📘 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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Taaboogah Infuses Comedy into Khaleeji Menswear

By Global Art Daily’s Editorial Board

Published on September 7, 2020

        “We make jokes and we look good while doing it,” Taaboogah’s Instagram bio reads. With playful, stylish and laid-back photos and short skits, Taaboogah collective offer their alternative views of men’s fashion and idiosincrasy by way of comedy in Khaleeji Arabic. From all corners of the UAE and now based in Dubai, Younis, Hassan and Mo The Gaffer Guy started the channel this year and have surpassed ten thousand followers on Instagram. One post at a time, the creative trio aims at reinventing what male self-expression may look like in the UAE. Our Editorial Board had a Q&A with co-founder and video producer Mo The Gaffer Guy. Read it below.

Image courtesy of Taaboogah. All rights reserved.

Global Art Daily: Let's start with the name. What does "Taaboogah" mean? For our non-Arabic speakers, what does the name stand for? 

Mo The Gaffer Guy: Our group’s name, Taaboogah, is actually the word in Khaleeji Arabic that we use to describe a cinderblock. At first glance, it might seem that this name was chosen at random but we picked Taaboogah specifically for many reasons. One reason would be that the name is easy to say in both Arabic and English. It also sounds kind of funny. But I would say that the most important reason we settled on the name is that it symbolizes our belief that we are the cinderblocks who will build a new culture of comedy alongside fashion one day.

Image courtesy of Taaboogah. All rights reserved.

GAD: From what we understand, Taaboogah is a new project aimed to bridge comedy with alternative Emirati fashion. What is your vision for the project? 

M.T.G.G.: Our vision for the project is quite simple. We want to make people laugh, and also simultaneously showcase our shared love for both traditional and non-traditional fashion. At Taaboogah, we truly enjoy the process of creating content that we are passionate about and we hope that can we inspire the youth in the Arab world to follow their dreams and join us in commencing a new era of art and self-expression in the region.

We want to make people laugh, and also simultaneously showcase our shared love for both traditional and non-traditional fashion.


We aim to continue having both photography and short videos as part of our project because both art forms are crucial to our identity as people and as culture creators.

Images courtesy of Taaboogah. All rights reserved.

GAD: Your first photoshoot shows @wtyounis holding a brick as a telephone, and wearing the traditional kundura with some custom classic white Nike Air Force 1s. There are some ironic contrasts at play.

M.T.G.G.: Initially, we thought about this series of images would be just a preview to our launch but in reality, it turned out to be so much more. We realized that we had the absolute freedom to do whatever we wanted. Consequently, @wtyounis, Hassan, and I decided to touch upon topics that were relevant to us. As a group of fashionable Emirati comics, we experience the struggle of the cultural clash between our Middle Eastern and Western identities. Our idea was to manifest that clash through contrasting wardrobe.

We realized that we had the absolute freedom to do whatever we wanted.

GAD: How do you define "alternative Emirati fashion,” especially Emirati menswear? It's not a perspective we hear often from.

M.T.G.G.: Over the last decade, Emirati male fashion has been consistent with little to no change in design. Of course, that is mainly because it is the national dress and it is difficult to change. However, we have taken it upon ourselves to express our Emirati fashion sense by combining it with our distinct Western styles. That is where the word alternative comes into play. It’s all experimentation. For example, we would wear colored sneakers instead of sandals or tinted lenses instead of regular shades, and much more.

Over the last decade, Emirati male fashion has been consistent with little to no change in design.

Images courtesy of Taaboogah. All rights reserved.

GAD: What change are you hoping to see for the future of UAE's comedy and entertainment industries?

M.T.G.G.: The entertainment industry in the region is still at its infancy and we can’t see many who wish to take it to the next phase. We want this new culture to be easily accessible to all people to the point that it becomes a normal thing to go to a 35 dirhams comedy show on the weekend and see four sets of talented Arab comedians. We want to develop this industry so that the people who come after us could have a platform in which they can comfortably express themselves.

We want to develop this industry so that the people who come after us could have a platform in which they can comfortably express themselves.

GAD: What are some of the brands or designers Taaboogah would like to work with? What would be your dream collaborations?

M.T.G.G.: We would love to collaborate with the trendsetters of street fashion such as Nike, Adidas, Adidas Originals, Bape, Vans, and Supreme.

GAD: The Taaboogah team must a fan of streetwear and sneakers. Could you tell us about your favorite pair?

M.T.G.G.: Definitely the Yeezy 350!   

GAD: Where can we follow you?

M.T.G.G.: @Taaboogah is on Instagram, follow us!

Images courtesy of Taaboogah. All rights reserved.

Taaboogah is an Emirati comedy and fashion collective established in 2020. The group was founded by Mo The Gaffer Guy, Hassan and Younis. Taaboogah’s productions intersect film production, humour, styling, and social commentary in light of traditional and non-traditional aesthetics among Emirati men.

Follow Taboogah on Instagram