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

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

Artist Interview September 1st, 2018
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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


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3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover

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8. Wei Han Finds ‘Home’ in New York


By Global Art Daily Editorial Board

Published on February 20, 2021

        Wei Han is a NYC-based cinematographer and director, and recent graduate of NYU Tisch. He recently directed, shot, and edited a new music video, Home by The Saint in New York City. The video portrays the stage in-between friendship and love with a logline titled A Warmth That's Greater Than Love. Capturing this fragile yet pure stage of ambiguity, the video focuses on the birth of a relationship between two main protagonists. “Even when things are gone and become too late, when we look back, those are still very beautiful memories,” reads the video description. We caught up with Wei and asked him about his inspirations, from movies such as Lost in Translation by Sofia Coppola and Japanese anime films such as Weathering With You and Your Name by Makoto Shinkai. 


1. The Saint, Home, 2020. Visuals by Wei Han. Courtesy of the artist.

Global Art Daily: Please describe how you got started as a cinematographer and director. Could you share a little bit about your journey in the film/fashion industry in New York City and the challenges you overcame to get to where you are now?

Wei Han: I actually started as an architecture student first in college but the experience was not satisfying. It’s just not as creative as I thought. I later took a semester-long film program as a visiting student at NYU Tisch. I was like maybe after studying some basic film courses, I can shoot vlogs myself, but I really fell in love with it, so I transferred to NYU and finished my film degree there. Since then, I’ve been living and working in NYC.

It’s not easy to make it in NYC as a cinematographer or director because the industry is oversaturated and the competition is fierce. If you just want to be an assistant camera or a lighting guy, positions that have much less creative control, then that’s not hard because you just need to go on other people’s sets. However, if you want to make a living as a director or cinematographer, then that’s a different story. The U.S. market is not as big as many people think, at least in the short-form world and Covid makes it worse. There is a decent amount of music videos out there, but music videos normally don’t have good budgets and you don’t make much money. People do it for portfolio. Commercials have much better budgets but there aren’t many commercials out there. And NYC is very expensive to live in, that’s why it’s not easy to make it as a cinematographer or director here.


The U.S. market is not as big as many people think.




2. Stills from The Saint, Home, 2020. Directed by Wei Han. Courtesy of the artist.

GAD: How did you get attracted to the music scene? Is this your first time directing a music video, and do you foresee directing more?

W.H.: I’ve always loved music since I was a kid. It’s just very natural for me to start doing music videos after I became a filmmaker. I’ve done a decent amount of music videos since I moved to NYC. I'm more of a cinematographer honestly but I can direct. And when opportunities show up, I wouldn’t want to say no so I just direct and DP [Director of Photography] at the same time.

3. Stills from The Saint, Home, 2020. Directed by Wei Han. Courtesy of the artist.

GAD: About A Warmth That's Greater Than Love: you describe a feeling that surpasses love - a stage of true intimacy - how did you feel shooting this video during times of social distancing? The couple gives us glimpses of young love and fresh beginnings that have been deeply lacking during these times.

W.H.: We wanted to portray the ambiguous romance between friendship and love because we’ve seen a lot of movies or music videos about two people either in love or breaking up. Less common to see is this premature stage where you feel like you’re in love but things aren’t necessarily clear yet. Shooting the music video during Covid was definitely very hard. That’s why we kept the concept simple and the crew minimal. Instead, we tried to elevate the music video through other approaches such as cinematography and editing. I think the result is satisfying and hopefully this music video gives people hope during those hard times.



Shooting the music video during Covid was definitely very hard.




4. Still from The Saint, Home, 2020. Directed by Wei Han. Han was inspired by Sofia Coppola’s Lost in Translation. Courtesy of the artist.


GAD: You also mentioned that you were inspired by Sofia Coppola's Lost in Translation and Makoto Shinkai's animated films. Could you tell us what specific moods you tried to recreate and how these films set in Japanese society inspired you to see NYC from a new angle?

W.H.: Those are films I loved and I always like to draw inspirations from things I like. For example, Lost in Translation by Sofia Coppola is also about the ambiguous romance between two people so that just naturally inspired this music video. And I’ve travelled in Japan a few times and love Japanese culture. It always has a sense of subtlety regarding emotions and concentration on details. I often apply those things to my own works.



I’ve travelled in Japan a few times and love Japanese culture. It always has a sense of subtlety regarding emotions and concentration on details. I often apply those things to my own works.




5. Graphics accompanying Home music video, 2020. Graphic design by Wei Han. Courtesy of the artist.

GAD: Why shoot in 35mm? Could you share with us some challenges that come along with that?

W.H.: 35mm is my favorite format. The colors are very pretty, and the textures feel very clean and subtle. The main challenge of shooting on film is that you are not able to see what you just shot on set. You’ll have to send the exposed film to the lab later after the shoot and wait for some time until you see the footage. It could be kind of scary when someone first starts shooting on film, but it’s also very exciting because you don’t know what you will get exactly and a lot of times, there are good surprises.

GAD: "Is NYC dead?" is a question that is on everyone's mind - what's your take on the future of the creative scenes in NYC? With rent prices going down and the massive exodus out of the city, do you think NYC will regain its creative edge? Do you have any advice to give to young filmmakers trying to move to the city in 2021?

W.H.: The Big Apple never dies. I mean for the first few months when the Covid hit, yes, a lot of projects got cancelled and many people were out of work, but since September last year, a lot of projects resumed, and many people got actually very busy including me. I think people started learning that okay this monster is not going to go away magically after one night, so we might as well adapt to the situation and do the best we can. It’s true that some people left the city due to financial burden but more people stayed. It’s like a big test. If you can make it in NYC during Covid, you can make it at anywhere at any time. With a new president and all the vaccines, I think 2021 will be very promising for NYC. My advice for those trying to move in this year is that things are getting better and don’t be afraid. Just do as many projects as you can and stay creative.


If you can make it in NYC during Covid,
you can make it anywhere at any time.




6. The Saint, Home, 2020. Cover visual by Wei Han. Courtesy of the artist.


Wei Han is a director and cinematographer based in New York City. 

Follow Wei Han on Vimeo
Watch The Saint - Home (2020).