusion? A Review of "Notations on Time" at Ishara Art Foundation
  7. Saif Mhaisen and His Community at Bayt AlMamzar

DXB Christopher Joshua Benton to Debut Mubeen, City as Archive at The Third Line Shop in Collaboration with Global Art Daily

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Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto

By Sherry Wu

Published on April 26th, 2021

        Uncertainty is my first impression of The Good Woman of Sichuan (四川好女人), directed by emerging filmmaker and NYU Abu Dhabi alumna (‘19) Sabrina Zhao. Set in Leshan, Sichuan, it tells the story of a traveling woman who meets the imaginary self in an unfamiliar place. She accidentally loses control of the camera and drifts into a polyrhythmic experience of stasis. This is Zhao’s first feature film (87 minutes), and it has been invited to screen at the 71st Berlin International Film Festival Forum section, MoMA Doc Fortnight, and CPH:DOX (Copenhagen International Documentary Festival). 

This sentiment of uncertainty penetrates every aspect of the film — it is in Zhao’s approach to the subject and in the cinematic rendering of the story. In the seen and said, and the unseen and unsaid. The boundary between fiction and reality is a mysterious space where the private and collective memories merge in Zhao’s career as a filmmaker.

The title, The Good Woman of Sichuan, is in reference to the play “The Good Person of Szechwan” by Bertolt Brecht. The contextual setting of this play serves as the stage for the film; yet the quest of the “actress” is not to reenact, but to deliver a string of emotions, a journey of self-identification and recovery. Identity — be it female, ethnic or individual — is the final destination that this expedition is set to explore.

As a filmmaker, Zhao lives in constant transits between Chengdu, Abu Dhabi, and Toronto. In her practice, Zhao particularly tunes into this migrating experience across and within spaces. She likes to explore the “national” and “cross-national” narratives, through the grids of gender, diasporic and historical identities.

As the cinematographer for The Good Woman of Sichuan and being Zhao’s friend, I have kept the habit of calling her regularly on Wechat. We talk about everything — from personal life to academia critique, from aesthetic inspirations to social observations. For this interview, we had a more orientated discussion on her artistic practice, her experience at NYU Abu Dhabi, and her role as a female filmmaker in various environments.

1. Sabrina Zhao, The Good Woman of Sichuan, 2020. Images courtesy of Berlinale Forum.

“Any resemblance to the imagined or the dreamed is entirely coincidental.”

- Sabrina Zhao

2. Sabrina Zhao, The Good Woman of Sichuan, 2020. Unofficial poster. Image courtesy of the artist.

Sherry Wu: First, please introduce yourself – where did you grow up? What has led you to pursue art/filmmaking? & if there is anything else you’d like to share.

Sabrina Zhao: I grew up in Sichuan, and went to Abu Dhabi for university. My interests in art/filmmaking emerged in high school. But a more definite belief was born when I started reading John Berger’s texts. It was in a literature class at NYU Abu Dhabi; there was John Berger’s photobook A Seventh Man, and there was Michelangelo Antonioni’s Blow-Up. I began to see something new and different. And that’s when I felt the power of art/cinema, that it always inspires a yet unknown way of seeing.

I grew up in Sichuan, and went to Abu Dhabi for university.

S.W.: Then, let’s talk about The Good Woman of Sichuan. It seems that the film explores the concept of fluidity – could you please expand on that, especially in relation to your choices of imagery and framing?

S.Z.: I see this as a process driven film. I did not know what the film was until the editing was completed. But I have a feeling. In that way, none of the images was captured with a definite interpretation or meaning. In fact, each image was composed with us not knowing what it could mean. We approach each frame with curiosity and experimentation at that moment. I think that occupying ourselves with meaning or goal would deflect that precious possibility. We try to rid the old box that contains what we think we know, being it factual or conceptual, even with regards to the notion of fluidity. I don’t think about that question, nor do I try to find answers. But I was very aware of its presence in the process of exploring the unknown.

“The shifts here aren’t from woman to man, but between modes, formats and registers, like thoughts that scatter on waking, from stasis to movement, high definition to grain, words to wordlessness, noise to silence, fiction to documentary; the camera is reflected in the window of the train.”

- Words by Berlinale Forum

S.W.: Being a female artist, how does your experience differ in different environments?

S.Z.: I feel rather free in fact — being a woman. Every woman I meet is different and is mysterious to me as well. This mystery allows me to explore freely — it gives me more room to navigate myself. In Abu Dhabi especially so, because I feel the feminist movement or speech is less mainstream or dominant in Abu Dhabi than in North America. There is less movement, I guess. In that way, I feel there are oddly lots of grey areas to tap into without being restricted by a particular kind of discourse. The way I feel is that the discourses here are not fixed nor super loud. So I feel there could be a lot of voices, not necessarily contradicting each other, but overlapping each other — an oddly open space for multiplicity.

I feel there could be a lot of voices, not necessarily contradicting each other, but overlapping each other — an oddly open space for multiplicity.

3. Stills from Sabrina Zhao, The Good Woman of Sichuan, 2020. Images courtesy of the artist.

S.W.: You transit between Chengdu, Abu Dhabi, and Toronto – how has this migrating experience impacted your work?

S.Z.: In my work, I feel most strongly about showcasing the migrating experience. I show what it means to not be fixated by one place or two strikingly opposing places (East and West). I feel there’s more fluidity, beauty, and excitement in multiplicity. It’s not just about two places, but multiple places. Even in Abu Dhabi, it is not about the single city of Abu Dhabi but the multiplicity of voices, languages, and cultural origins that make up this city, with everyone coming in and out temporarily. I find it’s a very liberating experience. There is a sadness to certain parts of it, with the feeling of uprootedness. However, there is much more room for artistic exploration and experimentation as well. And this got me interested in the idea of REMIX: remixing everything, remixing cultures, times, and forms. It makes me see the world in a web that’s poetically connected, rather than a binary thinking of the subject and the object. I like this web feeling much more. It’s certainly much more unstable and unpredictable, but I’m fascinated by it.

This got me interested in the idea of REMIX: remixing everything, remixing cultures, times, and forms.

S.W.: Tell us what’s special about Leshan – the setting and shooting location for The Good Woman of Sichuan?

S.Z.: Nothing so special about it actually. It’s in Sichuan, and I wanted it to be in Sichuan, where I originally come from. But I don't want the location to be my hometown because it would be too familiar. I want something that’s a little strange but at the same time familiar; which is how I feel towards the notion of home. Or any place actually — there’s always something strange about it but at the same time something familiar. Well, if we are being honest, another thing about Leshan is that it has good food. So I thought we could at least have a good time together if we couldn’t make the film work.

S.W.: Let’s talk about NYU Abu Dhabi (NYUAD) – how has it shaped your artistic career and vision?

SZ: My experience at NYUAD is transformative. It shapes everything and constantly shaping: my exploration of the arts, and my position in the world, as well as how I perceive the world, or how I approach art towards this world. It made me realize the beautiful complexity and interconnectedness of the world— the multiplicity of it. The fact that it stays away from the two opposing narratives that I grew up being surrounded by and overwhelmed with: East and West. That frees me immensely. 

The fact that it stays away from the two opposing narratives that I grew up being surrounded by and overwhelmed with: East and West. That frees me immensely.

Sabrina (Ruobing) Zhao was born in Sichuan, and now lives between Chengdu, Abu Dhabi, and Toronto. Her films particularly tune into this migrating experience across and within spaces. She holds the Bachelor of Arts degree from New York University Abu Dhabi, with concentrations in Film & New Media and Literature & Creative Writing. Currently, she is pursuing the MFA studies in Film Production at York University. She likes to blend documentary, fiction and the experimental. The Good Woman of Sichuan is her first feature film.

Follow Sabrina Zhao on Instagram.
Visit Sabrina Zhao’s website.

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