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  1. Editor’s Note
  2. What’s On in SEL
  3. Pop(Corn): Chan Sook Choi
  4. Rapport: Seoul
  5. When Everything You Touch Bursts into Flames: Olivia Rode Hvass at 00.00 Gallery
  6. Embracing Multiplicities: The 2023 Korea Artist Prize Exhibition
  7. On (Be)Holding Life that Pulsates in Overlooked Places: Jahyun Park at Hapjungjigu
  8. Beauty, Transformation, and the Grotesque: Nathalie Djurberg & Hans Berg on their Exhibition at SongEun Art Space
  9. Presenting Ecofeminist Imaginaries: Ji Yoon Yang on Alternative Space LOOP

E-08++
Summer/Fall 2024



Exhibition September 19th, 2024
PUS In the Dark Every Light is Blinding: Busan Biennale 2024

Exhibition September 7th, 2024
SEL Quick Glances at Frieze Seoul 2024

About ––

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Open Call ––

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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


E-01++
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
DXB 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

E-02++
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

E-03++
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

E-04++
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
IST Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”

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

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
UAE 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

E-05++
Fall/Winter 2022-23


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

Exhibition November 11th, 2022
TYO “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

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

E-07++
Winter/Spring 2024


Exhibition Review July 16, 2024
PAR See Me With Them Hands: Reviewing Giovanni Bassan’s “Private Rooms” at Sainte Anne Gallery

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

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2015-24 Copyright Global Art Daily. All Rights Reserved.


Mark



2. What’s On in the UAE


By Sala Shaker

Published on August 1, 2020  

        With the ongoing and incremental easing of social-distancing regulations in the UAE, local galleries and institutions are slowly starting to re-open their doors, welcoming visitors seeking tangible interactions with material culture. Others, whose doors have yet to open are focusing instead on launching online platforms, easing access to their archives, or commissioning digital works. Here is a highlight of some of these exhibitions and online initiatives.


     

Please note that some galleries now require online booking. We recommend visiting their website for more accurate information.


Dubai:


 


Jameel Arts Center
Artist’s Room - Lawrence Abu Hamdan, Larissa Sansour and Taysir Batniji

Closes January 3, 2021

For the summer 2020 iteration of its Artist’s Room programming, the Jameel Arts Center presents three capsule shows by Lawrence Abu Hamdan, Larissa Sansour and Taysir Batniji. All three shows deal with issues related to the ongoing occupation of the Palestinian territories and the Golan Heights.

A ‘private ear,’ Lawrence Abu Hamdan melds political inquiry with acoustic investigations. Beyond their artistic merits, his audio investigations conducted with London-based research group Forensic Architecture have been used as evidence by Amnesty International. In This whole time there were no land mines (2017), the Turner prize co-winner presents an audio-visual rendering of the “shouting valley” in the Israeli-annexed Golan Heights. This valley’s “acoustic leaks” allow families on both sides of the 1967 border to communicate with each other. Using found mobile phone footage and audio recordings dating from 2011, Abu Hamdan recreates the moment when, on the occasion of the 63rd anniversary of the Nakba, 150 Palestinians protesters in Syria breached the border and marched onto Israeli territory. A powerful demonstration of their right to return, four of the protestors were then shot and killed by Israeli soldiers.


1. Larissa Sansour, In Vitro (2019). Install shot at Jameel Arts Centre, Dubai. Photo by Brent Galotera


Drawing heavily on the cinematic languages of sci-fi and spaghetti westerns, Larissa Sansour is concerned with envisioning an alternative to the current lived reality and social conditions of Palestinians. Presented in the Danish Pavilion at the 58th Venice Biennale, Larissa Sansour’ In Vitro (2019) posits nationalist sentiment in an post-apocalyptic context. Set in Bethlehem, ravaged by an ecological disaster in the near future, In Vitro focuses on two protagonists in a bunker as they attempt to acclimate to this changed environment. “When the world is no longer as we know it,” she says, “does the vocabulary that we have or that we use for our nation-building or national identity really matter anymore? Has it become obsolete as a result of the biggest disaster that could ever happen?”


2. Taysir Batniji, To My Brother (2012). Install shot at Jameel Arts Centre, Dubai. Photo by Brent Galotera



At once self-effacing and poignant, Taysir Batniji’s To My Brother (2012) series of etchings constitutes the third Artist’s Room. Married in 1985, Batniji’s brother died two years later at the hands of an Israeli sniper during the First Intifada. To commemorate his fallen sibling, Taysir Batniji revisits his brother’s wedding album. Inkless and monochrome works on paper, his carvings mimic the texture of an erased drawing left by his brother in one of Taysir’s textbooks to recreate these family portraits, vestiges of happier, earlier times. His drawings revel in a melancholy for a now long-gone past, while laying the material foundations for a brighter, technicolor future in the Occupied Territories. 

‘Michael Rakowitz’

Closes November 22, 2020

Marking his first solo exhibition in the Middle East, Michael Rakowitz, whose colossal Lamassu towers over London’s Trafalgar Square as part of its Fourth Plinth commission, is now taking over both levels of the Jameel Arts Centre. Similarly to his 2019 exhibition at the Whitechapel Gallery, Michael Rakowitz is a mid-career show, surveying the Iraqi-American artist’s concerns with architecture, history and food. Both playful and nostalgic, Rakowitz explores political and cultural histories, tracing parallels between the Beatles’ career and the rise of pan-Arabism in the 1950s.


3. Michael Rakowitz, The Breakup (2010 - ongoing). Courtesy of Jameel Arts Centre, Dubai. Photo by Daniella Bapista



Lawrie Shabibi

‘Upsurge: Waves, Colour and Illusion’

Closes September 1, 2020
A multi-generational multimedia show, Upsurge brings together the likes of Moroccan modernist master Mohamed Melehi and Emirati avant-garde painter Mohamed Ahmed Ibrahim, with younger faces to explore materiality and vision within Op Art, a form of conceptual art that primarily relies on optical illusions. The artists featured play with mediums ranging from stone, marble, acrylics and metal, to evoke organic motifs like waves, water, sand and abstracted hieroglyphs. The show is a tantalizing exploration on perception within abstract art, and the broader function of vision.  


Abu Dhabi:



Warehouse421
‘The Stonebreakers’


Curated by Murtaza Vali, this exhibition highlights the history and infrastructure of maritime trade in the Arabian Gulf. More specifically, all three artists exhibited in The Stonebreakers—Shumon Ahmed, Ranjit Kandalgaonkar and Hira Nabi—interrogate the “vexed politics of representation related to ship-breaking,” an arduous practice performed by underpaid migrant laborers.  In response to Warehouse421’s location, itself situated in Abu Dhabi’s historical Mina Zayed, a few yards away from discarded dhow boats, the show is concerned with South Asian coastlines. All three artists focus respectively on Bangladesh, India and Pakistan and work around the idea of the “purported objectivity of the documentary image” in mixed-media works. The titular reference to Courbet positions the seemingly particular politics of ship-breaking into a larger discourse on exploitative labor practices and its representation. 


4. The Stonebreakers, Installation shot. Image courtesy of Warehouse421.

‘The Cup and The Saucer’


The Cup and The Saucer marks Hashel Al Lamki’s first solo exhibition. Curated by Munira Al Sayegh, the exhibition explores disruption within a unit. Taking its point of departure from the idea of disruption and separation when a cup is lifted from its saucer, the show investigates disruptions occurring within the individual, but also the individual as separation from a larger unit. In this back and forth, between that which is fluid (the self) and that which is fixed (structure), a tension arises that seeks belonging.


5. The Cup and the Saucer, Installation shot at Warehouse421. Image courtesy of Warehouse 421.


Warehouse421 is still closed to the public but an overview of the exhibition will be available on their website shortly.


Sharjah:

 


Sharjah Art Foundation

‘Art in the Age of Anxiety’

Closes September 26, 2020

Curated by SAF Director of Collections and Senior Curator Omar Kholeif, Art in the Age of Anxiety explores the altered states of collective consciousness that emerged with the advent of the technological era. The exhibition presents more than 60 works spanning sculpture, prints, video, virtual reality, robotics and algorithmic programs developed by more than 30 international artists such as Trevor Paglen, Lawrence Abu Hamdan, Cao Fei and Wafaa Bilal.


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Mark

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