📘 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-05++ Fall/Winter 2022-23
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX

TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

📒 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
    1. Mission
    2. Schedule

    3. Editorial Board
    4. Contributors
Global Art Daily Info ––
    1. About Global Art Daily
    2. Archive
🗃️ 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?

☎️ Open Call ––

🔌 Newsletter

🔍 Legal

2022 Copyright Global Art Daily. All Rights Reserved.

Main website ︎


a_part Gives Artists 36 Hours to React

By Daniel H. Rey in conversation with artist-curator Johann C. Muñoz

Published on September 24, 2020

       Making an art piece in thirty-six hours does not guarantee sleep but it sure guarantees community-building. I first heard about a_part: A Quarantine Collaboration a few days ago. The initiative was conceived by Miami-based Colombian multidisciplinary artist and curator Johann C. Muñoz. In line with its name, a_part has so far connected 40 artists who, pandemic-hit or not, would have had minimal chances of collaborating in person. It is the very spirit of collaboration that drove Muñoz to launch the project. a_part works like a telephone game, each participating artist has thirty-six hours to respond creatively to the artwork and artist that preceded them. At Global Art Daily, we are thrilled to see independent initiatives embrace the vibrant spirit of global art making. As a_part wrapped up its fifth month, it only made sense to speak with the curator 12,950 km away and get his perspective on cross-cultural exchange, digital curation, the place of Miami in the global art world, and South-South artistic dialogues.

1. The first artwork chosen to begin a_part in April, 2020. Alejandro Valencia, Reciprocal Object (for W. Benjamin) (2020). Manizales, Colombia. @libertad_y_desorden 

“What is the function of art amid (and post) a global crisis?” With this very question, Muñoz and his newly-found collaborators saw in contemporary visual arts a way of coping, connecting and, once again, collaborating.  In the organizer’s own words, “Every day and a half, a new contribution is added to the sequence from a different location in the world, bringing in new information, and branching out into limitless potentialities and  meaning.” a_part operates as a cadavre exquis: there is a thread that links every submission, causing the overall project to constantly adopt new shapes.

“What is the function of art amid (and post) a global crisis?”

- Johann C. Muñoz

The idea is bound to outlive its first iteration. When asked about how a seemingly endless chain of artworks comes to an end, Muñoz has a concrete answer. He plans on closing this cycle with the work of K. Yoland, a British artist who precisely engages with borders/limits and “would be the perfect person to close off the collective.” Muñoz further adds that “a_part could go on forever, especially as there is so much uncertainty about what is going to happen post-COVID.”


The duration of the project allows for questioning the practicality of a thirty-six hours time frame. In a similar vein, the pandemic-born initiative ENTER by the Onassis Foundation has been giving artists 120 hours to produce performance pieces at home. About a_part, Muñoz notes that thirty-six hours is a mere intention and that “people have all kinds of life situations going on,” which extends the duration of each takeover. The unexpected length of a now five-month-long project fits the very unprecedented nature of these times while extending art-making across borders.

3. Thomas Bils, Shutterspeed (2020). Oil on Wood. Miami, FL, U.S.A. @gnarlic__bread

The project originated in Miami whose parallels with Dubai and Abu Dhabi are worth flagging. In the words of Muñoz, a long-term resident of Miami, “being in a city that is so transient, so cosmopolitan and international, I have had the chance to meet artists from all over the world.” This description matches how many players in the UAE’s artistic community would reflect on this landscape, both in terms of its dynamism and opportunities. To expand on this parallel, Muñoz notes that "From the beginning, I knew the project had to be an international effort, but I owe that revelation to Miami. Miami is unique in its ability to synergize the abundance of perspectives that come through. We've gotten used to the world coming to us; I wanted to reverse that dynamic." Today, a_part has featured more than 40 artists from the Americas, Sub-Saharan Africa, Europe and Asia at large. The newborn community involves artists that Muñoz himself has connected with while traveling, completing residencies,  and “establishing relationships beyond what, at some point, was believed to be outside of the scope of possibility.” 

“We've gotten used to the world coming to us; I wanted to reverse that dynamic.”

4. Thero Makepe, Nkuku (Grandmother) (2020). Photography. Gaborone, Botswana. @other.thero

With artists spanning across Uruguay, Botswana, Hong Kong, Spain and beyond, communicating the idea required multiple undertakings. “The whole thing kind of became this scavenger hunt. There are artists that I didn't know personally. I sat on my computer and said ‘OK, let me push the limits of social media, let me push the limits of this whole new world in which we suddenly found ourselves in and let me see if I can meaningfully connect with others in the field’.”

“Let me push the limits of this whole new world in which we suddenly found ourselves in and let me see if I can meaningfully connect with others in the field.”

As a major highlight, Muñoz shares that “The relationship that I was able to establish with other artists in, for example, Botswana and South Africa has been life-changing. I never thought, especially as a young kid living in Colombia, that I would have the opportunity to experience globalization beyond what I saw  in television or other types of media.”

Curator Johann C. Muñoz, creator of a_part. Headshot courtesy of the curator. 

“I never thought, especially as a young kid living in Colombia, that I would have the opportunity to experience globalization beyond what I saw in television or other types of media.”

For Muñoz as a curator with increasing experience, consolidating a globally-minded idea requires a sustainable strategy. “What I did at the beginning was setting the terms: 1. This is the first artist and he’s going to make a piece, 2. This is the list of participating artists, 3. Stay tuned to receive an artwork from this one person and once you respond to it be ready to send your artwork to this other person.”

Upon launching, the curator was able to revisit his very role in this playful experiment. “I think I see myself as a facilitator, more so than a curator,” he adds.  In his words, part of such a facilitation with artists is providing a platform, “reaching out to them and saying ‘I saw your work, I really connected with these pieces, I’m putting this thing together, let me know if you’d like to participate’.”

“I see myself as a facilitator, more so than a curator.”

5. Paulina Donis, Todo el cabello que perdí (All of the hair that I've lost) (2020). Photography. Cuenca, Spain. @paulinais_d

Muñoz acknowledges that every single participant that joins brings in new perspectives and increases the degree of accountability that goes into making the chain of artworks carry on. He seeks to present a_part as a framework for other practitioners to embrace and adjust to their own contexts and networks. Muñoz trusts that by “letting go of power as a curator”, the project becomes evermore democratic, trust-based and collaborative. This echoes his curatorial summary:

“The conversation is not necessarily between me and these artists but among the artists themselves. That is the beauty of this project. The project itself has to be seen through the lens of this pandemic; the pandemic has shown us the fragility of all systems. Systems for exchanges of information, exchanges of goods, systems for the transit of people and therefore the transit of ideas have all been challenged. We live in a hyper-globalized world but we don’t act like we do. We reap the benefits of living in a hyper-globalized world but we are not conscious of what that actually means. This was a start to get artists to have these conversations.” 

“The pandemic has shown us the fragility of all systems.”

6. Saaiq'a Ebrahim, A Letter to Someone; to Everyone; to Everything (2020). Message Carved into a Tree with Blade: "To Whom It May Concern, I Am Sorry You Are Suffering, And No One Cares". Durban, South Africa. @acollaredwomxn

a_part hopes to keep on honing into practice as research and vice-versa. Short documentaries about the artists and the process at large are also on the horizon. The whole experience has also awakened the curator’s interest in Palestinian poetry, for example, as well as exposed his artist community to new cultural identities and art forms. The purpose, however, remains one and the same. Muñoz asserts that “It would be a shame to come out of this shared global experience—this pandemic—with the same tools, with the same mindsets  and continue carrying on with life as usual.”

7. Moises Sanabria, Groceries In The Times Of Quarantine (2020). Video. Miami, FL, U.S.A. @moisesdsanabria

With an additional lens, Muñoz also invites creatives and audiences to critically question what role galleries and museums are able to play. “Museums are going through this identity crisis, galleries as well. Galleries are less likely to take more chances. They are probably going to make safer bets because they are driven by markets,” he notes. In order to highlight the value of grassroots initiatives he adds that “When opportunities like these come up in which artists can be represented in a project without allegiance to an institution , things become more open, more democratic, and long-standing power dynamics and hierarchies begin to be disputed.”

“We have the opportunity to look at our own history, to highlight it and, in a way, rewrite it in our own terms.”

8. Cathleen Ching Yee Lau, I_Land (2020). Mixed Media. Wong Chuk Hang, Hong Kong. @cathleen_ching_yee

Finally, South-South artistic exchanges are becoming a defining feature of the a_part experience. Muñoz highlights that “When you put these two [artists’] worldviews together you are able to fill in some gaps of information—you realize that there are vast similarities in colonial histories, and become hyper aware of the unrealized potential of the Global South. We not only get to cross-reference our  historical memories but also get to apply their lessons today.” This bonding ultimately leads to form a community whose exchanges transcend a thirty-six hour time period. Muñoz and the artists joining him remain convinced that “We have the opportunity to look at our own history, to highlight it and, in a way, rewrite it in our own terms.” To add more depth, the curator affirms that “Through South-South cooperation we begin to forge our own ways of seeing, thinking, and doing. We are in a transition. Future generations will not only talk about this moment, they will be built on it.”

“Through South-South cooperation we begin to forge our own ways of seeing, thinking, and doing.”

a_part is an online curated initiative connecting artists from around the world for collaboration during quarantine. The initiative, conceived by Miami-based curator Johann C. Muñoz has involved 40+ artists throughout five months. 

Johann C. Muñoz is the curator behind a_part. Muñoz was born in Bogotá, Colombia. He lives and works in Miami, FL. Throughout his career, he has worked on a series of collaborative projects, including DOMESTIC (2019) and Concerto on the River in Washington, D.C. (2019). Exhibitions include Miami Zine Fair (2019), Activist Small Press Fair at Exile Books (2018), 23rd International Biennial in Gabrovo, Bulgaria (2017). Collections include Miami-Dade Public Library. Muñoz is an educator at Art Box and a mentor for Guitars Over Guns, a 501(c)(3) arts nonprofit.