Summer 2012
Sadia Shirazi
By Sadia Shirazi Summer 2012 | ArteZine Harun Farocki’s films Comparison via a Third (2007) and In Comparison (2009) begin with identical footage, minus In Comparison’s prefacing this footage with a still diagram of a white orthographic image of a brick on a black background. While both Comparison via a Third (2007) and In Comparison (2009) document various contemporary technologies of brick production and even…
Stéphanie Dadour
By Stephanie Dadou Summer 2012 | ArteZine Randa Mirza’s work discloses preexisting representations and identity-based issues in the urban fabric of Beirut. Through notions related to representations of sex and gender, Mirza aims to explore the Lebanese postwar conditions of identity constructions. Representations are to be understood as systems of production that convey meanings, depending on…
Dina Ibrahim
By Dina Ibrahim Summer 2012 | ArteZine Dina Ibrahim: Generally speaking, contemporary art has deemed figuration obsolete in representing such abstract notions as identity and sexuality, yet your work manages to seamlessly integrate the two to rather confronting yet highly aesthetic effects. Why figuration (and precisely the human figure)? And what role does it play in your…
Joseph Shahadi
By Joseph Shahdadi Summer 2012 | ArteZine In the spring of 2006 I had a residency that allowed me access to studio space—a precious commodity in New York City. The long trek from my Brooklyn apartment to the studio, which was on the western-most edge of Chelsea, brought me past the Bridge Gallery, a temporary space…
Spring 2012
Sandra Skurvida
By Sandra Skurvida Spring 2012 | ArteZine The figure of “censorship” conjures up a smoke screen of antagonism that can only be dispelled by looking through it. Cause célèbre of censorship at Sharjah Biennial 2011, among many less publicized instances, gave a strong pretext for a critical investigation; it also called for a consideration in terms…
Negar Mottahedeh
By Negar Mottahedeh Spring 2012 | ArteZine The cry of “Allah-o-Akbar” was the defining sound of the 1978 protests against the Shah of Iran, during a revolution that toppled the Pahlavi monarchy and established the Islamic Republic of Iran. The Shah’s prime minister Major General Gholam Reza Azhari attributed, in 1978, the cry of “Allah-o-Akbar” from…
Barbad Golshiri, Sandra Skurvida
By Barbad Golshiri and Sandra Skurvida Spring 2012 | ArteZine February 7, 2012 10:18:38 AM EST SANDRA SKURVIDA: I propose a conversational shift from a stereotypical/allegorical/exilical romanticism to a political domesticism — I have in mind the younger generation of artists in Iran who exhibit in their works and their life choices an unconditional will to remain in…
Anahita Razmi
By Anahita Razmi Spring 2012 | ArteZine By erasing 27 seconds from Anahita Razmi’s video camera, the Iranian National Guard collaborated on a beautiful soundscape set against the wall of the National Guard headquarters.
Kaelen Wilson-Goldie
By Kaelen Wilson Goldie Spring 2012 | ArteZine Censorship is rarely as simple or straightforward as it seems. For one thing, it is rarely done by a person whose job title is actually that of the censor (and in case you haven’t seen Babak Afrassiabi’s five-channel video installation “Conversing the Cut,” from 2004, about censorship in…
Sohrab Kashani
By Sohrab Kashani Spring 2012 | ArteZine Heroism & Patronage – The Summit
