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Exhibitions
All Of The Clocks Have Been Wrong For Years
MASS Gallery
Austin, TX
November 11 — December 9
Images coming soon...
RECEPTORS
MoonLab42
New York, NY
September 23 — October 28
Lichtkunst Fest — Artspring Berlin
Pavillon am Milchhof
(Berlin, 2023)
Unbroken Chain
Two Six Eight Gallery
(NYC, 2020)
An Elegy for Insects: Collaboration with Nocturnal Medicine
Talk Show
(Brooklyn, 2019)
Now More Than Ever
Washington Project for the Arts
(Washington, DC, 2017)
"Loom" (2017)
Variable height x 4’ x 2.5’
Neon, steel cables, wire, transformer, rubber caps, Persian rug.
Installed at the Washington Project for the Arts, DC
Loom is an architectural response to the limbo of feeling threatened within your home(land). A Persian rug from my childhood home lies on the floor and a red neon rectangle of the same dimensions floats overhead. I am Iranian-American, even if I feel as though this part of myself is still developing, and the piece is meant to encourage people who may not experience this existential threat to stand under the red aura.
This piece is displayed in the exhibition "Now More Than Ever" at the Washington Project for the Arts in Washington, DC.
Neon, steel cables, wire, transformer, rubber caps, Persian rug.
Installed at the Washington Project for the Arts, DC
Loom is an architectural response to the limbo of feeling threatened within your home(land). A Persian rug from my childhood home lies on the floor and a red neon rectangle of the same dimensions floats overhead. I am Iranian-American, even if I feel as though this part of myself is still developing, and the piece is meant to encourage people who may not experience this existential threat to stand under the red aura.
This piece is displayed in the exhibition "Now More Than Ever" at the Washington Project for the Arts in Washington, DC.
"Loom" (2017)
Variable height x 4’ x 2.5’
Neon, steel cables, wire, transformer, rubber caps, Persian rug.
Installed at the Washington Project for the Arts, DC
Loom is an architectural response to the limbo of feeling threatened within your home(land). A Persian rug from my childhood home lies on the floor and a red neon rectangle of the same dimensions floats overhead. I am Iranian-American, even if I feel as though this part of myself is still developing, and the piece is meant to encourage people who may not experience this existential threat to stand under the red aura.
This piece is displayed in the exhibition "Now More Than Ever" at the Washington Project for the Arts in Washington, DC.
Neon, steel cables, wire, transformer, rubber caps, Persian rug.
Installed at the Washington Project for the Arts, DC
Loom is an architectural response to the limbo of feeling threatened within your home(land). A Persian rug from my childhood home lies on the floor and a red neon rectangle of the same dimensions floats overhead. I am Iranian-American, even if I feel as though this part of myself is still developing, and the piece is meant to encourage people who may not experience this existential threat to stand under the red aura.
This piece is displayed in the exhibition "Now More Than Ever" at the Washington Project for the Arts in Washington, DC.
"Preventative Patrol" (2017)
"Preventative Patrol" (2017)
Cultural Platforms for Resistance
VisArts
(Rockville, MD, 2017)
"Preventative Patrol" (2017)
9' x 21' x 2"
Installed at VisArts, Rockville, MD, for "Cultural Platforms for Resistance."
Preventative Patrol consists of two blue neon tubes that represent the unblinking blue lights on Metropolitan Police Department vehicles in Washington, DC. Former Police Chief Ramsey implemented them after meeting with the Israeli Defense Forces and they are officially an attempt to raise the visibility of the police in communities and deter “would-be criminals.” But the lights remind even innocent residents that they are constantly being watched and are in the presence of heavily armed police forces.
Installed at VisArts, Rockville, MD, for "Cultural Platforms for Resistance."
Preventative Patrol consists of two blue neon tubes that represent the unblinking blue lights on Metropolitan Police Department vehicles in Washington, DC. Former Police Chief Ramsey implemented them after meeting with the Israeli Defense Forces and they are officially an attempt to raise the visibility of the police in communities and deter “would-be criminals.” But the lights remind even innocent residents that they are constantly being watched and are in the presence of heavily armed police forces.
"Preventative Patrol" (2017)
Preventative Patrol consists of two blue neon tubes that represent the unblinking blue lights on Metropolitan Police Department vehicles in Washington, DC. Former Police Chief Ramsey implemented them after meeting with the Israeli Defense Forces and they are officially an attempt to raise the visibility of the police in communities and deter “would-be criminals.” But the lights remind even innocent residents that they are constantly being watched and are in the presence of heavily armed police forces.
Nevermind, Azizam
Transformer
(Washington, DC, 2017)
"Nevermind, Azizam" exhibition co-curated with Rex Delafkaran
Shown at Transformer, DC.
http://www.transformerdc.org/exhibitions/overview/exhibition-nevermind-azizam
Entering the room, indistinguishable combinations of saffron, Chanel No. 5 and black tea steep into the senses. Dole out the kisses to every cheek in the room. Catch the occasional salaam and khoshgel. Never quite understood or understanding, never quite the same, the ethnic friend, the American grandchild.
We are our own Others. We are troubled by the simultaneously intimate and unfamiliar facets of our family histories. This identity is defined by its fluctuation and intensely unique individual experience.
We are inexplicably in love with traditions that lie under lenses of our families and our countries. Both of our motherlands float at odds with one another, separated by an ocean of fear and mistrust. Within this tension, we are both horrified and strengthened by the myths. Exotification and fetishization have shaped our lives, and the myths become as vivid and slippery as the goldfish on nowruz. Our adolescence is embedded in the joy and anxiety of language. Rich with symbols, smells, textures and tastes, our shared experiences are pure poetry. We all know the sensations of gracious apologies and tart affection.
- Text by Ani Bradberry & Rex Delafkaran
http://www.transformerdc.org/exhibitions/overview/exhibition-nevermind-azizam
Entering the room, indistinguishable combinations of saffron, Chanel No. 5 and black tea steep into the senses. Dole out the kisses to every cheek in the room. Catch the occasional salaam and khoshgel. Never quite understood or understanding, never quite the same, the ethnic friend, the American grandchild.
We are our own Others. We are troubled by the simultaneously intimate and unfamiliar facets of our family histories. This identity is defined by its fluctuation and intensely unique individual experience.
We are inexplicably in love with traditions that lie under lenses of our families and our countries. Both of our motherlands float at odds with one another, separated by an ocean of fear and mistrust. Within this tension, we are both horrified and strengthened by the myths. Exotification and fetishization have shaped our lives, and the myths become as vivid and slippery as the goldfish on nowruz. Our adolescence is embedded in the joy and anxiety of language. Rich with symbols, smells, textures and tastes, our shared experiences are pure poetry. We all know the sensations of gracious apologies and tart affection.
- Text by Ani Bradberry & Rex Delafkaran
"Azizam" & "Wives and Daughters" (2017)
Installed at Transformer, Washington, DC, for "Nevermind, Azizam."
http://www.transformerdc.org/exhibitions/overview/exhibition-nevermind-azizam
Entering the room, indistinguishable combinations of saffron, Chanel No. 5 and black tea steep into the senses. Dole out the kisses to every cheek in the room. Catch the occasional salaam and khoshgel. Never quite understood or understanding, never quite the same, the ethnic friend, the American grandchild.
We are our own Others. We are troubled by the simultaneously intimate and unfamiliar facets of our family histories. This identity is defined by its fluctuation and intensely unique individual experience.
We are inexplicably in love with traditions that lie under lenses of our families and our countries. Both of our motherlands float at odds with one another, separated by an ocean of fear and mistrust. Within this tension, we are both horrified and strengthened by the myths. Exotification and fetishization have shaped our lives, and the myths become as vivid and slippery as the goldfish on nowruz. Our adolescence is embedded in the joy and anxiety of language. Rich with symbols, smells, textures and tastes, our shared experiences are pure poetry. We all know the sensations of gracious apologies and tart affection.
- Text by Ani Bradberry & Rex Delafkaran
http://www.transformerdc.org/exhibitions/overview/exhibition-nevermind-azizam
Entering the room, indistinguishable combinations of saffron, Chanel No. 5 and black tea steep into the senses. Dole out the kisses to every cheek in the room. Catch the occasional salaam and khoshgel. Never quite understood or understanding, never quite the same, the ethnic friend, the American grandchild.
We are our own Others. We are troubled by the simultaneously intimate and unfamiliar facets of our family histories. This identity is defined by its fluctuation and intensely unique individual experience.
We are inexplicably in love with traditions that lie under lenses of our families and our countries. Both of our motherlands float at odds with one another, separated by an ocean of fear and mistrust. Within this tension, we are both horrified and strengthened by the myths. Exotification and fetishization have shaped our lives, and the myths become as vivid and slippery as the goldfish on nowruz. Our adolescence is embedded in the joy and anxiety of language. Rich with symbols, smells, textures and tastes, our shared experiences are pure poetry. We all know the sensations of gracious apologies and tart affection.
- Text by Ani Bradberry & Rex Delafkaran
"Veins" (2018)—collaborative piece with Rex Delafkaran, Transformer, DC
Variable height x 14" x 2"
Installed at Transformer, Washington, DC, for "Nevermind, Azizam."
http://www.transformerdc.org/exhibitions/overview/exhibition-nevermind-azizam
Entering the room, indistinguishable combinations of saffron, Chanel No. 5 and black tea steep into the senses. Dole out the kisses to every cheek in the room. Catch the occasional salaam and khoshgel. Never quite understood or understanding, never quite the same, the ethnic friend, the American grandchild.
We are our own Others. We are troubled by the simultaneously intimate and unfamiliar facets of our family histories. This identity is defined by its fluctuation and intensely unique individual experience.
We are inexplicably in love with traditions that lie under lenses of our families and our countries. Both of our motherlands float at odds with one another, separated by an ocean of fear and mistrust. Within this tension, we are both horrified and strengthened by the myths. Exotification and fetishization have shaped our lives, and the myths become as vivid and slippery as the goldfish on nowruz. Our adolescence is embedded in the joy and anxiety of language. Rich with symbols, smells, textures and tastes, our shared experiences are pure poetry. We all know the sensations of gracious apologies and tart affection.
- Text by Ani Bradberry & Rex Delafkaran
Installed at Transformer, Washington, DC, for "Nevermind, Azizam."
http://www.transformerdc.org/exhibitions/overview/exhibition-nevermind-azizam
Entering the room, indistinguishable combinations of saffron, Chanel No. 5 and black tea steep into the senses. Dole out the kisses to every cheek in the room. Catch the occasional salaam and khoshgel. Never quite understood or understanding, never quite the same, the ethnic friend, the American grandchild.
We are our own Others. We are troubled by the simultaneously intimate and unfamiliar facets of our family histories. This identity is defined by its fluctuation and intensely unique individual experience.
We are inexplicably in love with traditions that lie under lenses of our families and our countries. Both of our motherlands float at odds with one another, separated by an ocean of fear and mistrust. Within this tension, we are both horrified and strengthened by the myths. Exotification and fetishization have shaped our lives, and the myths become as vivid and slippery as the goldfish on nowruz. Our adolescence is embedded in the joy and anxiety of language. Rich with symbols, smells, textures and tastes, our shared experiences are pure poetry. We all know the sensations of gracious apologies and tart affection.
- Text by Ani Bradberry & Rex Delafkaran
"Azizam" (2018) shown with Sheida Soleimani's "Sakineh" (2015)
8" x 24" x 3"
Installed at Transformer, Washington, DC, for "Nevermind, Azizam."
http://www.transformerdc.org/exhibitions/overview/exhibition-nevermind-azizam
Entering the room, indistinguishable combinations of saffron, Chanel No. 5 and black tea steep into the senses. Dole out the kisses to every cheek in the room. Catch the occasional salaam and khoshgel. Never quite understood or understanding, never quite the same, the ethnic friend, the American grandchild.
We are our own Others. We are troubled by the simultaneously intimate and unfamiliar facets of our family histories. This identity is defined by its fluctuation and intensely unique individual experience.
We are inexplicably in love with traditions that lie under lenses of our families and our countries. Both of our motherlands float at odds with one another, separated by an ocean of fear and mistrust. Within this tension, we are both horrified and strengthened by the myths. Exotification and fetishization have shaped our lives, and the myths become as vivid and slippery as the goldfish on nowruz. Our adolescence is embedded in the joy and anxiety of language. Rich with symbols, smells, textures and tastes, our shared experiences are pure poetry. We all know the sensations of gracious apologies and tart affection.
- Text by Ani Bradberry & Rex Delafkaran
Installed at Transformer, Washington, DC, for "Nevermind, Azizam."
http://www.transformerdc.org/exhibitions/overview/exhibition-nevermind-azizam
Entering the room, indistinguishable combinations of saffron, Chanel No. 5 and black tea steep into the senses. Dole out the kisses to every cheek in the room. Catch the occasional salaam and khoshgel. Never quite understood or understanding, never quite the same, the ethnic friend, the American grandchild.
We are our own Others. We are troubled by the simultaneously intimate and unfamiliar facets of our family histories. This identity is defined by its fluctuation and intensely unique individual experience.
We are inexplicably in love with traditions that lie under lenses of our families and our countries. Both of our motherlands float at odds with one another, separated by an ocean of fear and mistrust. Within this tension, we are both horrified and strengthened by the myths. Exotification and fetishization have shaped our lives, and the myths become as vivid and slippery as the goldfish on nowruz. Our adolescence is embedded in the joy and anxiety of language. Rich with symbols, smells, textures and tastes, our shared experiences are pure poetry. We all know the sensations of gracious apologies and tart affection.
- Text by Ani Bradberry & Rex Delafkaran
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