📘 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

ℹ️ E-Issues Info
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Global Art Daily Info ––
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🗃️ Archive Year 2018 
    NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev
    PAR Hottest Spices: Michèle Lamy
    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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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.



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 SansourIn 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:

‘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 StonebreakersShumon 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 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.