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

ℹ️ E-Issues Info ––


    1. Mission
    2. Schedule

    3. Editorial Board
    4. Contributors
 

Global Art Daily Info ––


    1. About Global Art Daily
    2. Archive

Archive 2018 

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

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


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?

☎️ Open Call ––

    Policy

🔌 Newsletter


🔍 Legal


2020-23 Copyright Global Art Daily. All Rights Reserved.

Main website ︎

Mark


5. Zeitgeist of our Time: Füsun Onur for the Turkish Pavilion at the 59th Venice Biennale


By Nergis Abıyeva

Published on September 5th, 2022  

       After a one-year delay due to the pandemic, the 59th edition of the Venice Biennale is now open to the public until November 27. The exhibition’s title is borrowed from Leonora Carrington’s children's book The Milk of Dreams.

Curator Cecilia Alemani’s choices can be seen both in Giardini and Arsenale. This is my third Venice Biennale visit and it’s the first time that the exhibition has left me speechless and put me in an “exhibition hangover” mood. The way The Milk of Dreams is curated, the selection, and the interconnections between the artists and the artworks are sorely elaborate. The texts accompanying the artworks are adequate and the biennale is very user-friendly, conveying to the visitors easily but not superficially.

1. Füsun Onur, Once Upon a Time. Installation view, Turkish Pavilion for the 59th Venice Biennale. Photo by Marta Tonelli. Courtesy of Turkish Pavilion, IKSV (Istanbul Foundation for Culture and Arts). 

Reversing Androcentrism


Including over two hundred artists from 58 countries, The Milk of Dreams embraces both living and late artists. From the early 20th century to present queer-feminist artists like Claude Cahun, Leonor Fini, Meret Oppenheim, Dorothea Tanning, Nan Galdin, Paula Rego, and Miriam Cahn who sorely inspire today’s LGBTİ+ artists took their place in The Milk of Dreams. There is one statistically accurate fact: for the first time in the history of the biennale, of all the participants this year, more than 90 percent are women or gender non-conforming. Yet the participants are female or gender-fluid; The Milk of Dreams is not a “women artists” exhibition. Rather than making an old-fashioned, tedious, and “male-minded” show, Alemani manifests the value of the queer-feminist perspective through her curatorial work and challenges the male-oriented history of the Venice Biennale.


The Milk of Dreams is not a “women artists” exhibition.



Though the exhibition is named after Carrington’s book and Carrington is known as one of the women artists who feminized surrealism, the exhibition does not aim to heroize Carrington: Her works are spread all over the biennale whilst some of the other artists like Paula Rego have their own room. Rather than glorifying the late female artists, The Milk of Dreams emphasizes sisterhood, symbiosis, and solidarity. As Alemani stated in the curatorial text, Carrington creates a world in which everyone can change, be transformed, and become something or someone else. With references to Rosi Braidotti, Donna Harraway, and Silvia Federici, Alemani shows the post-human theories that shaped the exhibition. She draws a historical line from the Enlightenment to the present, pointing out that many contemporary artists have challenged the “The White European male." 

2. Füsun Onur, Once Upon a Time. Exhibition poster, Turkish Pavilion for the 59th Venice Biennale. Courtesy of Turkish Pavilion, IKSV (Istanbul Foundation for Culture and Arts).


More Than Just a Coincidence: “Once Upon a Time” by Füsun Onur


I’m now finished visiting the exhibition and starting to wander around the national pavilions spread across Arsenale, Giardini, and other locations in Venice. Frankly, it’s inevitable to notice the huge quality difference between the works in The Milk of Dreams and the works in the pavilions. In my view, out of the 80 pavilions, Uruguay, New Zealand, Belgium, Great Britain, France, Venezuela, and Turkey are some of the ones worth mentioning. This review will focus on the Turkish Pavilion.

As one of the pioneers of Turkish contemporary art, when Füsun Onur was selected to present a new work in the Turkish Pavilion, many of us were profoundly happy. Although trained in sculpting, Füsun Onur is an artist who mainly creates room installations. Onur graduated from the Istanbul Fine Arts University, sculpture department and went to the U.S.A with a Fulbright scholarship in 1962. From the early stages of her student life, she has been challenging the boundaries of sculpture as a discipline. And she has evolved into a visual storyteller rather than being a sculptor.


When Füsun Onur was selected to present a new work in the Turkish Pavilion, many of us were profoundly happy.



3. Füsun Onur, Once Upon a Time. Installation view, Turkish Pavilion for the 59th Venice Biennale. Photo by Marta Tonelli. Courtesy of Turkish Pavilion, IKSV (Istanbul Foundation for Culture and Arts). 

For the pavilion of Turkey, Füsun Onur makes a room installation and calls it Once Upon a Time. The visitors are supposed to experience a genuine post-human fable beginning with a paragraph she wrote: “Once upon a time, years ago, human beings thought they could govern everything in the world, and left no forest, no fauna, no clear water. They left all their waste in parks, seas, and forests, consuming everything. Yet nature still had her rules...” The 21 platforms consist of particular scenes and tiny little figurines that Onur created out of everyday materials such as wire, ping pong balls, paper, and fabric.

Taking the leading role in the tale, Cingöz is a smart mouse with environmental anxieties. Zorba, the other main character, is named after her real-life friend cat whom she considers as her equal. In one of her interviews, Onur points out him and saying, “This one was wandering around when I was making the mice. That’s when I thought why don’t I reconcile them. I made them settle their differences and make peace. They’re going to do great things together.” As in Once Upon a Time, Onur’s practice is always open to spontaneity and improvisation.

According to her tale, Cingöz departs from Bosphorus to Venice by boat to save the world, and turns out that he falls in love with a Venetian girl. They marry right away and celebrate their love at first sight. The boat that is awaiting for them doesn’t leave, yet the newlywed couple does not appear. “Bir varmış, bir yokmuş” says Onur at the end of the tale, and this Turkish phrase hints at the existence and non-existence that “once upon a time” does not fulfill the meaning wholly.

Instead of a linear continuum, it’s a dream-like story in which cause and effect relationships are obscured. This open-ended story is meant to be completed by the visitor rather than followed. This is the playfulness that is present in all of her works. Inviting the visitor to the game is the main core of Füsun Onur’s practice since the 1970s. As I wrote in another article, Onur's works contain conceptual games. The “invitation to the game” is sometimes obvious, sometimes vague. The audience, who wants to perceive what has been done, has to be a participant, to spend time with Onur's works and to be involved in layers.


Instead of a linear continuum, it’s a dream-like story in which cause and effect relationships are obscured.



While I was wandering around and following the fable, I remembered the book Zorba the Greek. Zorba, a free, impulsive soul who dances, cries, laughs, and drinks wine, said something in the book that I’ll never forget: “The only way to save ourselves is to endeavor to save others.” 

Once Upon A Time is deliberately curated by Bige Örer who is the director of the Istanbul Biennial and contemporary art projects at the Istanbul Foundation for Culture and Art. As I learned more about Örer’s curatorial work for the exhibition, I found some resemblances between the curator’s and the artist’s work styles: Creating their own scales in the time-space continuum, making tiny distinctions between things, and developing subtle approaches to exhibition-making. Some of the suspended platforms are seen from a bird-eye, while others are swinglike. To me, the lighting which is reminiscent of the Baroque style is also advantageous here. It is worth noting that the exhibition design of the installation was created by Yelta Köm and the lighting design is carried out under the consultancy of Erinç Tepetaş.

It’s also surprising to notice how well Onur’s work overlaps with the theme of The Milk of Dreams. When I asked her whether she knew the theme of the Venice Biennale beforehand, she responded that it was “just a coincidence.” But I know this is not a coincidence but the zeitgeist that Onur always keeps up.

4. Portrait of Füsun Onur. Turkish Pavilion for the 59th Venice Biennale. Photo by Muammer Yanmaz. Courtesy of Turkish Pavilion, IKSV (Istanbul Foundation for Culture and Arts).


It’s also surprising to notice how well Onur’s work overlaps with the theme of The Milk of Dreams.



Though Onur’s tale doesn’t only aim at the children, the child-like nature of Once Upon a Time is undeniable to any viewer. The tale is neither dystopian nor utopian; it includes the climate crisis and disasters as well as love, dance, romance, and music even if we don’t hear. In her pursuit of togetherness, Onur reminds us of the dualities of life. Even in the tough times of a global pandemic, wars and climate crisis; isn’t it that some of us still prefer to be hopeful, loving (and being loved in return), resilient, and joyful?



Nergis Abıyeva (b. 1991) is an art historian, art critic, and curator based in Istanbul. Currently a Ph.D. candidate at the Istanbul Technical University, she received her undergraduate education at Mimar Sinan Fine Arts University Art History Department and Milan, Brera Academy. She holds an MA from the MSGSÜ’s MA Program in Western and Contemporary Art. Her writing has appeared in many periodicals and books. Abıyeva is the author of the monograph "Çağdaş Resmin Dervişi: Murat Sinkil”. She curated exhibitions such as Marvelous correspondences, subtle resemblances (Mixer, 2021), and An Another Atlas of Female Artists (Tophane-i Amire, 2022). She won a Research Grant from SALT for her research on Tiraje Dikmen’s life and art in the context of Turkish artists who went to Paris in the 1950s.