MOP CAP FINALIST 2017

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Finalist

Exhibition

October 2018 London

4 About Us

About Us Since 2004 the Magic of Persia has operated on the cutting edge of Iranian art, carving a path for artists to present their work to an international audience. Through various programmes the charity has created a platform for Iranian artists living inside and outside of Iran to have their voices heard through the universal language of art.

MOP has established numerous projects in partnership with world-class institutions in the UK, UAE, EU and US. Through the dynamism and expertise of MOP’s team, projects are delivered to a diverse audience before the ink dries.

Various programmes and events complement our annual Art Auction Gala’s of donated artworks by iranian artist and collectors, which are the main source of Magic of Persia’s fundraising gestures.

The Magic of Persia Contemporary Art Prize (MOP CAP), Art Residencies in collaboration with Delfina Foundaiton, Family Weekends at the Victoria & Albert Musuem, Dufferent Perspectives on Modern and Contemporary Iranian Art in colllaboration with the British Musuem, and Curate Archive, online residencies for international curators are some of MOP’s ongoing programmes.

5 The Vision

The Vision The search for the next generation of game changing young contemporary Iranian artists and to provide opportunities for them on an international level.

The Mission The goal of the prize is to provide an opportunity for emerging artists to gain international exposure, and to engage in an artistic experimentation and cultural exchange. Through its archival material, including an online artist database and printed publications, MOP CAP aims to provide an educational interchange and contribute to the development of Iranian art and culture.

We believe through collaborations with invaluable expertise and vision of individuals in the Selection Committee and Judging Panel we are able to provide a platform for contextualising the discourse of Iranian contemporary art. The two year process of MOP CAP engages the artists to produce new works while representing their practice internationally.

MOP CAP 2017 Shortlist Exhibition, compiled of 22 artists is selected from hundreds of applications. The Selection Committee includes: Negar Azimi, Sohrab Kashani and Tirdad Zolghadr and the Judging Panel who selected 8 finalist and will chose the winner in October 2018 are; Ferydoun Ave, Aaron Cezar, Vasif Kortun, Ebi Melamed, Hans Ulrich Obrist, and Maaike Schoorel.

6 The Process

The Process MOP CAP is open to young, emerging Iranian artists, living in and outside of Iran.

Stage 1: The applications are accepted online only. The profiles of all eligible entrants to the open call are reviewed by the MOP CAP Selection Committee, and a shortlist of up to 21 artists is compiled.

The three members of the Selection Committee are chosen from the Iranian art community, with a relevant curatorial background in the field, vast knowledge of the contemporary Iranian art, and an up-to-date awareness of the emerging art locally and internationally.

Stage 2: The MOP CAP Shortlist Exhibition showcases works of the selected artists, at which time the Judging Panel meet to deliberate on, and choose, up to 7 Finalists.

The prize is judged by a panel of distinguished cultural practitioners and academicians.

Stage 3: Subsequently, an exhibition of the Finalists’ works is held in London, where the Judging Panel meet once again to select the MOP CAP Winner.

The Prize The Winner of MOP CAP receives a one-year fellowship that includes a mentorship with a curator working towards a solo exhibition at a leading exhibition space in London; as well as a three-month residency at the Delfina Foundation .

7 The Process

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Judging Panel

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10 Judging Panel

Fereydoun Ave Fereydoun Ave is an artist, curator and art collector. He was born in 1945 in Tehran and educated in a boarding school in England. Ave received his BA in Theatre Arts from Arizona State University and studied film at New York University. Now he divides his time between Tehran, Paris and sometimes Dubai and London. In 1984 he established Tehran’s first alternative art space on 13 Vanak Street & the In-between Space in Dubai.

His works are in the possession of such important museums in the world as The British Museum, La Caisse des Dépôt et Consignation, Paris, Tehran Contemporary Art Museum, Centre Georges Pompidou Collection. The most recent acquisition of his ”Rostam in the Dead of Winter” was made by the Metropolitan Museum of Art in February 2014 & Los Angeles County Museum of Art.

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Aaron Cezar is the founding Director of Delfina Foundation, where he curates and develops its interrelated programme of residencies, exhibitions and public platforms. Over the last ten years, he overseen over 350 residencies and developed co-commissions with major institutions including Tate, MATE (Museo Mario Testino), Videobrasil, Creative Time and Art Dubai. He has positioned Delfina Foundation as a leading centre for the development of creative practice through thematic residencies such as its renowned Politics of Food programme and Collecting as Practice, the first-ever residency programme for collectors.

Aaron has been appointed to numerous boards, committees and advisory groups such as All Change Arts, Davidoff Art Initiative, and Al Serkal Avenue. He has written for Harper’s Bazaar, The Art Newspaper, and AsiaArtPacific, among other publications.

Judging Panel

Aaron Cezar

12 Judging Panel

Vasif Kortun Vasif Kortun is a curator, writer and teacher in the field of contemporary visual art, its institutions, and spatial practices. He was the founding Director of Research and Programs of SALT in Turkey. Kortun serves on the board of directors of the Foundation for Arts Initiatives and SALT and was on the CIMAM International Committee for Museums and Collections of Modern Art (2010-2015). A recipient of the Award for Curatorial Excellence from Bard College, he was the founding director of a number of institutions including the Platform Garanti Contemporary Art Center, Istanbul, Proje4L, Ä°stanbul Museum of Contemporary Art and the Museum of the Center for Curatorial Studies. Kortun has worked on a number of biennales, including Taipei Biennial (2008) co-curated with ManRay Hsu, 9th International Istanbul Biennial (2005) co-curated with Charles Esche. Recent publications include VOTI: Union of the Imaginary: A Forum for Curators (Author & Co-Editor), 2017; 20: Collected Essays II, (forthcoming, Turkish, 2017).

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Ebi Melamed is a passionate art collector and philanthropist. Melamed started collecting at a young age of 17 when he was studying in Switzerland. He started visiting art studios due to being close to the art world in Geneva. This close knit relationship with various artists was the starting steam of his passion and collection. He continued his studies in the States in Psychology and returned to Switzerland to do his MA in Business. His extensive collection includes works by various artists such as Christopher Wool, Glenn Ligon, YZ Kami, Wade Guyton, Adriana Varejao, Farhad Moshiri, Monir FarmanFarmian, Yayoi Kusama, etc.

Judging Panel

Ebrahim Melamed

14 Judges

Hans Ulrich Obrist Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is Co-Director of the Serpentine Galleries, London.

Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show “World Soup” (The Kitchen Show) in 1991 he has curated more than 300 shows.

So far in 2016, Obrist has co-curated at the Serpentine Galleries solo shows for Michael Craig-Martin, Simon Denny, Hilma af Klint and DAS INSTITUT. In 2014 he curated the Swiss Pavilion at the 14th International Architecture Biennale in Venice, where he presented Lucius Burckhardt and Cedric Price—A stroll through a fun palace; the building was designed by architects Herzog & de Meuron, and the program was developed with artists Liam Gillick, Philippe Parreno, Tino Sehgal and Dominique Gonzalez-Foerster. Obrist’s Art of Handwriting project is taking place on Instagram and is a protest against the disappearance of handwriting in the digital age.

In 2013, Obrist co-founded with Simon Castets the 89plus, a long-term, international, multi-platform research project, conceived as a mapping of the digitally native generation born in or after 1989. In 2011 Obrist received the CCS Bard Award for Curatorial Excellence, in 2009 he was made Honorary Fellow of the Royal Institute of British Architects (RIBA), and in 2015 he received the International Folkwang Prize for his commitment to the arts. Obrist has lectured internationally at academic and art institutions, and is contributing editor to several magazines and journals.

Obrist’s recent publications include Conversations in Colombia, Ways of Curating, The Age of Earthquakes with Douglas Coupland and Shumon Basar, and Lives of The Artists, Lives of The Architects.

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Born 1973, Santpoort, The Netherlands. Maaike Schoorel has recently returned from New York to the Netherlands and now lives and works in Amsterdam. Residencies include: The American Academy in Rome, 2015 and the International Studio and Curatorial Programme, New York, 2013.

Selected solo exhibitions include: London | New York |Rome | Amsterdam, Gemeente Museum, Den Haag, the Netherlands, 2017 ; Conversation Piece Part 2, Fondazione Memmo, Rome, Italy, 2016; Frans Hals Museum, Haarlem, The Netherlands, 2012; Maaike Schoorel - Zelfportretten & Stillevens, the Embassy of the Kingdom of the Netherlands, London, UK, 2011; Art Basel Features, Basel, Switzerland, 2010; Album, Museum de Hallen, Haarlem, The Netherlands, 2008.

Selected group exhibitions include: Rumoer in de Stad, Gemeente Museum, Den Haag, The Netherlands, 2017; 20th Biennale of Sydney, Australia 2016; Salon Hang, Kunstverein, Amsterdam, The Netherlands, 2015; Landscape: the Virtual, the Actual, the Possible? Guangdong Times Museum, Guangzhou, Guangdong, China, touring to: Yerba Buena Center for the Arts, San Francisco, USA, How Soon is Now?, Manifesta Foundation & DutchCulture, Amsterdam, The Netherlands, Variations: Conversations in and Around Abstract Painting, LACMA, Los Angeles, USA, The Peacock, Grazer Kunstverein, Graz, Austria, 2014; Nothing, Like Something Happens Anywhere, Chapter, Cardiff, Wales, 2012;Museum of Old and New Art, Tasmania, Australia; Saatchi Gallery in Adelaide: British Art Now, Art Gallery of South Australia, Adelaide, Australia, 2011, Painted Over/Under, LACE, Los Angeles Contemporary Exhibitions, Los Angeles, USA, Painting Between the Lines, CCA Wattis Institute for Contemporary Art, California College of the Arts, San Francisco, USA, 2011; British Art Show 7: In the Days of the Comet, Hayward Touring Exhibitions, United Kingdom, 2010; Visible Invisible: Against the Security of the Real, Parasol Unit, London, United Kingdom, 2009; Eyes Wide Open – New to the Collection, Stedelijk Museum, Amsterdam, The Netherlands, 2008

Judges

Maaike Schoorel

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Finalist Artists

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Yasamin Ghalehnoie

20 Yasamin Ghalehnoie

Artist Biography Is to be decided in the ever postponed future, To be state, struggling yet to define, if ever needing to.

Oil pool sculture at Tehran Museum of Contemporary Art The Treasure Cave, Bahman Kiarostami, 2009

21 Yasamin Ghalehnoie

22 Yasamin Ghalehnoie

Prologue, as a topology Model number one The image represents a conscript sitting on a stair, on a weekend of last summer, close enough to the gallery to follow what is happening. It is here a very ordinary Friday, the reception of an exhibition which I cannot recall anymore. For me the only image that rests to this day is this one of him; Watching the crowd of artists and viewers frequenting the space and following their moves, yet not being able to join in, even though he seems to have been experiencing boredom. Or perhaps I prefer to think like this as I myself was bored with the still flow of the space, not belonging to it.

The voice of the soldier has few possibilities to be heard among the dominant noises. Soldiers are prohibited by the law to attend cultural spaces wearing their uniform. Though I am to think that the art space or more accurately the contemporary art having its own uniform, has this tendency to screen out unrelated bodies, being all subject to exclusion, though bearing witness.

Model number two The image represents a dead-end in one of the crowded streets of Tehran, Felestin(Palestine) Street, hosting a new design store, an alternative art space, a bank and a private educational institution for girls. The relation between these three uniformed systems and uniforms; the banker, the student and that of the art is rather a non-productive one, based on counter-negation. ; The students are advised not to enter the art space. The institution has once put on a sign claiming its right over the public space of the dead-end, broadening its borders physically. ; The art space mobilises separation. Like in school or the museum, though using different methods.

It creates a cultural space that is meant solely for the ones identifying under the art uniform. ; Ironic enough, the ever luminous bank and the art space are constantly looking at each other through glasses, even though the space starts working just after the bank finishes.

23 Yasamin Ghalehnoie

Model No.1 , The Image has been reconstructed

24 Yasamin Ghalehnoie

{ Notes on the Uniform; / The idea of the "unrelated" is what is relating bodies to the others by differentiating between them. Uniform constitutes its image by editing out the others, and is constitute by mapping (invisible) borders; using various technologies and instruments; the law, architecture, physical barriers, classifiers, showcases and design. // The uniform, imagines a certain image of bodies and it determines the form of encountering with other uniforms. Wrestling uniform demands two intertwined bodies having physical intimacy whereas the uniform of the museum guard watches constantly. For students in an only girl high school, the uniform needs not to let bodies have intimate contact. If each uniform, regulates manners of the body in a certain way, the play is to disorder this expected forms and normative uniforms. ///The system(s) tends to define the limits of expected performance of the uniform; the body performs the uniform. Hence the uniform has a performative possibility if taken as a costume. “People tend to see uniforms not faces.� - Hitman video game With a perspective change, is it possible to rephrase that not the content but the facade/design of the Contemporary art is to be seen? and that the object of art is offered for consumption and is then what secures the economy of trade, physically and with the meanings it is shaping to? }

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The book lies on the book stand beneath the glasses of the display case. The book stand is designed to keep the book open to be exhibited, yet prevent damages. Here the book is unreadable, the instrument renders invisible the rest but a particular page, the visual sign. The representation of the book or of the other artefacts is decided by the museological mechanisms.

The objective model is to represent the transparent mechanisms of the exhibitionary spaces, within which sites of similarity operate and visualise objects, that are often not identified by the viewers, be it the art space peripheries, the objects designed to serve the purpose of exhibiting or the body’s performativity in the space.

The model is to be realised in two demarcated sites in Tehran.

The National Museum The artist is fantasising a performance taking place in the museum before the camera. In it the relation between the museum conservator and the objects will be reenacted, showing the unseen procedure of the presentation and representation of an object in the museum.

The gallery white cube In the plan of the artist, the students will enter the gallery in which their images could not have. They will perform for the camera. The aesthetic of this image is one resembling the photos of the School series. : This is a model representing the vitrine from the point of view of the artist. The artist is aware of the possibility of the failure that exists in this representation. But the artist is to depict the failure in the production and the quest for perfection.

The strategy of how to produce is affected by the situation current to the artist, not being equipped with the prerequisite, not being able to identify as an artist, to plan and to decide, thus being in a sense Contemporary. It is as if transitioning from the body of the student with fewer responsibilities to the body of the artist as the art worker troubles this body to adjust to the new identity.

Plexiglass Book Stand

Yasamin Ghalehnoie

Model for an (open) vitrine

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Yasamin Ghalehnoie

27 Yasamin Ghalehnoie

28 Yasamin Ghalehnoie

Consideration; By the time that this text is written, it is more than 40 days that the artists are approaching the museum to get the permission for this short portrayal; handing in the proposal, filling forms, writing letters and emails, bringing the introduction letter, calling directly as a morning ritual and presenting themselves to the museum. But the system, threatened by the objectivity of the representation, refusing its everyday to be seen and controlling what needs to be seen, resists and postpones the production of the art unless it is persuaded of the necessity of it. Though, what is the necessity of Art? as a deceiving question as that may be.

29 Yasamin Ghalehnoie

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Gelare Khoshgozaran

32 Gelare Khoshgozaran

Artist Biography Gelare Khoshgozaran (b.1986, Tehran, Iran) lives and works in Los Angeles. Khoshgozaran received her BA in photography from University of Arts in Tehran, in 2009, and MFA from University of Southern California in 2011. Recent solo exhibitions and performances include Articule, Montreal, QC (2018), Los Angeles Contemporary Exhibitions (2017); Human Resources, Los Angeles (2016); Los Angeles Municipal Art Gallery (2016); and the Queens Museum, Flushing, New York (2016). Her work has been part of group exhibitions including the 2018 Hammer Museum Made in LA Biennial, LA><ART, Los Angeles (2017); Pori Art Museum, Finland (2015); and Galeri Nasional Indonesia, Jakarta (2013).

Khoshgozaran has had residencies at Capp Street Project (2018), The Museum of Contemporary Art Tucson (2017), The Echo Park Film Center (2017); Krannert Art Museum (2016); and Santa Fe Art Institute (2016). She is the recipient of an Art Matters Award (2017), a Rema Hort Mann Foundation grant (2016), The Andy Warhol Foundation Creative Capital Arts Writers Grant (2015), and California Community Foundation Fellowship for Visual Arts, Emerging Artist Fellowship (2015).

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The United Nations Security Council Chamber Mural of Phoenix Rising From Its Ashes by Per Krogh.

Photo courtesy of The United Nations Archive and Lois Conner

34 Gelare Khoshgozaran Tangkula 800-1 110v Electric Centrifuge Machine, Study

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36 Tangkula 800-1 110v Electric Centrifuge Machine, Study

37 The installation ponders representation in relation to multiple forms of nationstate delegations, in the context of an Iranian contemporary art prize, and amidst overwhelming uncertainty about the future of the said nation-state.

Inspired by the pantheon stage of the United Nations’ Security Council Chamber—with the Phoenix Rising from the Ashes mural, implying a new world order after the WWII as its backdrop—the installation turns the events of the UN chambers into a spectacle for rotating centrifuges. The sound of rotating machines is amplified in the space, replacing the spoken language of any given speaker at a UN assembly, meeting or event.

The centrifugal force—the apparent force that is felt by an object moving in a curved path that acts outwardly away from the center of rotation—of the earth’s rotation in its orbit around the sun is also used in various rotating devices for leisurely, industrial, and scientific purposes. From carousels and amusement park rides to lab and nuclear centrifuges, the force, if sustained over time, can separate particles as small as isotopes.

Through the installation the pantheon stage of the United Nations, as viewed through the UN webcast becomes the spectacle of planetary politics for an audience of humming machines. The livestream of UN webcast reflects the events, meetings, assemblies and presentations as they happen at the United Nations headquarters simultaneously with the ongoing rotation of the centrifuges in the space. Bringing the immediacy of the UN events into the exhibition space, the piece collapses the temporality of our planetary existence as a dying species with that of performing politics.

Sustenance, in both, is afforded through maintaining their respective ‘frame of reference.’

Gelare Khoshgozaran

UNCLEAR

38 Gelare Khoshgozaran Tangkula 800-1 110v Electric Centrifuge Machine, Study

39 Gelare Khoshgozaran

United Nations Web TV, still

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42 Gelare Khoshgozaran United Nations Web TV, still

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United Nations Web TV, still

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Ali Meer Azimi

46 Ali Meer Azimi

Artist Biography Ali Meer Azimi (bornin1984) is an Iranian, Tehran based artist where he received his educational training in graphic design and computer engineering. He works in variety of mediums including sculpture, drawing and writing. Meer&#39;s practice contemplates on the image and its relation to the specular space of contemporary art and politics through a cinematographic lens, where duration and witnessâ&#x20AC;&#x2122;s angle of view are encounters with event or image. Furthermore he uses the concept of the cinematographic model elaborated by french filmmaker Robert Bresson. He asks us as if uttering the question in his throat: How does the model questioning the reality as universal spurious image?

47 A-0 By now I have lost count of the number of times I have watched this film, and this is even truer of this specific scene!

The final part of the movie Close-Up, where the real director, the fake director, and the other director all appear in one scene together.

B-0 Howsoever narrow, there is still always a border between what is called reality, and the Other, meaning fiction; even if one is a product of the other. Image is a cut, an incisional biopsy of this border/distance.

Footnote 1-0 â&#x20AC;&#x153;A photographic image is a cut, a section through the bundle of light rays reflected off objects in a circumscribed space. Photography reproduces the three-dimensional object on a flat plane, based on the laws of projective geometry.â&#x20AC;?

Photographic image: a Cut? Cut or: Schnitt The above paragraph has been translated from German to English: A photographic image is a cut : Ein fotografisches Bild ist ein Schnitt Cut or: Schnitt A gash, an incision; Farocki has used this cut in and around photography. And the Other cut?

Schnittselle: cut/interface

Close-Up, Abbas Kiarostami, 98 min, Color, Iran, 1990

Ali Meer Azimi

Ali Meer Azimi

Echo keeps an ear to the throat of Sirens: A study on an geochronological ear

48 Ali Meer Azimi

B-1 Cinematographic image is a cut in a duration; this duration is a tunnel of light which passes through a hole in the ground of reality and extends the tunnel on the scale of time.

A-1 Three people, not in order of appearance: A director who was supposed to be the image maker (because his role has already been spoiled) has turned into a character inside the image, a director who due to this contingent rotation of his impersonator has turned into an actor, who plays himself, and the other director in witness position, all appear on the surface of the image. This appearance would not be possible without the lines of fiction and reality getting jumbled, even if this jumbling is caused by their performing as themselves. It is true that the distinct elements of this image belong to the context of the lives of each of these three characters, but: C-0: Do Echo’s words (from the myth of Echo-Narcissus) belong to herself?

A-2: As much as words produced by Echo are her own and do not belong to Narcissus as subject, the images too belong to these three characters.

Footnote 2-0 Echo’s voice, is an off-screen sound. In dialogue with the main line of the film’s sounds, the sound of echo is montaged and turns into a secondary thing, which is now separate from that original sound. This secondary thing which has nestled in the distance between that point of departure and destination (transmitter-receiver), is image itself. Therefore this image, even if it is placed beneath the name of an image maker (as it usually is) would be dependent on her but not owned by her, and furthermore the image itself would belong to Cinema. The director is a witness to a situation where he has not been present, but Cinema has been there before him, because Cinema is always inherently present in reality. Cinema has flowed with the passage of everything and has blown around the bubbles of time! These bubbles are fragmentations of time from recorded memory that reach the director in points that are not necessarily in order and are random, and he tries to remember these moments. Even though this memory is another side of reality, it doesn’t have to match past events. Because the truth of reality and its narrative side both also live in between those cracks.

49 Footnote 2-1: What is the essence of the director’s work? We could define it as sculpting in time. Just as a sculptor takes a lump of marble, and, inwardly conscious of the features of his finished piece, removes everything that is not part of it—so the film-maker, from a ‘lump of time’ made up of an enormous, solid cluster of living facts, cuts off and discards whatever he does not need, leaving only what is to be an element of the finished film, what will prove to be integral to the cinematic image. Andrei Tarkovsky

k[w]əʊt_ed image, Photomontage, 42X27.5 cm, 2018

Ali Meer Azimi

C - 1 : If we return to the myth of Echo, it seems that Echo (not only as the character of a story) acts as a throat in the body of a character and as an echo chamber in the space of the story. She has also explored the crags and crevices of speech; her pragmatic mechanism of production-repetition works in the following manner: she holds in the final syllables of Narcissus’ words until the next syllable and the syllable after that and thus what she utters back are new words, the result of restructuring of the same words, or in fact new combinations of those same words.

50 Ali Meer Azimi Study on an geocronological ear, 3D model of the work, 2018

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Footnote 3-0: Indeed who can perform the role of Hamlet, but himself?

A-3: The question here is: the film Close-Up is a Close-Up of whom or what?

The possible options include a spectrum, from the director of The Cyclist (Makhmalbaf), the impersonator of the director of The Cyclist (Sabzian), the Portrait of the Author/Auteur (Kiarostami), a zoomed-in representation of the post-war situation, the officer, the turkey, the girl next-door, the journalist, the taxi driver, the deceived family, the judge and etc.

• Possible options?

• False options!

Footnote 3-1: “ Bresson formulates the problem through a critique of the actor. The actor to him is the liar in the Platonic tradition, the double being who is not himself but Hamlet, but is not Hamlet either, since he is playing him as he would play any other role. Bresson also shows the door to the beguiling mimic and replaces him with the model. The model does not act. It is primarily a body that poses for the camera as it would for a painter.

But the pictorial analogy is also misleading here. The model must diferentiate himself from the actor in his way of speaking. He must utter unthinkingly, without putting any meaningful intent into the words decreed by the director, accompanied by any movements he orders. In this way, Bresson tells us, he will express his inner truth, as opposed to his conscious thought. Mise en scène fabricates through repetition of words and movements a material automatism intended to awaken another: the unfabricated automaton, the inner automaton whose movements no one can programme and which, if deprived of all outlets, must behave in sole accordance with the truth of its being. Jacques Ranciere

Ali Meer Azimi

B-2: By rearranging those pieces, the director not only portrays what Cinema has already witnessed, but she also presents time in a different order than that of linear time.

C - 2 :The dominant narrative of Echo and the question of rearrangement of sound can take other paths through a little change in prospective: Echo in fact swallows up words; what is reheard is silence, the void of complete words and remnants of speech which she has preferably not devoured.

Of course this word-devouring and half-muteness were the gods’ punishments for Echo. But montaging of syllables and silence should be recognized as smart solutions devised by her.

In general, imagining Echo’s story on the flat surface of imagery is more akin to a close-up of an ear and throat in expansion and contraction, in spite of its epic, romantic, etc. etc. background being visible in EXTREME-LONGSHOT.

52 Footnote 3-1: Maeterlinck (for acting the role of Hamlet) suggested placing princes and lords in the background and replacing them centre stage with the obscure forces speaking through them, focusing the drama for example on a old man motionless under his lamp, listening silently to the sounds of the unknown all around him.

B-3: Model, thrown into physical action, his voice, starting from even syllables, takes on automatically the inflexions and modulations proper to his true nature. Robert Bresson B-4: Cinematographic image is a time-based image, in/on Schnittstelle, and if Farocki’s film, Interface, is a film/article about Schnittstelle, then Kiarostami’s Close-Up should exactly be Schnittstelle itself, offering a close-up of the interval between fact and fiction by creating a crisis in their limits. The characters of this movie are neither the director, nor the charlatan [the fake director], nor the actor: these characters, by entering the time-space of Schnittstelle have turned into models who have regained their bodies.

4-A In interviews, Kiarostami had said: “this is one of my favorite movies in the history of film, but the point is that Close-Up is not my film!” He was right: by getting involved in the process of the story, he has dissolved onto the surface of the image. Only an off-screen sound and his witnessing eyes -the camera- remain of him. His subject is no longer the director as subject, but a cinematographic self model.

Footnote 4-0: Little by little we finish the discussion about Echo and Close-Up, even though in order to finish it we might have to start all over again from another point.

A-0-1: But why have I watched the ending of Close-Up again and again?

Footnote 5-0: Art acts like the mirror in vampire films: it reveals the withdrawal of what we think is still there. “You have seen nothing in Hiroshima” (Duras’s Hiroshima mon amour , 1961).59 Does this entail that one should not record? No. One should record this “nothing,” which only after the resurrection can be available. We have to take photographs even though because of their referents’ withdrawal, and until their referents are resurrected, they are not going to be available as referential, documentary pieces—with the concomitant risk that facets relating to the subject matter might be mistaken for purely formal ones. Jalal Toufic

Ali Meer Azimi

C - 3 : If the Echoed voice of Narcissus had been an exact boomerang copy of his own voice, or if Echo’s talk had been a one for one restoration of Narcissus’ voice, or if Echo spke like a normal person, there would have been no doubt as to this just being a scene of dialogue between two subjects and nothing more; but as said before, the matter is more complex. Echo’s story is a metaphor for a sort of mediation that happens in Echo’s throat. That’s why the image is a close-up of Echo’s throat, with an offscreen sound that is heard during dialogue, because it belongs to the space conjured between these two characters. This voice definitely belongs to someone, who is neither of them; the owner of the voice, the Other self, can be called self model: Model voice, rendered voice, mediator voice.

53 Ali Meer Azimi

54 Ali Meer Azimi

A-0-2 In spite of involvement of the three main characters of the film, still the question goes unanswered: Which shot could be the closest shot to the rift that connects and disconnects reality to story, voice to echo, witness to gaze and and memory to image? In what sort of space and probable points can one achieve the closest perspective to the position of this non-site, this mediating and even heterotopic point and watch it?

Having Jalal Toufic in mind and quoting Walid Raad, in other words, how can one prove this “nothing”?

I will try examining the above question by posing another question: Is it possible to design a sonic space using various existing frequencies, in order to build an echo chamber or audible zone, that could make visible the volatile images of memory? An image so distant as if it belonged to involuntary memory?

Footnote 6-0: Is air inherently voiceless? “He” is the 27th character in the Persian alphabet; and as regards its place of articulation inside the mouth, it is the last consonant and is pronounced through the pharynx (with a small difference from ḥā) and therefore “He” is closer to the lungs, where the air that needs to blow in the organ for production of sound -production of speech- is issued from.

This means that there is very little difference between the sound that is heard in mere exhalation, and the sound that comes out as “He”. So if there’s a pause in speech, there is a possibility that “He” might not be heard at all, because it might be construed as a blank interval in conversation. Interval as a kind of hesitation. • Now let’s imagine Echo, tired of the repetition of broken “He”s, trying to pronounce “He” in various modulations and undulations, each time in a different way: damaged and crushed, careful, distant, and sometimes beautiful, like the breath of fairies, strewn in the neck of poetry. • From hearing to uttering or maybe hearing/making heard.

For this purpose and using the film Close-Up , I began a sort of exercise, the description, notes and results of which are accessible in the last folder of the box. The rest are other supplements, including pieces that in a shared constellation would require the framing of the individual audience, his memory and his perspective.

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Study on an geocronological ear, 44 X 27.5 X 11 cm, Iron, Aluminum, Light Box, 2018

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Shirin Mohammad

58 Shirin Mohammad

Artist Biography Shirin Mohammad was born in 1992 in Tehran, Iran. She studied Cinema at Sooreh Art University in Tehran. Currently, she studies Fine Art at Hochschule fĂźr KĂźnste Bremen in Germany. Her practice develops in various mediums such as video and sound to sculpture, multimedia installation and short film. Through her work she scrutinizes the remains of lost, ignored, abandoned, and sometimes re-remembered archival materials which deal with the history of Iran; she draws attention to the way that history can be manipulated by adding a layer of documentary intervention to her overarching fictional conceit.

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Talking Newspaper, sound installation, fiberglass reinforced concrete, metal stand, one broadband speaker, two tweeters, duration: 8 min, loop

60 Shirin Mohammad

Plot Generator Plot Generator is a collection of a video, sound installation, photography and archival materials, displays a giant rock which fell down from the mountain on March 27th, 1978 in one of the north roads of Iran. This rock falling had happened nine months before the 1979 Revolution.

Plot Generator creates a broad range of tasks by prompting scenario that can be developed into any scale for immediate future. Each sentence variables are designed to come together and generates scenario with character, setting, situation, and theme.

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Traveling from Tehran to the North of Iran, color film with sound, duration 01:28 min

62 Shirin Mohammad

The fall of an enormous rock has closed Haraz Road. Under the heavy blow of a piece of rock, the road has subsided. Yesterday, on a quiet mountain morning, few rock pieces of the hillside fell slowly on the vacant road. Abruptly, the mountain was displaced and a huge load was emptied on this calamitous road. Fortunately, the collapse happened when the road was completely deserted. No casualties were reported, and miraculously at that time, no vehicle was on the road.

63 Shirin Mohammad

Detail from printed archival newspaper, 118.9 x 84.1 cm , 3 pages

64 Shirin Mohammad

Haraz Road has caused a series of problems from the very beginning since it passes over calcareous mud lands and the ground surrounding is so fluid due to the seasonal rainfalls. If the road had not previously fallen to these extents; it was merely because of the light traffic and no passages of heavy trucks on it. However now, the soil is loose there, trucks, while passing, shake mountains, therefore, rocks begin to fall.

Some natural forces cause the perpetual destruction of this road like harsh cold winter and early spring weather, permanent underground tremors, soil erosion due to the heavy raining and continuous modification of the riverbed. The danger of rockfall on this road always exists; even though by passing a yeanling! There are always a lot of rocks and sand on the steep slope of this road.

At times, even when the shepherds and yeanlings cross over this road, a piece of stone turns over their feet and this very stone, while falling, brings a large number of rocks.

65 Shirin Mohammad

Detail from printed archival newspaper, 118.9 x 84.1 cm , 3 pages

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67

Bijan Moosavi

68 Bijan Moosavi

Artist Biography Bijan Moosavi is an Iranian sound artist. His practice takes place at the intersection between the ‘Iranian’ and the ‘Contemporary’. Along various trends of ‘Globalization’ within the cultural narrative of the post-revolutionary Iran, and by means of an investigatory-reflective-fictionalizing process, his work oftenmaterializes in diverse forms of aural and visual configurations.

Moosavi’s work is deeply embedded with the ‘Iranian Underground Music’; a grass-roots cultural phenomenon which employed musical means as a subversive strategy against the Iranian state, two decades after the 1979 revolution. As integral forces in devising the underground movement in Iran, reflections on new media, politicised Islam, tendencies of globalization and questions of cultural identity are recurring themes in his work. Moosavi’s attention is currently focused around the political economy of popular music in Iran, in relation to socio-political transformations of the country against the global scene.

Adopting the events of the ‘Iranian Underground Music’ as his principal subject matter, Moosavi is experimenting with a synthesis of the opposing trends of (universal) humanism against (Islamic) nativisim, as a method for speculating on impending temporalities and possible futures to come.

Moosavi holds a ‘BA in Visual Communication’ from Islamic Azad University in Tehran (2007) and an ‘MA in Audio Post Production’ from Leeds Beckett University (2012) in the UK. He has shown his work in UK, Iran, Germany, Hungary, Greece, UAE, Sweden and Turkey including a group show at the Royal College of Art in London as part of the finalists’ exhibition of the Magic of Persia Contemporary Art Prize 2013. He has self-released two music albums and has engaged with performances recurrently since 2008.

69 Bijan Moosavi

The Future Islam Rock Band Postcard, digital print on glossy paper, 15 x 10 cm, 2018

70 Bijan Moosavi

The Future Islam Rock Band In recent years a considerable population of young Iranians have been assembling collectives known as ‘Rock Bands’, emulating contemporary global models of music production [1]. Despite the significant role that this mode of musical practice plays within the international culture industry [2], there has been a lack of attention to the adjustive measures required for this type of music to adapt to Islamic-Iranian values [3]. This shortcoming has led to concerns regarding the well-being of the Islamic society in the field of cultural consumption [4].

Benefiting from the expertise of the religious scholars [5] and various music experts, ‘Future-Islam’ [6] has accordingly arranged to utilize the capacities of this modern global musical device, in order not only to resolve these concerns, but also to avoid the loss of potential musical opportunities in the country [7]. ‘The Future Islam Rock Band’ is a prototype of a musical rock group which by means of Islamic-Iranian principles and guidelines, redresses this musical category with an apparel of excellence and meritoriousness [8]. By avoiding contextual annulment and aesthetic vulgarity [9], ‘The Future Islam Rock Band’ exploits the capacities of such musical means, aspiring to transcend boundaries and borders in order to disseminate of Islamic-Iranian cultural messages and values across the world [10]. ‘The Future Islam Rock Band’ employs a collection of meritorious songs including the ‘National Anthem of the Islamic Republic of Iran’ [11] in the pursuance of conquering the international musical stage, with the Islamic-Iranian righteous rock.

71 Bijan Moosavi

72 The Future Islam Rock Band, digital colour photograph, 2018

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74 Bijan Moosavi The Future Islam Rock Band Frontman (aka DJ Real Iran), digital colour photograph,2018

75 Bijan Moosavi

The Future Islam Rock Band Costume, blazer, shirt, Iranian flag pin-back button, 2018 [1] Laudan Nooshin, ‘The Language of Rock: Iranian Youth, Popular Music and National Identity’, (Media, Culture and Society in Iran: Living with Globalization and the Islamic State, edited by Mehdi Semati, 2007), 69-93 [2] Mike Weis, ‘The Beatles Were First Example of Modern Globalization’, (Illinois Wesleyan University, 2014), https://www.iwu.edu/news/2014/02-beatlesearly-globalization.html [3] Robert Tait, “Iran’s Culturally Inappropriate Rock Hopefuls Struggle to Be Heard”, (The Guardian, 2005), https://www.theguardian.com/world/2005/aug/23/ iran.arts [4] Hosein Khadang, ‘The Discordant Tune of the Persian Cats’, (Mardom Salari Online, 2016), http://www.mardomsalari.ir/report/63145/‫ایرانی‬-‫های‬-‫گربه‬-‫ناکوک‬-‫ساز‬ [5] Ayatollah Ali Khamenei, ‘Music and Ghina: Answers to Fatwa Requests’, (Khamenei.ir), http://farsi.khamenei.ir/treatise-content?id=99 [6] ‘Future-Islam’ is a musical examination of contemporary developments in modern (Islamic Republic of) Iran. It occurs in the face of sensitivities, anxieties and contradictions caused by the clashing forces of: tradition vs. modernity; religionism vs. secularism; nativism vs. globalism; and Islamism vs. humanism. In order to establish an environment responsive to emotions as such, ‘Future-Islam’ locates its argument within discourses of the post-revolutionary subversive movement of ‘Iranian Underground Music’. Excavating various sites of knowledge concerning the Iranian underground phenomenon, ‘Future-Islam’ then sets up a reactive mode of cultural production against these contradictory forces. By doing so, ‘Future-Islam’ consequently activates a speculative space which allows the fictionalization of future outcomes and transmutations of such synthesis, in form of musical arrangements and constructions. For more information visit: http://www.bijanmoosavi.com/future-islam.htm [7] Maryam Sadatgoosheh, ‘This Basement Is Full of Songs’, (Iran Daily Newspaper, No. 6122, 2016), http://www.magiran.com/ppdf/nppdf/2825/ p0282561220071.pdf [8] Author Unknown, ‘First Remarks of the New Culture Minister Regarding the Challenges in Art and Culture’, (Iranian Students News Agency, 2016), https:// www.isna.ir/news/95081309134/‫کشور‬-‫هرن‬-‫و‬-‫فرهنگ‬-‫های‬-‫چالش‬-‫درباره‬-‫ارشاد‬-‫جدید‬-‫وزیر‬-‫اظهارات‬-‫نخستین‬ [9] Various Authors, ‘Unveiled: Art and Censorship in Iran’, (Article 19 Publication, edited by A. Callamard, B. Grillo and S. Redmond, 2006), 41-47 https://www. article19.org/data/files/pdfs/publications/iran-art-censorship.pdf [10] Mina Atashi, ‘Rock Music Is the Best Device to Confront the Cultural Aggression’, (Honar Online, 2017), http://honaronline.ir/-‫ما‬-‫کس‬-‫هیچ‬-5/94791-‫موسیقی‬-‫بخش‬ ‫هرنآنالین‬-‫با‬-‫وگو‬-‫گفت‬-‫در‬-‫پور‬-‫انزابی‬-‫اردوان‬-‫است‬-‫فرهنگی‬-‫تهاجم‬-‫با‬-‫مقابله‬-‫برای‬-‫وسیله‬-‫بهرتین‬-‫راک‬-‫موسیقی‬-‫گیرد‬-‫منی‬-‫جدی‬-‫را‬ [11] National Anthem of the Islamic Republic of Iran https://en.wikipedia.org/wiki/National_Anthem_of_the_Islamic_Republic_of_Iran

Photos: Ideart Photography Special thanks: Małgorzata Drohomirecka, Hosein Eyalati, David Hodge, Borna Izadpanah and The Magic of Persia Foundation

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Ali Razghandi

78 Ali Razghandi

Artist Biography Ali Razghandi (born 1987 in Iran) received his Diploma in Graphic Design at the Imam Sadeq University in Babol in Iran. He then went on to study and complete his BA in Media Design at the Culture and Art University in Mashad in Iran. Since 2007, Razghandi has started to draw and paint and still to this day continues to paint feelings that he cannot express with words.

79 Ali Razghandi

Untitled, Mixed Media on Canvas, 70 x 50cm, 2018

80 Untitled, Mixed Media on Canvas, 60 x 90cm, 2018

81 Ali Razghandi

82 Untitled, Mixed Media on Canvas, 120 x 150cm, 2018

83 Ali Razghandi

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Neda Saeedi

86 Neda Saeedi

Artist Biography Neda Saeedi was born in Tehran, Iran in 1987. She studied Fine arts at the University of the Arts Berlin(UdK Berlin) under advisory of Prof. Hito Steyerl and holds a MFA degree. Sheâ&#x20AC;&#x2122;s now a Berlinbased artist whose work revolves around the body, architecture, urbanism, and historical narratives.

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88 Petrified, water skin bag (found object), cement sculpture, 2017

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This project is a multilayered installation that examines forced Sedentism as a 20th century phenomenon (a result of industrialisation) and its impact on local agriculture. Garden of Eden Moving – Petrified Tribe puts this form of settledness in contrast with liquidity. With reference to the modernisation attempts in the 1970s in Iran, this work delves into an urban project commissioned by the Shah of Iran in south-western Iran, with the goal of bringing the nomads of Bakhtiari under central government authority. This mass construction project included: 1. A sugar cane farm.

2. A sugar refinery (Karoon Agroindustry) 3. The Shooshtar New Town (Shooshtar-e Noe) Broad context of the project: Shooshtar-e Noe In the 1960’s the Shah of Iran began a modernisation reform known as the White Revolution. This modernisation attempt included the industrialisation of the country, building and developing modern factories, cities and introducing cultural concepts closer to western values. As a part of the White Revolution, the government of the Shah in the beginning of the 1970’s built the Dez Dam in the Khuzestan Province and parallel to this they also planted a sugar cane field, both located close to the city of Shooshtar. A sugar refinery was built close to the field and the dam. The central government planned to operate the sugar refinery using workers from nearby rural settlements and nomads of the Bakhtiari tribe. In order to provide housing for the workers of the refinery and their families, the government commissioned the architecture firm D.A.Z. – headed by the architect Kamran Diba – to design, plan and build a new town named Shooshtar-e Noe. Shooshtar-e Noe was meant to accommodate 30,000 people. While the dam, the sugar cane field and the refinery were part of the Shah’s White Revolution, the employment of the Bakhtiari’s was meant as an attempt at ”civilising” this nomadic tribe, who were otherwise in constant movement and independent of governmental institutions.

Neda Saeedi

Garden Of Eden Moving – Petrified Tribe

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91 Neda Saeedi

Petrified, water skin bag (found object), cement sculpture, details, 2017

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93 Neda Saeedi

Pinned Butterfly, concrete model of the Shushtar new town, sugar cane coal, 2018

94 Neda Saeedi

The Bakhtiari’s and the political History of Iran The Bakhtiari’s (an ethnic community who lived as sedentary tribes and nomads) have always played an important role in Iranian culture and political history. The significant impact of Bakhtiari fighters during the Constitutional Revolution of 1906 constitutes a major influence they have had on the contemporary history of Iran. Between 1907 and 1909 the Bakhtiari’s were helping the revolutionaries by practically co-controlling and holding Tehran until the Freedom Fighters arrived and the Constitutional Revolution was completed. With the expansion of Bakhtiari influence within the political landscape of Iran, urban elites (particularly in Tehran) began to worry about a potential Bakhtiari takeover of the government. Prior to the Constitutional Revolution, the Bakhtiari’s had largely remained within their own territorial boundaries, however after the Revolution their influence would continue to play an important role until the early 1920’s politics of Iran. Reza Shah Pahlavi (Ruler of Iran between 1925 to 1941 and father of the second Shah) saw the destruction of Bakhtiari influence as one of his main goals.

The existence of oil on Bakhtiari territory motivated the Pahlavi monarch to undermine the autonomy of the tribe and force its population to adhere to the commands of central government. Reza Shah Pahlavi would eventually execute a few important tribal leaders in an attempt to crush Bakhtiari autonomy and gain control over the tribe. He tried to settle them down in fragmented smaller groups. After Reza Shah’s deposition, the Bakhtiari’s eventually left the villages and went back to their nomadic life.

The construction projects of Karoon Agroindustry, the sugar cane farm and Shooshtar-e Noe, must be understood as the political heritage which Shah Pahlavi received from his father, Reza Shah. They are also symbolic of the fight against the Bakhtiari’s and ultimately an example of the institutional predetermination of ways of living and the deliberate shaping of space and of people, the construction of cities and infrastructure space with the purpose to socially, culturally and politically control people by making them solid and immovable.

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Sugared tribe, life size sugar sculpture

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97 Neda Saeedi

â&#x20AC;&#x153;I am laying down here, motionless, static, displayed for your aesthetic pleasure. I am of no use. I am an object, raw, gray. my body cracks. I crack.

I became an object, synthetic, not organic. I became heavy. But I was light. I was able to handle gravity myself, walking on the many grounds, moving through the many pastures, tackling the many textures on the earths surface: water, air, soil and stone.

This is my story. It tells you about how I was alive, in motion, entangled with the life of humans, a tribe, nomads around the Zagros Mountains of Iran. I will tell you how my life was their life, how my existence depended on their existence. Now I am dead, fixed, entangled nowhere. Because economy, because modernism, is not graspable, not tangible, sometimes even not real. â&#x20AC;&#x153; Excerpt of sound piece, loop, 2018

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Rambod Vala In

collaboration Ramyar Vala

with

100 Rambod Vala

Artist Biography Rambod Vala is an artist, graphic designer and educator working with moving images and sound.

His early education and practice was as a graphic designer in Tehran, where he was a member of the renowned â&#x20AC;&#x153;Studio Tehranâ&#x20AC;?. After moving to Chicago to pursue his Master of Fine Arts at Northwestern University, where he was awarded a two-year fellowship, he has continued to work with video, installation, and various narrative structures which weave realism and fantasy, politics and romance, skepticism and faith. His work has been exhibited in a multitude of exhibitions, among those are Hermitage Museum in St. Petersburg, Museum of Decorative Arts in Paris and Yerba Buena Center for the arts in San Francisco. His typographic posters have been published in various design books, including Type Plus from Unit Editions Publication. Vala has won the prize for typographic excellence at the 2nd Chicago international poster biennial in 2010, the jury award at the 5th China international poster biennial in 2011. Recently, he was awarded the runner-up prize from The Claire Rosen &amp; Samuel Edes Foundation and the Luminarts Fellowship from Luminarts Cultural Foundation.

101 Rambod Vala

Glazed Droppings No.02, Fired clay and glazed, 30.48 x 30.48 x 243.84 cm Installation view, Biggercode Gallery, New York, 2018

102 Rambod Vala

Glazed Droppings No.01 In our research on motifs and artifacts my brother, Ramyar and I came across a number of architectural premises, namely Pigeon Towers or Dovecotes. Although prevalent in Europe, the origin of these architectural structures can be traced back in Iran, Egypt, and in India known as the Kabutra/ Chabutra. Pigeon towers provided shelter for pigeons and were also an economic asset with an embedded designed mechanism for collecting droppings, a valuable fertilizer. There are medieval administrative accounts that mention the towers, their maintenance, and reconstruction, hence addressing their significance in the farming community, society and the state; Scholars and explorers such as Ibn Battuta (14 th century) and Engelbert Kaempfer (17 th century) have notes on the magnificent view of pigeon towers on the hills or close to the farming lands and Persian gardens.

Additionally, in designing the blueprint of the towers, careful consideration was given to the needs of pigeons, such as air circulation, collection of refuse and ease of their commute. And in terms of farming, the unforgettable recollective taste and smell of crops was devoted to the existence of dovecotes.

However functional these buildings might have been, today those are nothing more than portals to the past. And of course, the past has already passed. Chemical manures, due to economical objectives have replaced manure collected from the pigeons. The highly costs of maintaining and protecting the pigeon towers and the inevitable mechanization of agriculture turned the functional pigeon towers into aesthetic non practical objects, what we currently recognize as art, objects of contemplation.

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104 Rambod Vala

Our attempt is to investigate conceptually and materially the relation between past/history, present/ contemporaneity, and tradition through this particular project. Staying true to our approach, we built smaller renditions of the pigeon towers as pigeon columns- either as a whole or in fragments - implementing pottery skills in experimenting with clay, which is the traditional material for construction of the towers. Each column is made out of ceramic bowl units stacked atop one another supported by a base.

Since our practice touches the edge of design and art, we explore the time when such differentiation emerged, the time that keeping the designed objects in museums and therefore defunctionalizing or aestheticizing them protected the everlasting existence of such entities. However, the borrowed incorporated elements from traditional art/design and crafts may be strung together to tell a (hi) story and to have a function as well. With the production of an object such as a pigeon column, our borrowing from traditional crafts comes full circle. The piece and the layers of stories embedded in it, are not meant to be kept in the climate-controlled and protected spaces of the museum but to be exposed to the tear and wear of everyday usage.

Pigeon Tower Studies, Clay, Dimension Variable, 2018

105 Pigeon Tower Studies, 2018, Clay, Dimension Variable

106 Pigeon Tower Studies, Clay, Dimension Variable, 2018

107 Rambod Vala

Pigeon Tower Studies, Clay, Dimension Variable Installation view, Produce Model Gallery, Chicago, 2018

108 Rambod Vala Wheel throwing process

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Ali Meer Azimi Born in 1984 ( Iran) Live and work in Tehran Education 2003-2005 Computer engineering, Mohajer university of technics, Esfahan, Iran 2008-2011 Graphic Design, Azad University of Tonekabon Branch, Iran (no degree) 2016-2017 Ashkal Alwan residency program, Beirut, Lebanon Solo Show 2012 “Heterotopia”, Matn Gallery, Isfahan, Iran 2015 “Spectacle, Appearance, Gesture”, O Gallery, Tehran, Iran Selected Group Show 2007 “Image of the Year”, Tehran, Iran (Mentioned) 2009 Chamount Poster Festival, Chamount, France 2009 Architecture realization Workshop, Gorgan, Iran (Mentioned) 2010 “Stoned Mirrors and Contemporary Narrative”, Matn Gallery, Isfahan, Iran 2013 “Infinity”, Dide Gallery, Zanjan, Iran 2014 “Prologue”, Aknoon Gallery, Isfahan, Iran 2015 “Iran: iranomutomorphosis.net” Imago Mundi, La Fondazione Cini, Venice, Italy 2015 “AZAD collaborative design project”, a selection of Azad Art Gallery Tehran, Tehran, Beirut, Rome, Paris, Berlin 2016 “Self image”, O Gallery, Tehran, Iran 2016 “Precious Fragments”, CapKuwait, Kuwait, Kuwait 2017 “ACCENTISM”, Taxispalaise Kunsthalle Tirol, Innsbruck, Austira 2018 “Space edit, Truble with language”, Beirut Art Center, Beirut, Lebanon Publishing 2011 “Arabesque 2” Graphic Design from the Arab World and Persia,Published by: Gestalten, Germany 2012 “Golestane Magazine” In Conversation with Mahan Moalemi, Iran 2014 ”Iran: iranomutomorphosis.net”, Published by: Imago Mundi, Italy 2015 “Iranian Art Calendar”, Published by: Studio Markazi, Iran 2015 “Headless Image” Art writings of myself, Published by O gallery, Iran Selected Writing 2014 Statement for Backroom collective workshop Isfahan-Nyc 2014 “Project of my ‘self’”, in Collaboration with Golnar Abbasi, Critical Studies, The Hague, Netherlands 2015 “Headless Image: Aesthetic politics of Unlinked Images” , Booklet (in Farsi), Tehran, Iran 2017 “ Letter to ‫ ص‬,Episode No.01, Draft 1”, Ashkal Alwan, Beirut, Lebanon 2017 “What Work Works”, Collective manifesto writing, Ashkal Alwan Open Studios, Beirut, Lebanon 2017 “Letter to ‫ ص‬,Episode No.01, Chapter 07, Second part, Draft 2”, Taxispalaise, Innsbruck, Austria Ali Razghandi Born: 1987 Education: BA, Media Design, Culture and Art University, Mashad, YEAR Solo Exhibitions: Art Gallery, Tehran, 2017 | Farzad Gallery of Art, Mashad, 2016 | Aban Gallery of Art, Mashad, 2013 | House of Culture and Art, Mashad, 2013 | Group Exhibitions: Centre of Art, Mashad, 2017 | Coincidence, Digari Gallery of Art, Mashad, 2016 | Sabzevar’s House of Students, Sabzevar, 2010

Bijan Moosavi Born in 1983 (Tehran) Lives and works in London EDUCATION + TRAINING (2018-2019) Praxis-Forum, The Showroom, London, UK (2011-2012) MA Audio Post Production, Leeds Beckett University, Leeds, UK (2002-2007) BA Visual Communication, Islamic Azad University, Tehran, Iran RESIDENCY + AWARD (2018) Magic Of Persia Contemporary Art Prize Finalist (2017) Migration International Artist Residency, The Art House, Wakefield, UK (2013) Magic Of Persia Contemporary Art Prize Finalist (2011) V&A Museum Sound Art Residency Shortlist (2009) Tehran 1mile² Artist Residency, IOAA, Tehran, Iran EXHIBITION (2018) Magic Of Persia Contemporary Art Prize Finalists’ Exhibition, Bonhams Exhibition Space, London, UK (2018) Pejman Foundation The Room, 2018 Fajr International Film Festival, Tehran, Iran (2018) Magic Of Persia Contemporary Art Prize Shortlists’ Exhibition, Dastan:Outside V-Gallery, Tehran,Iran (2017) Migration: International Artist Residency, The Art House, Wakefield, UK (2016) Live In The Void, OTO Project Space, London, UK (2015) Arab* Underground, The Fusion Festival, Lärz, Germany (2015) Transmètic : Ordonnance, The Lewisham Arthouse, London, UK (2015) Point Of Meeting: EAST, The Latarka Gallery, Budapest, Hungary (2014) DEL+REW, The World Wide Web, Online (2013) Magic Of Persia Contemporary Art Prize Finalists’ Exhibition, The Royal College Of Art, London, UK (2013) VANGUARD, The Jewish Museum Of Thessaloniki, Thessaloniki, Greece (2013) Magic Of Persia Contemporary Art Prize Shortlists’ Exhibition, The Emirates Financial Towers, Dubai,UAE (2013) The Strange Impression Of Seeing Things For The First Time, The Mile End Art Pavilion, London, UK (2012) Echochroma IX, Leeds Metropolitan University, Leeds, UK (2012) Iran Through Airwaves, Enjoy Art Space, Leeds, UK (2011) Unity, Leeds Metropolitan University, Leeds, UK (2010) Human Emotion Project, Mohsen Art Gallery, Tehran, Iran (2010) Tehran: 1mile², Azad Art Gallery, Tehran, Iran (2010) Limited Access II, Azad Art Gallery, Tehran, Iran (2009) Human Emotion Project, The Formverk Gallery, Eskilstuna, Sweden (2008) Finglish Karaoke, New Yorck Im Bethanien, Berlin, Germany (2008) International Roaming Biennial Of Tehran, New Yorck Im Bethanien, Berlin, Germany (2008) International Roaming Biennial Of Tehran, Hafriyat Karakoy, Istanbul, Turkey PERFORMANCE (2015) Semi-colon, Chelsea College Of Arts, London, UK (2015) MOPCAP 2015, Edge Of Arabia Projects, London, UK (2015) Music For Freedom, Expo Milano 2015, Milan, Italy (2014) EYEMUSIC: Seeing Sound, The Handel House Museum, London, UK (2012) Electronic Solo Concert, SOAS University Of London, London, UK (2012) Live Electronics Performance, 1 in 12 Club, Bradford, UK (2011) Acoustic Group Concert, The Free Word Centre, London, UK (2010) Acoustic Group Concert, Prague Café, Tehran, Iran (2010) An Unforeseen Meeting In Tehran, Sazmanab Project, Tehran, Iran (2010) Acoustic Group Concert, Vino Café, Tehran, Iran (2010) Acoustic Group Concert, Circus Charivari, Berlin, Germany

DISCOGRAPHY + RADIO (2015) Leave Me Your Ears (Rock) – Series 2 (Radio Free Europe / Radio Liberty) (2014) Leave Me Your Ears (Electronic) – Series 1 (Radio Free Europe / Radio Liberty) (2013) Turn Around The Receiver (CD/Digital) (2007) In My Headphones (CD/Digital) TALK + PRESENTATION (2018) Praxis-Forum, The Showroom, London, UK (2018) The Future State #01, Goethe-Institut London, London, UK (2017) Migration Residency, The Art House, Wakefield, UK (2010) An Unforeseen Meeting in Tehran, Sazmanab Project, Tehran, Iran BIBLIOGRAPHY + MEDIA (2018) ‘Magic Of Persia Contemporary Art Prize 2017 Shortlist’ (Catalogue) (2017) ‘Urban Culture in Tehran’ (Book), Edited by H. Moeini, M. Arefian, B. Kashani and G. Abbasi (2017) The State Of The Arts (Online Magazine), ‘Migration: International Residency Exhibition @ The Art House’ by Amelia Crouch, Review (2017) ‘Paisaje Sonoro E Identidad Cultural‘ (Doctoral Thesis), by Shahryar Zarrin Panjeh (2017) Corridor8 (Online Magazine), ‘Migration’ by Lisa-Marie Dickinson, Review (2016) Honar-e Moosighi (Magazine), ‘Turn Around The Receiver’ by Sina Cheraghi, Review (2016) Siamak Pourzand Foundation, ‘Underground Music In Contemporary Iran’ with Ehsan Moghaddasi, Interview (2015) The Current Express (Online Magazine), ‘The Express Interviews’ with Mika Savela, Interview (2013) Marjan Television Network (Satellite TV), ‘Magic Of Persia Contemporary Art Prize 2013 Finalists Exhibition’, Interview (2013) ‘Magic Of Persia Contemporary Art Prize 2013 Finalists’ (Catalogue) (2013) Iranefarda Television Network (Satellite TV), ‘Taraneh Baran’, Interview (2013) ‘Magic Of Persia Contemporary Art Prize 2013 Shortlists’ (Catalogue) (2012) Ibraaz (Online Magazine), ‘The Sound And The Fury: An Image of a Revolution’ (2012) ‘Transkulturalität und Musikvermittlung’ (Book), Edited by S. BinasPreisendörfer and M. Unseld (2012) ‘Resistance in Contemporary Middle Eastern Cultures’ (Book), Edited by Karima Laachir and Saeed Talajooy (2012) Voice Of America Persian News Network (Satellite TV), ‘Chap-o-Rāst’ with Saman Arbabi, Interview (2012) ‘Reverberations of Dissent’ (Book), By Bronwen Robertson (2011) Pirate Radio Arazel (Radio Podcast), ‘Basement’, Interview (2011) Palapal (Online Magazine), ‘In His Headphones …’ with Armin Mehregan, Interview (2011) Middle East In London (Magazine), ‘Making Noise Quietly’ by Bronwen Robertson, Review (2011) Marjan Television Network (Satellite TV), ‘Sakkou’, Interview

Gelare Khoshgozaran EDUCATION 2011 2009

MFA, University of Southern California, Los Angeles, CA BA Photography, University of Arts, Tehran, Iran

SOLO EXHIBITION & PERFORMANCE 2018 DEAVANAH/‫دیـــــــــــــــوانـــه‬, performance at Articule (co-sponsored by Senselab at Concordia University) as part of For Many Returns, a series organized by Nasrin Himada 2017 DEAVANAH/‫دیـــــــــــــــوانـــه‬, performance at Los Angeles Contemporary Exhibitions, part of I can call this progress to halt, curated by Suzy Halajian 2016 Rocket Rain: ‫موشک باران‬, solo exhibition at Human Resources Gallery, Los Angeles UNdocumentary, performance at The Los Angeles Municipal Art Gallery, part of S/ Election, curated by Erin Christovale UNdocumentary, performance at Queens Museum, part of Welcome to What We Took From Is the State, curated by Sadia Shirazi 2015 I Went to the Doctor and Guess What He Told Me, collaborative performance with Nooshin at Local Project, Long Island City, NY 2014 The Drone Operator, performance at Discostan in partnership with the LA Islam Art Initiative, Footsie’s Bar, Los Angeles 2012 The Flirtatious Pirouette of the Artist Around His Subject [sic], Neely Macomber Travel Award Exhibition, Roski Gallery at USC, Los Angeles, CA 2011 rial & tERROR, MFA Thesis Exhibition, Roski Gallery at USC, Los Angeles, CA 2008 Nostalgia, Gelare Khoshgozaran and Mehregan Kazemi, Laleh Art Gallery, Tehran, Iran SELECT GROUP EXHIBITION/SCREENING 2018 Hammer Museum Made in L.A. Biennial, curated by Anne Ellegood and Erin Christovale, Los Angeles 2017 Hot Flat, curated by Jeanne Dreskin and Santi Vernetti, Angels Gate Cultural Center, San Pedro, CA Reconstitution, curated by Catherine Taft and Hamza Walker, LAXART, Los Angeles, CA Aliens with Extraordinary Abilities, organized by Camella Kim, Fellows of Contemporary Arts (FOCA) Ours Is A City of Writers, curated by Suzanne Hudson, Simon Leung, and James Nisbet, Los Angeles Municipal Gallery 2016 anticamera, organized by Kyle Bellucci Johanson, The Bindery Projects, St Paul, MN S/Election, curated by Erin Christovale, Los Angeles Municipal Art Gallery Sheherzade’s Gift: Subversive Narratives, Center for Book Arts, New York Document V, curated by James McAnally, The Luminary Art Center, St Louis, MO Is It in the Middle?, MiM Gallery, Los Angeles, CA 2015 Nietzsche Was A Man, Pori Art Museum, Finland Black Gold / White Noise , PØST, Los Angeles, CA 2014 Shangri La: Imagined Cities, curated by Rijin Sahakian, The Los Angeles Municipal Art Gallery

Theory of Survival: Fabrications, organized by Taraneh Hemami, Southern Exposure, San Francisco, CA

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(2009) DJ IDM-Selektor, The Dogzstar Club, Istanbul, Turkey (2009) Audio-visual Performance, The Gusar Club, Belgrade, Serbia (2009) Acoustic Solo Concert, Zica Club, Belgrade, Serbia (2009) Acoustic Solo Concert, Azad Art Gallery, Tehran, Iran (2008) Live Electronics, Galerie Wallywoods, Berlin, Germany (2008) Acoustic Solo Concert, New Yorck Im Bethanien, Berlin, Germany

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A Meerkat’s Whistle, 3 Days Awake, Los Angeles, CA

Artists’ Books and Cookies III, Ooga Booga and ForYourArt, Los Angeles 2013 A Bomb, With Ribbon Around It, curated by Raul Zamudio, Queens Museum of Art, NY Encyclonospace Iranica, curated by Mohammad Salemy, Access Gallery, Vancouver, BC Don’t Eat the Yellow Snow, curated by Alysse Stepanian, Coagula Curatorial, Los Angeles, CA Muslihat Video Festival, Galeri Nasional Indonesia, Jakarta, Indonesia Nietzsche Was A Man, curated by Alysse Stepanian, Museo Ex-Teresa Arte Actual, Mexico 2012 The Invisible Present, Curated by AmirAli Ghasemi, Stephen Bulger Gallery, Toronto, ON 2011 STATUS! STATUS! STATUS!, organized by All the Guns and White Flags, Interstate Projects, Brooklyn, NY Iran via Video Current, curated by Sandra Skurvida and Amirali Ghasemi, Thomas Erben Gallery, New York, NY Bloodlines, Craftswoman House, Pasadena, CA ‫ آن‬On UN TV, organized by Katayoun Vaziri, Vaudeville Park Gallery, Brooklyn, NY TVDinner, Sazmanab Project Tehran and OtherIS, Queens Museum of Art, Queens, NY Failure, screening and publication, The Cube at List Visual Arts Center at MIT, Cambridge, MA Close to My Heart, curated by Alysse Stepanian, Arad Museum Complex, Arad, Romania 2010 One Hour Photo, American University Museum at the Katzen Arts Center, Washington, DC 2009 Appropriation Allowed, curated by Arash Fayez, Aaran Gallery, Tehran, Iran

Artists’ Books and Cookies III, Ooga Booga and ForYourArt, Los Angeles 2013 A Bomb, With Ribbon Around It, curated by Raul Zamudio, Queens Museum of Art, NY Encyclonospace Iranica, curated by Mohammad Salemy, Access Gallery, Vancouver, BC Don’t Eat the Yellow Snow, curated by Alysse Stepanian, Coagula Curatorial, Los Angeles, CA Muslihat Video Festival, Galeri Nasional Indonesia, Jakarta, Indonesia Nietzsche Was A Man, curated by Alysse Stepanian, Museo Ex-Teresa Arte Actual, Mexico 2012 The Invisible Present, Curated by AmirAli Ghasemi, Stephen Bulger Gallery, Toronto, ON 2011 STATUS! STATUS! STATUS!, organized by All the Guns and White Flags, Interstate Projects, Brooklyn, NY Iran via Video Current, curated by Sandra Skurvida and Amirali Ghasemi, Thomas Erben Gallery, New York, NY Bloodlines, Craftswoman House, Pasadena, CA ‫ آن‬On UN TV, organized by Katayoun Vaziri, Vaudeville Park Gallery, Brooklyn, NY TVDinner, Sazmanab Project Tehran and OtherIS, Queens Museum of Art, Queens, NY Failure, screening and publication, The Cube at List Visual Arts Center at MIT, Cambridge, MA Close to My Heart, curated by Alysse Stepanian, Arad Museum Complex, Arad, Romania 2010 One Hour Photo, American University Museum at the Katzen Arts Center, Washington, DC 2009 Appropriation Allowed, curated by Arash Fayez, Aaran Gallery, Tehran, Iran

AWARDS/RESIDENCIES

2018 Transnational Intimacy: Gelare Khoshgozaran and Candice Lin, Hammer Museum, Los Angeles, CA Terrorientalist Landscapes, artist talk at Gallery 44, Toronto, ON Feminism and the State: Art, Politics, and Resistance, The Feminist Art Project Day of Panels at the College Art Association Annual Conference 2018, MOCA, Los Angeles, CA Panelist: Digital Publishing, Dissent, and Socially-engaged Art History, College Art Association Annual Conference 2018 2017 Artist Talk: Museum of Contemporary Art Tucson Panelist: Strategic Criticism: Towards An Arts Writers Coalition, Common Field Convening, Los Angeles Moderator: Artwriting: Sustainability, Taste Making And Critical Art Discourses: Exceeding The Soundbite, Common Field Convening, Los Angeles Panelist (contemptorary with Eunsong Kim): Artists’ Publications: Alternative to What? The Printed Matter Los Angeles Art Book Fair

Visiting Artist Lecture (contemptorary with Eunsong Kim): UNSETTLING THE CANON: Decentering Dominant Paradigms / Decolonizing Art Education, School of Art Institute of Chicago 2016 Artist Talk: Krannert Art Museum, University of Illinois at Urbana-Champaign Panelist: “Publications” Common Field Convening 2017, Miami, FL

Visiting Artist Lecture: CalArts Center for Integrated Media, Prof. Tom Leeser: Conversations on Technology, Media and Practice Artist Talk: at land’s edge: Dialogs at The Los Angeles Municipal Gallery in

2018 Foundation for Contemporary Arts Emergency Artist Grant Finalist, Magic of Persia Contemporary Art Prize Capp Street Artist in Residence (contemptorary with Eunsong Kim), CCA Wattis Institute 2017 Art Matters Foundation Fellowship Artist in Residence, Museum of Contemporary Arts, Tucson Artist in Residence, Echo Park Film Center, Los Angeles Finalist, Artadia Award Los Angeles 2016 Artist in Residence (with Antena and Jen Hofer), Krannert Art Museum, University of Illinois at Urbana-Champaign Artist in Residence at Santa Fe Art Institute, Emigration+Immigration Residency Rema Hort Mann Emerging Artist Grant, Los Angeles 2015 The Andy Warhol Foundation | Creative Capital Arts Writers Grant Award for blog: contemptorary Visual Research Fellow, at land’s edge, Fall 2015 California Community Foundation Fellowship for Visual Arts, Emerging Artist Fellowship 2014 Rema Hort Mann Yo Yo Yo Artist Grant 2012 Meta Young Art Critic Award, artgenève 2011 USC Neely Macomber Travel Award Francisco, CA A Meerkat’s Whistle, 3 Days Awake, Los Angeles, CA

ARTIST TALK, PANEL PRESENTATION, READING

SELECT PUBLICATION 2018 Crude Intimacies, limited edition artist book published by HOSTILE BOOKS “Terrorientalist Landscapes,” X-TRA journal online column

mm/dd/yyyy published in Datableed issue #9.

2017 “Archiving for New Worlds”, (co-written with Eunsong Kim), Art Los Angeles Reader issue #4 in partnership with Terremoto Magazine, October 2017 “To Know the Beast Intimately”, essay on Morehshin Allahyari’s “She Who Sees the Unknown: Y’ajooj and Ma’jooj”, commissioned by The Photographers Gallery, London “Naft: an Unctuous Relationship” Catalog Contribution: Peter Freund, IRAN | USA, Saint Mary’s College Museum of Art “UNdocumentary” Catalog Contribution: Ours Is A City of Writers, The Los Angeles Municipal Gallery, edited by Suzanne Hudson, Simon Leung, and James Nisbet “The Scar of Winter’s Cold Slap” Catalog Contribution: I can call this progress to halt, Los Angeles Contemporary Exhibitions, edited by Suzy Halajian Contribution: ISSUES #3 FAILURE, edited by Nicole Killian and Sarah Faith Gottesdiener, The Printed Matter Los Angeles Art Book Fair Contribution: Box of Books Vol. X, organized by Darin Klein & Bullhorn Press, The Printed Matter Los Angeles Art Book Fair

Matter Los Angeles Art Book Fair 2016 To Make a Public: Temporary Art Review 2011-2016, a selected anthology of the first five years of online publication Temporary Art Review, ed.

Sarrita Hunn and James McAnally “Inviolable Airless Spaces,” invitations of sorts, organized by Suzy Halajian/ Anthony Carfello/ Shoghig Halajian, Apr 2016

“The Body of the Email”, Brooklyn Rail, Feb 2016 2015 “Epitaph for Family, a conversation with Johanna Breiding”, Temporary Art Review, Oct 2015 ATTN Journal, issue 1: July 31, 2015, published by Further Other Book Works “Belaboring the Fringe: in lieu of an Artist Statement”, Temporary Art Review, June 2015 “AIRGRAMS”, TRIPWIRE Journal #9: Transnational/Translational 2014 “TRANSPOSITIONS”, Shangri La: Imagined Cities exhibition catalog, Co-edited by Rijin Sahakian and Mostafa Heddaya, commissioned by the LA Islam Arts Initiative

“The House of Melancholy and Strength”, Jadaliyya, July 2014 When the Kid Was A Kid: A Conversation with Anahita Ghazvinizadeh, Wild Gender, April 2014 “Iran Modern? Sure, What About It?” A Conversation with Mohammad Salemy, Ajam Media Collective “Under Contemporary Art’s Vitrine”, The Enemy, issue 1.

2012 “Nostalgia for a Past I have Never Had” (translated to German, Korean and Persian), Parkett vol.91 “Regarding Our Pain and Others’”, Wild Gender, July 2012 SELECT TRANSLATION 2015 Contributing Translator: Art in Theory 1900-2000 (Eng-Farsi translation, Tehran, publication on hold) 2014 Contributing Translator: Fictionville, Rokni Haerizadeh’s Monograph, Negar Azimi, Koenig Books, London 2012 Translation: Critical Theory: Very Short Introduction, Bronner, Stephen Eric. Oxford University Press. 2011 (Persian translation, publication on hold) 2011 Contributing Translator: Alighiero e Boetti, Godfrey, Mark. Yale University Press 2009 Translator: Between the Eyes: Essays on Photography and Politics, Levi Strauss, David.

Aperture. 2005 (Persian translation, publication on hold) 2007 Contributing Translator: Crisis of the Real, Writings on Photography, Grundberg, Andy. Aperture. 1995 (Persian translation, publication on hold) SELECT PRESS & CITATION 2018 “‘Made in L.A. 2018’: Why the Hammer biennial is the right show for disturbing times” Christopher Knight, Los Angeles Times (June 05, 2018) “’Made in L.A.’ the Hammer Museum Biennial” Richard Chang , Blouin Artinfo (June 14, 2018) “Artists Explore Topics From Climate Change to Political Climate in ‘Made in L.A.’” ArtFixDaily (June 02, 2018) “The local biennial for local people: Made in L.A. 2018” Liza Premiyak, Hannah Mcgivern, Laurie Rojas, Victoria Stapley-brown, The Art Newspaper ( June, 05 2018) “At “Made in L.A.,” 33 of the City’s Artists Aim to Depict the State of Our World” Tess Thackar, Artsy

115

Artist Talk: at land’s edge: Dialogs at The Los Angeles Municipal Gallery in conjunction with SKIN exhibition Keynote Speaker: Spatializing Sovereignty Symposium, Mills College 2015 Reading at Tripwire Launch and Party, Cielo Studios, Los Angeles Reading at the Poetic Research Bureau, The Public School, Los Angeles Visiting Artist Lecture, University of Southern California, Division of Photography (Prof. Shannon Ebner) Reading at ¡YAhora: Una aventura del leer y escuchar! / A Reading and Listening Adventure!

Antena Los Angeles and &now conference Artist Talk: UC San Diego Department of Visual Arts 8th Annual PhD Art History Symposium, Hysterical Bodies: Disabling Normative Behavior in Contemporary Art, March 6-7, 2015 2014 Artist Talk at analog dissident, organized by Jimena Sarno

“Dialogs of Diversity” Workshop, California State University Stanislaus, CA

Respondent: Incredible Machines Conference organized by Mohammad Salemy and Access Gallery, Goldcorp Center for the Arts, Vancouver, BC 2013 Artist Talk: Process/Practice/Portfolio 2.0: A Seminar for South East Asian Visual Artists and Academics, NYU, New York, NY Panelist: Sex Tape: A Document(ation), Queer, Feminist, and Trans Studies and the Undisciplining of Science, UC Davis Host: Screening of Still Life (Tabiat Bijan) and a special conversation with writer, actor, director, producer and comedian, Parviz Sayyad. organized by Persian Academic & Cultural Student Association, University of Southern California 2012 Presenter: New Constellations: Contemporary Iranian Video Art (presented by Amirali Ghasemi and Sanaz Mazinani) IAAB Conference on Iranian Diaspora, UCLA Presenter: Look at These Fucking Artists! the Fourth Annual Los Angeles Anarchist Bookfair Artist Talk: Self-Exile, Self-Censorship, 47th Comparative Literature Conference, California State University Long Beach, CA

116

2017 Us & Them, Now & Then: Reconstituting Group Material, Travis Diehl, Contemporary Art Review LA, (Sep 20) 2016 An Iranian Artist Living in L.A. Reflects on the Effects of War in Unlikely Ways, Eva Recinos, LA Weekly (Dec 15)

5 Art Shows to See in L.A. This Week, Catherine Wagley, LA Weekly (Dec 14) Two Academic Writers Learn to Unlearn and Build on Their Own, interview by Alex Teplitzky, Creative Capital Blog 2015 POSTscript: End of an Era for Downtown Space, Annie Buckley, KCET 2015 Belaboring the Fringe: in lieu of an Artist Statement, mentioned on the 10 Must-Read Art Essays from June 2015, Ben Davis, Artnet News 2014 “Odes to incongruity: Iranian Contemporary Art in Diaspora”, Golnar Yarmohammad Touski, Master’s Thesis at the College of Fine Arts of Ohio University

Performance Now (John Tain and Carol Cheh) interview on KCHUNG Radio

Place of Disco: The Republic of Discostan, Gary Dauphin, KCET Artbound

An Iranian-American Artist Revisits Images from the 1979 Revolution, An Xiao, Hyperallergic,

California Kids: Frida and Diego Provide the Springboard for a Historical Exhibit, SF Weekly.

Jonathan Curiel Accelerating Beyond “Iran”? An Interview with Mohammad Salemy On Telecomputation, Digital Production and Diaspora, Naveed Mansoori, Ajam Media Collective 2013 A Bomb, with Ribbon Around It, Katherine Toukhy, Jadaliyya

Encyclonospace Iranica: Say Goodbye to the White Cube, The Vancouver Sun 2012 Woes of Winter, Iran via Video Current review, Media Farzin, Bidoun #26 Neda Saeedi EXHIBITIONS AND SCREENINGS (SELECTION) 2018 (Upcoming) Luleå Biennial, Luleå, Sweden 2018 Whose land have I lit on now? , SAVVY Contemporary, Berlin, Germany Meisterschüllerpreis des Präsident der UdK, University of the Arts, Berlin, Germany 2017 Floating Points, Raum für drastische Maßnahme, Berlin, Germany Thesis Exhibition, University of the Arts Berlin, Berlin, Germany 2016 A Heritage Transposed, Box Freiraum, Berlin, Germany New-Self-Portrait-Paradox, Ludlow38, New York, USA Attitudes, Bonner Bundeskunsthalle, Bonn, Germany 2015 Attitudes, Haus am Lützowplatz, Berlin Germany On Projection, Kühlhaus, Berlin, Germany Die Zukunft ist jetzt, 20th Internationales Bremer Symposium zum Film, Bremen, Germany 2014 Die nächste Generation V, Folkwang Museum, Essen, Germany Kombi II, Künstlerhaus Bethanien, Berlin, Germany

2013 Asias Info-Bomb, South Asian Visual Art Center (SAVAC), Toronto, Canada Studio for Artistic Research, Düsseldorf, Germany 2012 Mindpirates Projektraum, Berlin, Germany 2011 Sharjah Biennale, Sharjah, United Arab Emirates Rambod Vala EDUCATIONAL BACKGROUND Master of Fine Arts | Art Theory and Practice | Northwestern University | Chicago | USA | 2015 Bachelor of Fine Arts | Visual Communication | Enghelab College of Art and Architecture | Tehran | Iran | 2011 Associate’s Degree | Computer Graphics | Tehran Information Technology Institute | Tehran | Iran | 2008 EXHIBITIONS/PRESENTATIONS We only live twice | 18 th New Horizon International Film Festival | Wroclaw | Poland | 2018 Typomania Festival | International Typographic Festival | Moscow | Russia | 2018 Brown People Are the Wrens in the Parking Lot | Group Exhibition | Initiated by William Pope.L | Logan Center Gallery | Chicago | 2017 Bread and Salt | Video Screening | The 8 th Floor | Rubin Foundation | New York | 2017 Front &amp; Center | Group Exhibition | Hyde Park Art Center | Chicago | 2017 Challenges of Imagination | Lecture-Performance | Yerba Buena Center for the Arts | San Francisco | 2017 Dangerous Professors | Group Exhibition | Triumph Gallery | Chicago | 2017 Reproducibles | Espacio El Dorado | Bogotá | Colombia | 2017 AZAD | Azad Art Gallery Collaborative Design Project | Graphic Design Festival Paris | Musée Des Arts Décoratifs | Paris | France | 2017 Lucid Figurations: Movie Poster and Film Art Symposium | Block Museum | Evanston | USA | 2016 AZAD | Azad Art Gallery Collaborative Design Project | Hinterland Galerie | Vienna | Austria | 2016 Wake-Up Stories | CLUB SOLO | BREDA | NETHERLANDS | 2016 Lucchiche (shimmering): A Video Art Symposium | Ponte di Ferro | Carrara | Italy | 2016 Sign from Iran | Museum for Islamic Art | Jerusalem | 2016 Visual Arts Exhibition | Luminarts Cultural Foundation | Chicago | 2016 Authoritative Design | Azad Art Gallery Collaborative Design Project | Sheikh Zayed Gallery | Beirut | Lebanon | 2016 Limited Access 6 | Festival of moving images, sound and performance | Tehran | Iran | 2016 Age of Consent | Block Museum | Evanston | USA | 2015 Post Past | Invitational Poster Exhibition | Hermitage Museum | St. Petersburg | Russia | 2015 Chiran | An Invitational Poster Exhibition | Gorgan, Iran and Shanxi University, China | 2015 Talk and Screening of Shahed | Persian Discussion Nights | Northwestern University | 2015 12th Festival of &quot;Image of the Year&quot; | Invitational Poster Exhibition | Tehran | Iran | 2015 To Forget | Screening of &quot;Dey&quot; Night | Temple University | Rome | Italy | 2015

X/I Ten Words and One Shot | Eltville, Germany | 2015 Type Plus | Unit Editions | London | 2014 Trunk Volume II: Blood | Trunk Books | Australia | 2012 Arabesque 2 - Graphic Design from the Arab World and Persia | Die Gestalten | 2011 Talk Magazine issue 17 | Iranian e-magazine of visual arts | 2011

Surveilling the Naked City | Video Art from Tehran | Oslo | Norway | 2013 The 6th China International Poster Biennial | Hangzhou | China | 2013 2nd MUIP Biennial | Marmara University International Poster Biennial | Istanbul | Turkey | 2012 Video-Therapy, Session one: Recovery | Video Screening | Stueben Gallery, Pratt Institute | New York | USA | 2012 Right to Left | Graphic Design from the Arab World and Iran | Berlin | Germany | 2012 TehraNYC | Group Exhibition | New York | USA | 2012 The 5th China International Poster Biennial | Hangzhou | China | 2011 The 5th Taiwan International Poster Design Award | Taiwan | 2011 Pattern | A Group Poster Exhibition Titled| Yazd | Iran | 2011 2nd Chicago International Poster Biennial | USA | 2010 The 3rd Festival of Damoonfar(Faber-Castell) Visual Arts | Tehran | Iran | 2010 Golden Bee 9, Moscow International Biennale of Graphic Design | Russia | 2010 Divarkoob Group Poster Exhibition | Isfahan, Shirza, Mashad, Tehran | Iran | 2010 21st Chaumont International Poster Festival Competition | France | 2010 Group exhibition titled “Tarahane Azad” | Azad Art Gallery | Tehran | Iran | 2010 “Generazione Verde” Group Poster Exhibition (Graphic Designers Born After the 1979 Revolution in Iran) | Cartacanta Festival Expo | Civitanova Marche | Italy | 2009 The 3rd International Graphic Biennial of the Islamic World | Tehran | Iran | 2009 The 7th Trnava International Poster Triennial | Slovakia | 2009 The 3rd World Biennial Exhibition of Student Posters | Novi Sad | Serbia | 2008 Good 50X70 Poster Exhibition (STDs Category) | Milan | Italy | 2008 The 2nd Int’l Annual Exhibition of Dictionary Illustrations | Tehran | Iran | 2007 AWARDS/FELLOWSHIPS Center Program | HydePark Art Center | Chicago 2017 Luminarts Fellowship | Luminarts Cultural Foundation | Chicago | 2016 Runner-up Award | The Claire Rosen and Samuel Edes Foundation | 2016 University Fellow | Northwestern University | Evanston | USA | 2013-2015 Stephan Bundi Jury Award | The 5th China International Poster Biennial | 2011 Typographic Excellence | The 2nd Chicago International Poster Biennial | 2010 2nd prize in the 3rd Damoonfar (Faber-Castell) Visual Arts Festival | Iran| 2010 SELECTED BIBLIOGRAPHY Bi-Scriptual | Germany | 2017 X/I Ten Words and One Shot | Eltville, Germany | 2015 Type Plus | Unit Editions | London | 2014 Trunk Volume II: Blood | Trunk Books | Australia | 2012 Arabesque 2 - Graphic Design from the Arab World and Persia | Die Gestalten | 2011 Talk Magazine issue 17 | Iranian e-magazine of visual arts | 2011 Center Program | HydePark Art Center | Chicago 2017 Luminarts Fellowship | Luminarts Cultural Foundation | Chicago | 2016 Runner-up Award | The Claire Rosen and Samuel Edes Foundation | 2016 University Fellow | Northwestern University | Evanston | USA | 2013-2015 Stephan Bundi Jury Award | The 5th China International Poster Biennial | 2011 Typographic Excellence | The 2nd Chicago International Poster Biennial | 2010 2nd prize in the 3rd Damoonfar (Faber-Castell) Visual Arts Festival | Iran| 2010 SELECTED BIBLIOGRAPHY Bi-Scriptual | Germany | 2017

Shirin Mohammad 1992 Tehran, Iran Education 2016 Diploma, Fine Art, Hochschule für Künste Bremen, Bremen, Germany 2010 BA, Cinema, Sooreh Art University, Tehran, Iran Solo Exhibition 2018 Plot Generator for a Revolution, Julias Ida Green, Bremen, Germany 2017 Off-screen Sound, O Gallery, Tehran, Iran Group Exhibition 2018 Kavir, Cinema Galeries, Brussel, Belgium 2017 Glue Heads, Pejman Foundation ( Kandovan), Tehran, Iran 2017 Structured Frustrations, CC Art space, Isfahan, Iran 2017 Mixed Realities, Tomin Videothek, Frankfort, Germany 2016 Dorehami, No Man’s Art Gallery, Amsterdam, Netherlands 2016 Video Playlist: In the here and the there, Museum of Contemporary Photography (MoCP), Chicago, USA 2016 Video Snack 5, Vox Populi, Philadelphia, USA 2016 Eye-Candy 3, Kunsthal ved siden af, Svendborg, Denmark 2015 No Man’s Art- Pop-Up, Pejman Foundation ( Kandovan), Tehran, Iran 2015 Unfailing Memory, Kunstverein Gallery, Freiburg, Germany Art Fairs 2018 Art Rotterdam / No Man’s Art Gallery, Rotterdam, the Netherlands 2017 This Art Fair / No Man’s Art Gallery, Amsterdam, the Netherlands Awards and Grants 2018 Magic of Persia Contemporary Prize(shortlisted), Delfina Foundation, London, England 2018 DAAD scholarship Yasamin Ghalehnoie 1994 Tehran, Iran 2018 - 2020 MFA Fine Art, Goldsmiths University, London (expected) 2018 Residency, Cité internationale des arts, Paris 2013 - 2017 BA in Photography, University of Tehran, Tehran

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Drawing Words | Typographic Posters Exhibition | Tel Aviv | Israel | 2014 Parishani | Screening of &quot;Dey&quot; Night | Art Cinema OFFoff | Belgium | 2014 Golden Bee 11 | Global Bienniale of Graphic Design | Moscow | Russia | 2014 11th Festival of &quot;Image of the Year&quot; | Invitational Poster Exhibition | Tehran | Iran | 2014

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Acknowledgements

We would like to thank everyone who have helped us on MOP CAP 2017, specially: Fereydoun Ave Negar Azimi Bonhams Aaron Cezar Shadi Feiz Sohrab Kashani Vasif Kortun Ebrahim Melamed Hans Ulrich Obrist Maaike Schoorel Amir Hosein Taghiloo Anna Wallace Thompson Tirdad Zolghadr A special thanks to Bonhams, namely Noor Soussi and Nima Sagharchi, for hosting the Finalist Exhibition at their London space.

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Credits

Shirley Elghanian Chief Executive Director Fereshte Moosavi Art Director and Curator Natalie Kabiri Intern Sara Ameri Trustee Nina Ansary Trustee Shirley Elghanian Chairman of the Board of Trustees Shirin Elghanayan Secretary of the Board of Trustees Sanam Oveyssi Trustee Asal Sobati Trustee Vajihe Soleymani Trustee Farbod Mojallal Mehr Graphic Designer www.Hypersia.com @farbodmmehr

www.mopfoundation.com