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



About ––

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    Contributors
    Contact

Interviews ––

    Selected Archive

Open Call ––

    Policy
    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


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

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Mark

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.”


2. Valeria Guillén, LA PAPA CALIENTE O EL PROBLEMA ES QUE ESTO ES UN JUEGO (HOT POTATO OR THE PROBLEM IS THAT THIS IS A GAME) (2020). Mixed media. Miami, FL, U.S.A. @oleoguillen


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.

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