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

E-05++
Fall/Winter 2022-23


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

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

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

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

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



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


E-04++ 
Spring/Summer 2022


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

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

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

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

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

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

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

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

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

Curator Interview March 21st, 2022

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

E-03++
Fall/Winter 2021-22


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

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

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

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

Exhibition Review February 11th, 2022
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421
Curator Interview October 15th, 2021
IST “Once Upon a Time Inconceivable”: A Review and a Conversation

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

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

Exhibition October 5th, 2021
DXB
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

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

E-02++
Spring/Summer 2021


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

E-01++
Fall/Winter 2020-21


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

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

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

Exhibition Review
November 23rd, 2020


AUH SEAF Cohort 7 at Warehouse 421 

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

Map August 16th, 2020
BEY GAD Map: Arts & Culture Relief for Beirut

ℹ️ E-Issues Info ––


    1. Mission
    2. Schedule

    3. Editorial Board
    4. Contributors
 

Global Art Daily Info ––


    1. About Global Art Daily
    2. Archive

Archive 2018 

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

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

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

🎙️ 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?

☎️ Open Call ––

    Policy

🔌 Newsletter


🔍 Legal


2020-23 Copyright Global Art Daily. All Rights Reserved.

Main website ︎

Mark

Spolight on Dubai Design Week 2020


By Sophie Arni

Published on November 19, 2020


        Dubai Design Week has been one of the most exciting events to look forward to in the UAE’s art calendar. This year’s fifth iteration rings a different tone with the pandemic, but that did not deter Dubai Design District (d3) to activate itself with an array of exhibitions, events, outdoor installations, and pop-up marketplace. The fair also featured concurrent online programming which made the whole enterprise accessible from a distance — an important characteristic, as I am typing this review from Tokyo, Japan.


1. Dubai Design Week 2020, Abwab - ‘Fata Morgana’ by Hozan Zangana.


The fair’s ethos is to highlight, for a week, innovative and exceptional design coming from Dubai and its international networks. Dubai offers a fertile ground for such presentation, as the Arabian Gulf region as a whole has a long history of trading design and craft. Meticulous textiles, carpets, jewelry, and perfumes have long been traded in the city, a practice that continues to this day. Over the past few decades, intricate interior spaces of Dubai’s luxury hotels and homes have also built the city’s reputation for refined design.  


Dubai Design Week highlighted emerging talent coming from the UAE as well as reaffirmed Dubai’s strong position as trade center. Notable exhibitions included the UAE Designer Exhibition and Christopher Benton’s “How to Be at Rest” installation, the Swiss Embassy for the UAE and Bahrain’s Reflections on Swiss Innovation pavilion, the Desert Cast - Towards an Identity project presented at Sharjah’s 1971 Design Space, the Fantini Mosaici Designed for Sharing charity sale, as well as the Tanween presentation by Tashkeel.

Emerging Designers Refer to UAE’s Heritage


The UAE is a country taking a robust stance towards building the future, yet one which prioritizes strong connections to its past. It thus offers a very interesting meeting point for designers to think about heritage and innovation. Dubai Design Week 2020 showed the work of UAE-based designers often using locally-sourced materials and shapes inspired by the country’s pre-oil history. One example comes from the UAE Designer Exhibition featuring works of 20 UAE-based creatives curated by Ghassan Salameh. As part of the exhibition, Dana Amro presented Burqa, a wooden chair and accompanying carved side tables that reflect the pronounced curve of the traditional burqa headpiece.



Dubai Design Week 2020 showed the work of UAE-based designers often using locally-sourced materials and shapes inspired by the the country’s pre-oil history.




2. Dubai Design Week 2020, UAE Designer Exhibition - ‘Burqa’ by Dana Amro. Images courtesy of Dubai Design Week.

Another highlight is Lina Ghalib’s Yereed bench-seat. The bench was exhibited as part of the seventh Tanween Design Programme organized by Dubai-based contemporary art and design incubator Tashkeel. Inspired by heritage and sustainability, Ghalib’s bench-seat featured a new and innovative application of arish, the traditional palm-tree leaf particular to the UAE’s pre-modern architecture. This limited-edition piece was designed and manufactured entirely in the UAE, over an 11-month conceptualization and training period. 



This limited-edition piece was designed and manufactured entirely in the UAE, over an 11-month conceptualization and training period.




3. Lina Ghalib, Yereed, 2020. 180 x 50 x 45 cm. Ply palm, wood, stainless steel, leather. Image courtesy of Tashkeel. Photography by Jalal Abuthina.


In Sharjah, the 1971 Design Space offered exciting exhibitions as part of the Dubai Design Week programming. Desert Cast - Towards an Identity is a project by Kuwait-based designers Jassim AlNashmi, Kawther AlSaffar, and Ricardas Blazukas. Looking back at the Gulf’s architectural heritage, the designers offer a promising take on the profiles used for extruded gypsum cornices and friezes. These designs were then re-imagined using sand-casting and foam-cutting, processes local to the vernacular architecture of cities throughout the Gulf. 

4. Dubai Design Week 2020, Desert Cast - Towards an Identity. Images courtesy of Dubai Design Week.

This year marks the second time that Desert Cast is presented at Dubai Design Week. For 2020, the trio invited the UAE-based designer Talin Hazbar to express her interpretation of Desert Cast using Emirati materials and inspiration from the UAE’s architecture. The results from the collaboration were projected through public installations within the Emirate of Sharjah.

5. Dubai Design Week 2020, Desert Cast - Towards an Identity, installation in Sharjah. Image courtesy of Dubai Design Week. 

Christopher Benton Reflects on Power, Taste, and Sustainability


The star piece of the Dubai Design District (d3)’s showcase was arguably Christopher Benton’s How to Be at Rest installation. Highly-rated by local tastemakers and attracting international attention, Benton’s installation was the fruit of two years of research and collection in working-class communities across the UAE.

As Benton explains, “stroll around [Mina Zayed in Abu Dhabi, Satwa in Dubai, and Khor Fakkan in Sharjah] and you’ll find some of the most inventive furniture that you could imagine.” Exhibiting these eight ingenious yet humble creations in pristine d3 represents in itself a statement on class politics. It raises questions about power and taste in the context of Dubai’s conspicuous consumption.



Exhibiting these eight ingenious yet humble creations in pristine d3 represents in itself a statement on class politics.




6. Christopher Benton, How to Be at Rest, 2020. Installation views. Dubai Design Week 2020. Image courtesy of Dubai Design Week.

Part sculpture and part found-object, the chairs of How To Be At Rest celebrate vernacular design and showcase a refreshingly authentic version of sustainability. While these chairs lack sturdiness, they possess prized qualities in today’s world: adaptability and long life-cycles. In one of the chairs, for example, a broken leg was replaced by a plumbing pipe. In another, a thick cushion was added on the seat of an otherwise unassuming rotating office chair. While these are not luxuries by any means, the resulting design reflect noble values of self-reliance and repurposing.



While these chairs lack sturdiness, they possess prized qualities in today’s world: adaptability and long life-cycles.




Benton comments, “these objects have everything that good design aspires to be: comfort, durability, a sense of play and improvisation, and relevance. Most importantly, there is a strong spirit of eco-consciousness. The majority of the materials are recycled and anything that is broken can and will be restored.”


7. Christopher Benton, How to Be at Rest, 2020. Details. Dubai Design Week 2020. Image courtesy of Dubai Design Week.

Interviewed by Dezeen, Benton points to terms such as “improvisational vernacular” and “critical jugaad,” the latter coined by researcher Deepa Butoliya and referring to a mode of thinking derived from the Indian subcontinent. “These DIY, hacked designs are one of the only available forms of resistance and subversion to consumer culture and mainstream design typologies,” the artist explains.

8. Christopher Benton, How to Be at Rest, 2020. Details. Dubai Design Week 2020. Image courtesy of the artist.



Chairs, perhaps more so than any other kind of furniture, have a highly personal connection to their respective owners.




Chairs, perhaps more so than any other kind of furniture, have a highly personal connection to their respective owners. A chair is an intimate object, especially if it is used in a workplace where one spends most of the day sitting. Accompanying his d3 installation, Benton created a stunning series of photographs, which added a layer of reflection to the chair’s object value. Placed in the middle of a portrait studio set-up, the chairs reverberate personality and exude charm. Human presence becomes redundant as the chairs take on the performative role of suggesting individual stories.

“For this project, I thought it was important to document the chairs in a way that was context-specific. The backgrounds are actually floor vinyl, which is a cheap way to cover up space and make it nicer. When I went into different bedspaces — where most of the makers of these chairs live — floor vinyl was in every home. I think it's a part of that same improvisational ethos of making things more comfortable and functional, just like the chairs.”

9. Christopher Benton, How to Be at Rest, 2020. Image courtesy of Dubai Design Week and the artist.



“For this project, I thought it was important to document the chairs in a way that was context-specific.”


- Christopher Benton


I was personally reminded of Hassan Hajjaj’s portraiture, who places his subjects in front of highly saturated weaved patterned backgrounds. Benton agreed. “Stylistically, the backdrops play into West African portraiture, something that Hassan Hajjaj references too.” With unseeming ease, Benton uses the medium of staged photography to personify repurposed chairs and assigns them additional performative value. 



With unseeming ease, Benton uses the medium of staged photography to personify repurposed chairs and assigns them additional performative value.




With every project he undertakes, Benton delivers novel ideas, clear execution, and continuity with his portfolio. His background in advertising might explain why he is able to propose conceptual ideas with great visual eloquence — but I digress. Benton continues to both curate and create. For Dubai Design Week, he presents new conceptions of sustainable designs and gives credit to under-represented migrant communities. Meanwhile, his photographs introduce innovative approaches to object-centric studio photography, and for that, How To Be At Rest elevates the scope of Dubai Design Week to a platform bridging design and conceptual art.

Looking Internationally


Other highlights of the fair come from embassy pavilions at d3. I was attracted to Designed for Sharinga project initiated by the Italian mosaic firm Fantini Mosaici. The firm has been responsible for adorning the walls and floors of many of UAE’s landmark buildings including the Sheikh Zayed Grand Mosque and the Qasr Al Watan Presidential Palace in Abu Dhabi, as well as the Palazzo Versace Dubai hotel.

For the fair, Fantini Mosaici partnered with the Embassy of Italy to the UAE to present a charity collection of mosaic tables inspired by the UAE’s map outline.


10. Designed for Sharing, charity initiative by Fantini Mosaici for Dubai Design Week 2020. Table design by Pratyush Sarup. Image courtesy of Dubai Design Week.

The table decorations have been conceptualized both in-house and by long-term UAE residents, including artists, journalists, designers, and entrepreneurs. The mosaic artisans at the Fantini Mosaici Middle East headquarters in Abu Dhabi then transformed individual artworks into hand-made mosaic patterns for the tables in the shape of the UAE map. 

11. Designed for Sharing, charity initiative by Fantini Mosaici for Dubai Design Week 2020. Installation view. Image courtesy of Dubai Design Week.

In times of COVID-19, the Swiss Embassy to the UAE and Bahrain presented a pavilion titled Reflections on Swiss Innovation, offering a glimpse of their offerings for the upcoming Dubai Expo. In it, the major draw was an installation called “Bring Your Own Mask” (BYOM) brought by HyperAktiv and a team of emerging Swiss designers. BYOM highlights an object that has been at the forefront of our global consciousness for the past six months. The different designs and installation also suggest a step towards integrated technology. The idea of an Artificial Intelligence-powered mask might seem far-fetched but may soon materialize as we enter the post-Covid world.



BYOM highlights an object that has been at the forefront of our global consciousness for the past six months.




12. Bring Your Own Mask, project by HyperAktiv, Swiss Embassy to the UAE and Bahrain for Dubai Design Week 2020. Installation views. Image courtesy of Dubai Design Week.

Both in the postmodern architecture that characterizes the city’s skyline and in the vibrant migrant communities that give charm to its streets, trade and exchange are at the heart of Dubai’s urban fabric. Another defining trait of the city is innovation, which can often be understood as adaptability to fast-changing environments. Dubai Design Week proved that Dubai could adapt to the pandemic and propose a wide array of thought-provoking design suggestions.


Dubai Design Week 2020 ran from November 9th to 14th, 2020.

Visit Dubai Design Week’s website.
Follow Dubai Design Week on Instagram.
Follow Dubai Design District (d3) on Instagram.
Follow 1971 Design Space on Instagram.

Fantini Mosaici mosaic tables are available to purchase via online auction, and proceeds will be donated to the UAE Red Crescent. Buyers can submit their bid by sending a message via email at project@fantinimosaici.it The silent auction bidding process starts on 9 November and closes on 5 December.