📘 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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🗃️ Archive Year 2018 
    NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev
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    BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”
   AUH Abu Dhabi Is The New Calabasas

🎙️ 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
    5. How To Create Digital Networks in The Art World?

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Sarah Almehairi Initiates Conversations

Interview by Global Art Daily’s Editorial Board

Published on August 26, 2020

        During this pandemic, Abu Dhabi-based artist Sarah Almehairi has been making her mark online with her weekly series of Artist Talks. Twice to three times a month, she invites UAE-based artists to present and hosts a discussion of their works in front of a live Zoom audience. Joined by many art enthusiasts across the UAE, from university professors to aspiring artists, these conversations add to the understanding of contemporary art of the region. With the recordings later posted on her Youtube channel, Almehairi’s talks are readily available learning opportunities and add an ounce of optimism during a hard-hit season of the art world.

Almehairi is a recent NYU Abu Dhabi alumna, and her practice primarily deals with geometry and abstraction. She made headlines two weeks ago when Carbon 12, a well-known gallery of Dubai’s Alserkal Avenue, announced that she would join their roster of artists. At 22, Almehairi is indeed one of the youngest artists to get gallery representation in the UAE. We asked her about her inspiration and education, and she shared her advice for other young artists in the Emirates.

1. Sarah Almehairi. Photo courtesy of the artist and Carbon 12. 

Global Art Daily: You work with wood and canvas, use abstract shapes, muted colors, and poetic language in your practice. What is your preferred medium to work with?

Sarah Almehairi: I always find myself gravitating towards some form of sculptural work. I like to play with the subtleness of sculpture pushing the limits between what is two and three dimensional. Currently, I am very drawn to process-led work and writing simultaneously when creating. To me, they go hand in hand. Some questions that are driving my current explorations are what is a container? How does an exhaustive process manifest physically? How far can a multiple or replica go before it is unique in and of itself or is each multiple/replica an original?

2. Sarah Almehairi, Building Blocks 2, Series 1, (2018-2019). Acrylic on wood. 70.5 x 30.5 x 4.6 cm. Image courtesy of Carbon 12.

GAD: What were the highlights of studying Art and Art History at NYU Abu Dhabi? What other training has contributed to your trajectory as an artist?

SA: Being a part of the NYUAD community was the biggest highlight for me. Getting to interact and have interesting conversations with other students from different majors and backgrounds and witnessing these convergences of thought has definitely expanded my approach to my practice as well. On top of that, I have met amazing professors, mentors and now friends that have pushed, challenged, and shaped who I am, and I give a lot of thanks to them.

Being a part of the NYUAD community was the biggest highlight for me.

Other experiences that have contributed to my trajectory as an artist are exhibitions and programs I have been a part of and the people I have come across through them. Every experience to me is a learning experience. I am still learning. Currently, the Salama bint Hamdan Emerging Artists Fellowship has continued to push me as an artist and constantly question myself and my practice, all while surrendering to the process of creating work. It’s unlike anything I’ve ever been a part of before and continues to help me grow not only as an artist, but as an individual as well. Additionally, starting my own initiative of Artist Talks has helped me connect more with the community, further conversations and learn and grow with the artists around me.

Starting my own initiative of Artist Talks has helped me connect more with the community, further conversations and learn and grow with the artists around me.

3. Sarah Almehairi, Denim, (2019). Acrylic on canvas. 140 x 90 cm.Image courtesy of Carbon 12.4. Sarah Almehairi, Corn Field, (2019). Acrylic on canvas. 140 x 90 cm. Image courtesy of Carbon 12.

GAD: You are one of the youngest, if not the youngest, artist to get represented by a gallery in the UAE. Do you agree that the UAE’s art institutions and art market are inclined to support younger generations of artists?

SA: Lately, there has been more of a focus on the youth and with these initiatives came great support. I would hope that the UAE’s art institutions and art market are inclined to support all creatives, regardless of age, and shift the categories towards stages in an artist’s career rather than age. 

Lately, there has been more of a focus on the youth and with these initiatives came great support.

GAD: What advice would you give to young artists in the region looking to advance their careers as professionals?

SA: I am still a young artist early in my career, but some advice that I was given that I have found valuable is to dedicate yourself to your practice, and constantly create work and conversations. Deadlines set by others are not necessary in order for you to work creatively, because the most important are the goals you set for yourself. I would also say to involve yourself in the creative community here and don’t be afraid to take initiative and start something of your own as well. The creative space in the UAE is still growing and your contributions can help shape it.

The creative space in the UAE is still growing and your contributions can help shape it.

5. Sarah Almehairi, Building Blocks 1, Series 4 (2020). Acrylic on wood. 94.2 x 47.7 x 6 cm. Image courtesy of Carbon 12.

GAD: If you could have a conversation with any artist today, who would you like to talk to? What would you tell them?

SA: I’m really fascinated by the practice of German artist Wolfgang Tillmans. I would like to have a conversation about the composition of his exhibitions, his use of scale and the way he pushes the boundaries between having abstract and narrative work exist in one space, and within the work itself. These elements interest me and specifically the concept of abstract and narrative as one has been a drive in my practice for a while. I’m still exploring the workings of and around it myself and I’m very intrigued in the way he approaches it in his practice. 

Sarah Al Mehairi (@sarah_almehairi) was born in Abu Dhabi in 1998 where she currently lives and works. She received her BA in Art and Art History from New York University Abu Dhabi (UAE), and is represented by Carbon 12, Dubai, where she had her first solo exhibition Between in 2019. Al Mehairi is part of the Salama bint Hamdan Emerging Artists Fellowship’s (SEAF) 7th Cohort (2019-2020), an inaugural member of the Cultural Office Women’s Creative Network launched by H.H. Sheikha Manal Bint Mohammed Bin Rashed Al Maktoum, creator of the Artist Talks series, and co-founder of JARA Collective.