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

Winter/Spring 2024

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

About ––

    What We Do
    Editorial Board

Interviews ––

    Selected Archive

Open Call ––

    E-08 Seoul

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

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
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

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

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

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
Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”

Artist Interview May 13th, 2022
“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
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

Fall/Winter 2022-23

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

Exhibition November 11th, 2022
“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

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6. “You Can’t Stand on a Movement”: Michelangelo Pistoletto Interviews Benton Interviewing Pistoletto

By Christopher Joshua Benton

Published on January 29, 2024
        David Adjaye’s Abrahamic Family House on Saadiyat Island is a deft sleight-of-hand: it’s architecture as extrastatecraft; the country’s normalization efforts rendered in stunning white stone and starchitect sheen. The site stars a mosque, a church, and the country’s first synagogue—all rendered in neat, nearly identical cubes. On a recent tour of the site, the docent spoke beautifully about the project’s themes of universality, tolerance, and mutual understanding—but I couldn’t stop thinking about power, too.

Visiting Michelangelo Pistoletto’s “Judgement Time” at GALLERIA CONTINUA Dubai, I was immediately transported back to that windy Friday in Abu Dhabi a week earlier: me looking up in awe between those three houses of worship. In my favorite moment in his small but masterful show, the installation Il Tempo del Giudizio (The Time of Judgment) uses the mirror as a repeated element aimed at creating the form of a temple in which Judaism, Christianity, Islam, and Buddhism unite and create a dialogue with each other. There’s a buddha, a pulpit, and a prayer mat, all sourced from markets in Dubai. If you stand at the center of the room, you can see your image in each one.

That you can find these objects here at all, and place them in a public exhibition, is a reminder of the country’s religious tolerance—and of course, that even at ninety-years-old, the Italian iconoclast can still pull off a little magic and prophecy, too. In the second half of the gallery space, Pistoletto stations three of his Mirror Paintings (a technique he’s explored since the 1960s),  inspired by the Louvre Abu Dhabi and representing both images of the museum’s visitors and those of ancient sculptures.

As it happens, Michelangelo Pistoletto is in town. And to my surprise, as we sit for coffee in perhaps the world’s most famous hotel, he’s just as eager to interview me as I am to sit at the lap of the master.

1. Michelangelo Pistoletto, Louvre Abu Dhabi – persone e opere, 2023, silkscreen on supermirror stainless steel. 250 x 450 cm, unique work. Courtesy the artist and GALLERIA CONTINUA. Photography: Musthafa Aboobacker.
2. Michelangelo Pistoletto, Il Tempo del Giudizio / The Time of Judgement, 2017, mirror, carpet, Buddha sculpture, kneeling-stool, 3 mirrors 250 x 200 cm each, 2 mirrors 210 x 100 cm each, carpet 130 x 196 cm, sculpture 212 x 65 x 43 cm, kneeling-stool 86 x 77 x 77 cm, unique work. Courtesy the artist and GALLERIA CONTINUA. Photography: Musthafa Aboobacker.

The following interview has been condensed for clarity.

Christopher Joshua Benton: My name is Christopher, it’s a pleasure to meet you. I’m an artist, so I’m very excited to meet you.

Michelangelo Pistoletto: When did you decide to be an artist?

C.B.: I think 5 years ago.

M.P.: Five?

C.B.: Yeah, five years ago.

M.P.: So you’re very young.

C.B.: I’m 35.

M.P.: So you were 30?

C.B.: Yes, so I was young-ish. I was an advertiser before.

M.P.: Advertiser, so, what does that mean? You were working in advertising.

C.B.: Yeah, I was working in advertising, as a creative director here in Dubai. In parallel to that, I started to make art, and explore making.

M.P.: It's funny because I started working with publicity, with advertising myself when I was very young. Before becoming an artist.

I studied under Armando Testa – he was teaching advertising in school and my mother enrolled me in that school. He said, we must study modern art very well, as advertising is based on emotion, imagination, technology, technique, and all that. I am speaking about the 1950s.

That is why I started learning about modern art. This is my story.

C.B.: I’m interested in how you learned about modern art through advertising. I think of advertising in my work as very practical, if I just think about the process of delivering and doing a project, it can sometimes be very similar. Working in an ad agency can be similar.

M.P.: Were you working in analysis?

C.B.: I was a copywriter. Writing the TV commercials and, writing ad copy, booklets, coming up with the voice of the brand.

M.P.: So only words? Not visual.

C.B.: Yes, writing. Oftentimes, I pitched an idea to have like a vision of what I wanted to do and I tried to convince the client to spend, I don't know, like millions of dollars. Somehow that process was similar to having a creative vision for an artwork, especially when working with an institution.

M.P.: Yes, but when you speak about a vision for an artwork, you speak about something visual.

C.B.: Yes.

M.P.: But you come from word to visual. 

C.B.: Right. But in my art practice and before my old job, it was completely collaborative. So, you know, you pair a copywriter with an art director and a graphic designer. I come up with the idea and the art director visualizes it. Now, oftentimes as an artist, I work with collaborators: fabricators, filmmakers, editors. Together we create the vision.

M.P.: So practically speaking, what is your art? How is it? How do you present to us, what does it consist of?

C.B.: I can show you. [Proceeds explaining past projects.] It means a lot to be showing you my work. Arte Povera is a very important philosophy for me, it really inspired my mode of making, and my thinking about using materials and telling stories. Can you define Arte Povera in your own words?

M.A.: I cannot give any judgment on your work because – I don’t know enough. You know, the title of this exhibition is The Judgment Time.

About Arte Povera – what it means to me? It means radical.  Essential. Phenomenologically radical. Thinking about the elements of nature: the sea, the birds, the water, the sun, the earth, the tree. It all starts with the interconnection of nature. Art is not nature, but it offers the same possibility, like in nature, to be creative.

Arte Povera is probably a basic need of finding something radical, which also gives you the sense of understanding something.

C.B.: When I learned about Arte Povera in school, it was framed as an institutional critique.

M.P: Is that what they teach you in the States?

C.B.: This is what they teach us, yes.

M.P.: You come from the States?

C.B.: I'm American, yeah.

M.P.: But you still live in the States?

C.B.: I live here.

M.P.: Why did you decide to live here?

C.B.: The lifestyle, the comfort, and the opportunities.

M.P.: You think it's better here or in the States?

C.B.: Here. It’s much better. There's this myth of the American dream of social mobility, right? Here, it's significantly better.

M.P.:  This is a place where all the different influences of the world start to connect. People from all over – I very much like what the emigrate is. I always make a mistake actually – between the words emigrate and emirate.  United Arab Emigrants. That's it actually, it’s a good combination.

C.B.: Yes, makes perfect sense. 90 percent of the people here are expatriates.

M.P.: Yes, this is fantastic. I love the difference. My basic work is to love difference.

C.B.: Love difference?

M.P.: Love difference. Aimer la difference. Amar la difference. Love difference. The difference is the base. Everything grows because of differences. The difference between radical and artificial for example, produces something new that didn’t exist before.

3. Michelangelo Pistoletto, Louvre Abu Dhabi – uomo che indica, 2023, silkscreen on supermirror stainless steel. 250 x 150 cm, unique work. Courtesy the artist and GALLERIA CONTINUA. Photography: author’s own.
4. Michelangelo Pistoletto, Louvre Abu Dhabi – bambina nel museo, 2023, silkscreen on supermirror stainless steel. 250 x 150 cm, unique work. Courtesy the artist and GALLERIA CONTINUA. Photography: author’s own.

C.B.: That’s a great reference too. The way you think of Arte Povera is mostly as radicality, such as a radical gesture in society, or– 

M.P.: You know, I'm so far away now from Arte Povera.

C.B.: Yes, but it’s a movement that has become attached to you, though.

M.P.: It's something that has a base, but I don't sit on a movement, stand on a movement, or stop in a movement that has already been created.

It's a passion, and I'm sure of it.

You know, if you accept the movement, if you accept the moment, if you are sure something has a reason to exist, then it has social recognition. If you are sure about the now, it works.

But once you become it, once you become the movement, that’s when you stop. You don't move anymore. This is a problem. You cannot stand on the moon. It's a movement. The word movement means to move. Once you stop, it's not a movement anymore. 

You know, the movement becomes something static – once there is no more movement, that’s when it stops.

It's a movement. The word movement means to move. Once you stop, it's not a movement anymore.

C.B.: It’s an oxymoron in a way. Makes total sense.

M.P.: I think we can’t speak about movement anymore, right? Today, we have freedom all over. We have a dynamism. We have a new dynamic.

C.B.: Probably Arte Povera is the last of the movements. It's the last. I don't see any more groups of people that organize a new idea together and bring this idea forward as a movement. It doesn't exist anymore.

M.P.: Maybe their art comes from something very autonomous, and independent. But it’s also not easy to be autonomous and independent.

5. Installation view of Michelangelo Pistoletto, Judgement Time at GALLERIA CONTINUA Dubai, Burj Al Arab. November 2023. Photo: author’s own.

C.B.: How do you arrange yourself to be part of life and the economy?

M.P.: I work in the sense of being responsible in that society. That’s what is important for me. Responsibility for the freedom I have. The more freedom I have, the more responsible I become.

What can I do with my freedom, if I don't take responsibility for what that freedom offers me? My work is based on taking responsibility for the freedom of the art. When I started to teach in Vienna in 1991, I told all my students, attention: here we are. There are so many students throughout all the universities and art academies in the world. But there is no place for all of you in the museums. There's no place for you in the history of art. Not in the books or in the collections of the museums. There is only a place for the few.  If you really want to go to the museum, go do it. Try, you know – you have to create your way there. But attention, as someone who wants to be creative: the entire society needs you.

Society is waiting for your vision. For your capacity to give illuminations, to bring light to society.  There is work for everybody.  Everybody can teach autonomy and creation. But the idea is not to just to be autonomous and creative in a passive way. You have to be creative in an active way for society.

C.B.: What do you think about the UAE?

M.P.: Here, it's very interesting. What is good about this place is the fact that they opened up the Emirates to people of different countries. There is a togetherness. This is what's interesting here. There's a togetherness of people. Different entities decided to act together, instead of being against one another. This country offers hope that people can cohabit peacefully, and that it is possible to connect rather than fight.

The base of this place is in connection. The Emirates is an example of political, economic, and social connection. 

This is what's interesting [in the UAE]. There's a togetherness of people.

C.B.: You should go to the Abrahamic House, in Abu Dhabi. It’s an interfaith complex, housing a mosque, synagogue, and church. It’s so beautiful.

M.P.: Yes, very similar concept to what I did with the works here in this show. You see, there is an altar, then there is a Buddha. There is also Atheism represented in a different alteration. The idea is to show the connections between all the major religions in the world.

6. Installation view of Michelangelo Pistoletto, Judgement Time at GALLERIA CONTINUA Dubai, Burj Al Arab. November 2023. Image courtesy of GALLERIA CONTINUA. Photography: Musthafa Aboobacker.

C.B.: Can I ask you a last question? I’m selfishly thinking about my work. You use a lot of found material and found objects, in your work. When you think about sculpture and making, can you tell me a bit about your intention and how you collect these objects? How do you choose these shapes and objects, and why?

M.P.: In 1965, I decided to make work that was different from my past works – in order to forgo any possible signature of myself as a trademark. 

I conceived my mirror paintings in the United States. And I was conceived as a trademark artist with my mirror paintings. But mirror paintings were not a trademark for me. They were just a conception of mirroring – mirror as a concept, not only the visual style. I wanted to forgo this style.  In order to do that, I did many, many works, one different from the other, but I didn’t decide on one set direction.

Any idea that came to my mind, I accepted. There is already a good reason that I choose this work over that one, or this idea over that one, or this solution more than another – because it is and it feels more acceptable for me. From my point of view, I don’t need any other justification – this is my idea.

I did around 30 works during the time of a few months, one different from the next. My gallerist from New York couldn’t take it. I could be 30 different artists. Not 30 Pistolettos, 30 different artists, one different from the next. It might have been crazy, but it was part of the possibility. My work became the passage from possibility to existence.

The universe is a large possibility in that every moment becomes reality. This is the world.  Everything works in this way – all the possibilities come from this combination. This is the possibility, happening right now in the mirror.

In this moment, just look in the mirror. Something that was not there now exists. It was not there, but it was possible. That’s why it exists. It becomes part of a mirror of possibility that can produce other possibilities.

C.B.: Can I take a picture with you?

8. Christopher Joshua Benton and Michelangelo Pistoletto at the Burj Al Arab, 2023. Photo: author’s own.

Michelangelo Pistoletto’s Judgment Time is on view at GALLERIA CONTINUA Dubai, Burj Al Arab, until February 20, 2024.

Christopher Joshua Benton is a multimedia artist based in the United Arab Emirates. He often contributes to Global Art Daily.

Many thanks to GALLERIA CONTINUA Dubai and Aleksei Afanasiev.