Ali Nassir: Refusal to Lie on the Analyst’s Couch

Download a PDF version of the article here.

“A schizophrenic out for a walk is a better model than a neurotic lying on the analyst’s couch,”[1] write Deleuze and Guattari in the opening pages of Anti-Oedipus before bringing in an example from a novella, Lenz. The figures of Ali Nassir’s paintings seem to take up the advice and follow this “better model.” In the purely subjective world of these paintings—which would pass for abstract painting were it not for the obscure presence of certain camouflaged figures—the figures resist psychoanalytical analysis.

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Thank You for Your Beauty

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Umbilicus of Limbo

Statement for Sharam Entekhabi and Behrang Samadzadegan’s exhibition titled ‘We Are Standing Outside Time’ at Atelierhaus Salzamt, Linz, Austria, 28.06-03.08.2012

It is the difference between arrest and imprisonment, not here and there, inside or outside a cell. A citizen of the Modern World understands properly the state of transition. She is always in transition. It is always in transition. Supposedly towards a better state. Everything is in ‘progress’ in the Modern World. Yet, he does not understand anymore how it feels to be at the Umbilicus of Limbo, he, the citizen of the mainstream world. He aims at entering heaven on earth. He does not remember when people used to pray for the Kingdom of Heavens to arrive. Yet, the mainstream creates shores where watching is made possible. Watching is the only possible thing. News always happens elsewhere. Not on the shore. And it is no shore rather a swamp twirling down to the umbilicus of limbo. Read more »

Text Installation with Reza Abedini

‘Modern Monsters / Death and Life of Fiction’, Taipei Biennial, 2012 09.29.2012 – 01.13.2013

The text installation done with Reza Abedini accompanied display cases curated by Bavand Behpoor as part of the ‘mini-museum’ curated by James. T. Hung and Anselm Franke titled The Museum of the Monster that Is History. The installation was a visualisation this article on Martyrs Museum in Iran and re-staging of the actual museum. The website of the biennial can be accessed here.

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The Aftermath of the Image-Production Revolution in Post-Revolution Iran

A longer version of the essay was originally presented as a talk at the Iranian Contemporary Art Symposium, Bonn, May 2012 before being published by NAFAS multi-lingual magazine. The full text can be accessed here.

Mohammad Hossein Zarqam, a young Iranian artist, burned his birth certificate in front of a camera. The photograph appeared online, was admired by 117 other people of his generation, and was finally sold to another young artist for less than a 100 Euros. It would cost him much more and would take him months to get a second copy of the birth certificate if he intends to do so. Meanwhile, he will not exist officially. But people like him do not officially exist anyway.

Iranian art today is rarely addressed from a visual cultures point of view. When it is, it is seen not as a part of a larger system of image production, but rather simply in opposition to it, as a grappling with censorship defined as a ban on representation of certain topics. As such, Iranian contemporary art is regarded as the expression of Iranians when they speak out using the free margins to express what is conceived of in the freedom of a vacuum. It is also considered as being closely connected or trying to connect to the international art scene. Such formulation also conforms to the image of the country and the expectations of the outsiders. It fits the function of this art within global visual culture. But this art functions quite differently within national borders; it is actually a different notion of art. This accounts for the charge of “self-exoticism” being so strongly leveled against artists who, by choosing a different audience, try to shift between these two functions. It is nearly seen as an act of betrayal.

“Why frown upon self-exoticism if it provides the exotic a chance to be seen? What other way is there to attract the attention of the outsider?” Thus reply those accused of self-exoticism. And they are right. Those of us who have tried to address a foreign audience, through words or images, have felt the pressure. How can you address those whom you have gathered based on an interest on their part in something different from what you are about to express? Ironically, attracting attention—that very essence of contemporary art—through a local gesture fits well in the governmental image-production system.

No Belief, No Homeland

—‘Not Arab!’ As if trying to prove being the legitimate son of his father, an Iranian would firmly respond to a commentator who has made the big mistake of flattering him by considering him a citizen of one of the ‘beautiful warm and rich Arab countries of the Middle-East.’ Read more »

Statement for Arash Fesharaki’s Exhibition at Etemad Gallery

Group exhibition, 3-14 Feb. 2012, Etemad Gallery, Tehran

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Todorov in Tehran

By Tzvetan Todorov

Translated to Persian by Azita Hempartian

Edited by Bavand Behpoor

Tehran: Cheshmeh Publication, 2009

Villes du passé, villes du future

Joseph Belmont

Translated to Persian by Mehrdad Karbasi

Edited by Bavand Behpoor

Tehran: Cultural Research Bureau, 2010

Tablet


Gigamesh! Drink and eat, fill your stomach, be joyful day and night! Celebrate every day with joy! Put on neat clothes, freshen your body in fresh water! Be happy in the arms of women!
—Gilgamesh

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Contact me at the following email address: bavand.behpour[at]gmail.com

Bavand Behpoor is an art theorist, artist and critic based in Munich. After doing his MArch at Shiraz University, he did an MA in Contemporary Art Theory at Goldsmiths College, London University. He is currently doing a PhD in Art History at Ludwig-Maximilian University of Munich.

Education:

  • PhD Candidate, Ludwig-Maximilians-Universität München, Munich, Germany, 2011-2016
  • MA Contemporary Art Theory, Dept. of Visual Cultures, Goldsmiths College, University of London, 2006
  • Continuous Master of Architecture, Faculty of Art and Architecture, Shiraz University, Shiraz, Iran, 2005
  • High School Diploma, Shiraz, Iran, 1998

Professional Experience:

  • Tutor, LMU, Munich, Germany, summer 2013.
  • Visiting lecturer at FU Berlin, Berlin, Germany, 26-30 March 2012.
  • Instructor at Mah-e-Mehr Institute, Tehran, Iran, Spring 2011.
  • Instructor at Aria Gallery, Tehran, Iran, Spring 2011.
  • Visiting lecturer at Shiraz Art University, Shiraz, Iran, Autumn 2010.
  • Instructuer at Howzeh Honari, Shira, Iran, Autumn-Winter 2010.
  • Art advisor to No. 6 Gallery, Tehran, Iran, Aug. 2010-2011.
  • Member of editorial board, Art Tomorrow, bilingual quarterly on Iranian contemporary art, Sept. 2010-Dec.2010.
  • Executive and editorial manager of Iran Art Review, an institute for promotion of Iranian contemporary art criticism, Tehran, Iran, Sept. 2009-March 2010.
  • Art advisor to Mohsen Art Gallery, Tehran, Iran, Oct. 2009-May 2010.
  • Architectural Design License, Iran Ministry of Urbanism and Habitation, Tehran, Iran, 2008.
  • Building Supervision License, Iran Ministry of Urbanism and Habitation, Tehran, Iran, 2008.
  • Building Execution License, Iran Ministry of Urbanism and Habitation, Tehran, Iran, 2008.
  • Member of Tehran Building Order Organisation.
  • Persian to English translator, Pages Magazine, the Netherlands, Winter 2008.
  • Instructor at Mah-e-Mehr institute, Tehran, Iran, Summer 2009.
  • Visiting lecturer at Honar University, Dept of  Photography, Tehran, Iran, 2008-9.
  • Visiting lecturer at Sooreh Institute of Higher Education, Dept of MA Dramatic Literature, Painting and Handicrafts, Tehran, Iran, 2007-9.
  • Visiting lecturer at Facutly of Architecture, Zabol University, Zabol, Iran, Autumn 2007.
  • Design architect and architectural programmer, Bonsar Architectural Office, Tehran, Iran, Aug. 2007 – Jan. 2008.
  • Writer, editor and translator of Memar, Iranian quarterly on Persian contemporary architecture, Tehran, Iran, 2000-4 and 2006-7.
  • Head of design team in Prototype School Design Schema, a joint project for School Renovation Organisation by Firouz Firouz & Afshar Naderi Associates, Tehran, Iran, Dec. 2006-Jan 2007.
  • Design Architect, Residential complex, Shiraz, Iran, 2003.
  • Exterior design for a Coffeeshop in Sattar Khan Street, Shiraz, Iran, 2004.
  • Design Architect, Residential house, Karaj, Iran, Autumn, 2002.
  • Computer Programmer, Sunlight Reflection Programme, Kashef Architectural Office, Shiraz, Iran, 2003.
  • Mehr Gallery interior design, Eram, Shiraz, Iran, Feb. 2002.
  • Architect, residential house, Shahrak Golestan, Shiraz, Iran, Autumn, 2001.
  • Design Architect, residential house (extension), Chowgiya, Shiraz, Iran, 2001.
  • Assistant Architect, Shiraz Building Material Exposition Centre, Pooya Tarh Shahr Architectural Office, Oct. 2001 to March 2002.

 

Taught Courses:

A.Postgraduate:

  • Research Method, MA Painting, Sooreh University, Tehran, Iran
  • Reading Beckett, MA Drama, Sooreh University, Tehran, Iran
  • Technical English, MA Painting, Sooreh University, Tehran, Iran
  • Philosophy of Islamic Art: Iconoclasm, MA Handicrafts, Sooreh University, Tehran, Iran
  • Philosophy of Applied Arts, MA Handicrafts, Sooreh University, Tehran, Iran

B.Undergraduate:

  • ‘The Aura of Objects: Art History in Film’, core seminar, with Prof. Avinoam Shalem (Kunstgeschichte, LMU) and Prof. Fabienne Liptay (Filmwissenschaft, LMU), LMU, Munich, Germany, summer 2013.
  • ‘Contemporary Iranian Art: Between Local and Global Agendas’, block seminar, with Dr. Vera Bayer, Freie Universität Berlin, Berlin, Germany, March 2012.
  • Philosophy of Art, BA Television and Digital Arts, Shiraz Art University, Shiraz, Iran
  • Man, Nature, Drawing, BA Graphic Design, Shiraz Art University, Shiraz, Iran
  • Analysis of Visual Artworks, BA Graphic Design, Shiraz Art University, Shiraz, Iran
  • Analysis of Painting, BA Painting, Shiraz Art University, Shiraz, Iran
  • Introduction to Contemporary Art, BA Photography, Art University, Tehran, Iran
  • Perfomance Art: Theory and Practice, BA Photography, Art University, Tehran, Iran
  • Photography Analysis and Criticism, BA Photography, Art University, Tehran, Iran
  • Architectural Design III, BA Architecture, Zabol University, Zabol, Iran

C.At Private Institutions:

  • ‘Performance Art: Theory and Practice I&II’, Mah-e-Mehr Institute, Tehran, Iran, Summer and Autumn 2009, Spring 2011.
  • 100 Contemporary Art Projects, Mah-e-Mehr Institute, Tehran, Iran, Spring 2011.
  • History of Europe, Mah-e-Mehr Institute, Tehran, Iran, Spring 2011.
  • Text and Image (Creative Writing Workshop), Aria Gallery, Tehran, Iran, Spring 2011.
  • Performance Art: Theory and Practice, Mah-e-Mehr Institute, Tehran, Iran, Summer and Autumn 2009 and Summer 2011.
  • Philosophy of Art, Howzeh Honari, Shiraz, Iran, Autumn 2010.
  • Introduction to Contemporary Art, Howzeh Honari, Shiraz, Iran, Autumn 2010.
  • Art as Avant-gardism, Isfahan Society of Painters, Isfahan, Iran, Autumn 2010.

Publications:

Books:

1. Translated:

Alain Badiou (2003) L’Ethique / essai sur la consience du Mal (Caen: Nous), collated with: Ethics / An Essay on the Understanding of Evil (2001) trans. Peter Hallward (London: Verso), Cheshmeh Press, Tehran, Iran, Winter 2008. ISBN: 978-964-362-507-8

Oscar Wilde (1919) The Soul of Man Under Socialism (London: Arthur L. Humphreys) together with other essays under the title of Socialism and Individualism by Cheshmeh Press, Tehran, Iran, 2008. ISBN: 978-964-362-402-6

2. Edited:

1. Tzvetan Todorov (2009) Todorov in Tehran, Trans. Azita Hampartian, Cheshmeh Publications, Tehran, Iran.

2. Joseph Belmont (1989) Villes du passé, villes du futur (Cities of Past / Cities of Future) (Paris: Moniteur) trans. by Mehrdad Karbasi, Cultural Research Bureau, Tehran, Iran, 2009.

Papers:

A. Authored:

A.1.Statements:

  1. Statement for Ali Nassir’s solo exhibition at O Gallery, Tehran, April 2016.
  2. Statement for Alboghassem Saidi’s solo exhibition at Sharivar Gallery, Tehran, June 2015.
  3. Statement for Saghar Daeeri’s solo exhibition at Azad Art Gallery, Tehran, Oct. 2014.
  4. Statement for Ismail Ghanbari’s solo exhibition at Azad Art Gallery, Tehran, Aug. 2014.
  5. Statement for Fereydoun Ave’s solo exhibition at Khak Gallery, Tehran, Nov. 2012.
  6. Statement for Arash Fesharaki’s group exhibition at Etemad Gallery, Tehran, Iran, 3-14 Feb. 2012.
  7. ‘Vulgar Is You’, statement for Saghar Daeeri at Azad Art Gallery, Tehran, Iran, Oct. 2011.
  8. ‘Silence Is the Blood Whose Flesh Is Singing’, statement for Homa Bazrafshan at Shirin Gallery, Tehran, Iran, 29 Oct.-20 Nov. 2010.
  9. ‘A Particular Place in an Inexistant Geneology’, statement for Zahra Hosseini’s print exhibition at Homa Gallery, Tehran, Iran, 1-12 Oct. 2010.
  10. ‘Money on Wall’, statement for Behnam Kamrani’s painting exhibition at Aun Gallery, Tehran, Iran, 24 Sept.-17 Oct. 2010.
  11. ‘Not Complying with the Fortunate’s Code of Conduct’, statement for Ali Reza Fani at Khaak Gallery, published Sept. 1st in Levantien Review.
  12. ‘High Heels’, statement for Rozita Taheri paintings.
  13. ‘Nonsense’, statement for Asareh Akasheh’s exhibition at Mohsen Gallery, 23-28 July 2010.
  14. ‘Girlies of 68’, statement for Amir Hossein Bayani’s collected exhibition titled ‘In Honour of 68’, Mohsen Gallery, Tehran, Iran, 7-12 March 2010.
  15. ‘1389’, statement for Azita Sharafjahan’s curated exhibition at Azad Art Gallery, Tehran, 12-17 March 2010.
  16. ‘Simple is Beautiful’, statement for Shahpoor Pooyan’s artwork in ‘1389’ group exhibition, Azad Art Gallery, Tehran, Iran, 8 March 2010.
  17. ‘Fashion Labyrinth’, statement for Hedieh Ahmadi’s photo installation titled ‘Fashion Network at Mohsen Gallery, Tehran, Iran, 19-24 Feb. 2010.
  18. ‘Ashura in Burnt Hill Zone’, statement for Shapoor Pooyan’s artwork in group exhibition titled ‘Ashoora’ at Silk Road Gallery, Winter 2010.
  19. ‘Dark Raging Waters of Silent Culture’, statement for Ahmad Zolfagharian’s artwork in group exhibition titled ‘The Other’ at Mohsen Gallery, Tehran, Iran, 8-20 Jan. 2010.
  20. ‘Do You Have Such a Bulge?’, statement for Nima Esmailpoor’s artwork in collected exhibition titled ‘Limited Access II’ at Azad Art Gallery, Tehran, Iran, Winter 2010.
  21. ‘It Started with a Dozen’, statement for Rozita Sharafjahan’s installation titled ‘Winter of 1970’ at Azad Art Gallery, Tehran, Iran, 29 Sept. 2009.
  22. ‘Face in the Mud, Face in the Rock, Face in the Sand’, statement for Rozita Sharafjahan’s video, 29 Sept. 2009.
  23. ‘Fires in Forests’, statement for Melodie Hosseinzadeh’s solo exhibition titled ‘Storks Won’t Come Back Again’ at Azad Art Gallery, Tehran, Iran, 25-30 Sept. 2009.

A.2.Reviews:

  1. ‘Iranian Modern Art in Perspective (review of four Books on Iranian modern art)’, Critique d’art 43 (Bilingual international review of contemporary art criticism), autumn 2014, Rennes, France.
  2. ‘Refusal to Lie on the Analyst’s Couch (Review of Ali Nassir’s Work)’, Contemporary Practices XIV, pp. 142-145.
  3. Double book review: ‘Muslims and New Media in West Africa: Pathways to God’ by Dorothea E. Schulz, Indiana University Press, 2012, and ‘Enfoldment and Infinity: an Islamic Genealogy of New Media Art’ by Laura U. Marks, MIT, 2010, in: Necsus: European Journal of Media Studies, 22 Nov. 2012
  4. ‘Performance Box Curatorship’, review on exhibtion at Mohsen Gallery, Tehran, Iran, 1-6 Oct. 2010, published in Art Tomorrow, issue no. 3, winter 2010, p. 48.
  5. ‘Rejected Artists of Selected Works of New Generation’, Review on exhibition organized by Homa Gallery at Mellat Park, Tehran, Iran, 25 Oct.-10 Nov., published in Herfeh:Honarmand issue no. 35, autumn 2010.
  6. ‘Walid Sadek and Literary Power of Absence: Review on Walid Sadek’s Exhibition at Art Centre Beirut’, Art Tomorrow, Issue no. 2, summer 2010. pp. 58-65.
  7. ‘How Moghul Was Rembrandt? A Critique on a Global Laboratory of Infinite Multiplicities’, a review of Global:Lab held from 3 June to 27 Sept. 2009 at MAK Exhibition Hall, Vienna, published in Third Text, Routledge, 24: 4, July 2010, pp. 501-4.
  8. ‘Resisting Failure, in the Accent of Beckett (Review on installation/performance at Azad Art Gallery, Tehran)’, The Daily Star, Lebanon, 5 Sept. 2009, p. 12.
  9. ‘Physical Injury Within the Body Politic (Review on Amirali Ghasemi’s exhibition at Azad Art Gallery, Tehran)’, The Daily Star, Lebanon, 29 Aug. 2009, p. 12,
  10. ‘In Praise of Reza Hedayat and Positive Art’, Khabar Newspaper, 18 May 2009.
  11. ‘Self-Portrait as a Document of One Society in Flux’, The Daily Star, 4 May 2009, p. 12.
  12. ‘By Depicting Silence, I Trash It: Review on Minoo Ghahramani’s Exhibition’, Khabar Newspaper, 29 April 2009, p. 9.
  13. ‘Bride Supported by Her Bachlors, Even’ (Review of Amir Hossein Bayani’s Sensored Exhibition), Rokhdaad website, 12 Jan. 2009
  14. ‘Smile of Pleasure, Sigh of Comfort: Review of Morteza Mahallati and Hadi Nasiri’s Logo Exhibition at Vijheh Gallery’, Rang Online Magazine, 24 April 2008,

A.3.Essays on Architecture and Urbanism:

  1. ‘The Body of a Culture that Sheds Skin’ (on residential building design in Iran)’ Memar 87, autumn 2014, pp. 10-11.
  2. ‘Reading Qajar Epigraphs: Case Studies from Shiraz and Isfahan’, Chapter 10 in: Mohammad Gharipour and Irvin Cemil Schick (ed.) (2013) Calligraphy and Architecture in the Muslim World (Edinburgh University Press): 178-195.
  3. ‘Circulation Path Analysis in National Library of Iran’, presented at National Conference of Library Spaces, 25 Nov. 2009, Isfahan, Iran, published in: Library and Information Science Quarterly 61, spring 2013, p. 167.
  4. ‘Mehkadeh Residential Complex (Critique on Firooz Firooz project)’, Memar 57, Oct.-Nov. 2009, pp. 44-7.
  5. ‘Public Spaces and the Politics of State Experience in Iranian Cities’, Oriental City Conference, Dept of Interdisciplinary Eurasiatic Research, Institute of  Oriental Philology, Jagiellonian University, Krakow, Poland, 20-22 May 2009.
  6. ‘Politics of Opening: Translation as Authorship (Urbanism and Multi-Layered Translation)’, in English and Persian with variations, Pages Magazine, Netherlands, March 2008, pp. 72-85.
  7. ‘On the Occasion of the First Seminar on the Interaction of Cinema and Architecture’, Memar 48 (Spring 2008): 11-13.
  8. ‘Leili Alley and the Delirious City’, Memar 42 (Spring 2007): 20-23.
  9. ‘Architecture and Contemporary Arts’, Memar 42 (Spring 2007): 100-103.
  10. ‘Interview with Two Armenian Architects’, Memar 41(Winter 2006): 15-20.
  11. ‘Poetical Urbanism of Iranian Metropolises’, Memar 41 (Winter 2006): 30-31.
  12. ‘Report on Jury Sessions’, Memar 40 (Autumn 2006): 6-16.
  13. ‘Concept Conference and Intellectual Traditions’, Memar 40 (Autumn 2006): 161.
  14. ‘Round Table on Shiraz Historical Texture’, Gozaresh (Fars Province Engineering Order Organisation) 46-47 (Autumn & Winter 2005): 26-40.
  15. ‘Shiraz Influential Families and Construction of Complexes in 19th Century’, Gozaresh 46-47 (Autumn & Winter 2005): 41-51.
  16. ‘Aesthetical Analysis and Impression of Historical Buildings in Past and Today’, Gozaresh 44 (Spring 2005): 55-62.
  17. ‘Ghajar Inscriptions’, Honar-Ha-Ye-Ziba (Journal of Faculty of Fine Arts, University of Tehran) 22 (Summer 2005): 83-92.
  18. ‘Guiding Patterns in Ghajar Building Ornamentation and Architectural Design’, Memar  30 (2005): 98-106.
  19. ‘Persian Sense of Beauty’, Memar 22 (Autumn 2003): 62-67.
  20. ‘Architecture: Science, Art and Experience’, Hamshahri, 9 Apr. 2003.
  21. ‘Architecture as a Profession’, Asr-e-Mardom, 18 May 2003.
  22. ‘A Phenomenological Attitude towards Architecture Today’, Memar 20 (Spring 2003): 8-11.
  23. ‘Hints for New Students of Architecture’, Memar 10 (Autumn 2000): 74.
  24. ‘Architecture in Absence of Architect’, Memar 8 (Spring 2000): 33.

A.4.Other Essays:

  1. ‘The World of Reza Abedini’, Neshan 33 (The Iranian Graphic Design Magazine) (Spring 2015): 12-25.
  2. ‘Le double système de production d’images en Iran après la Révolution’, in: Morad Montazami & Catherine David (2014) Iran Unedited History 1960-2014 (Paris: Paris Musées) pp. 102-107. Also published in Italian under the title of ‘Il doppio sistema di produzione di immagini in Iran dopo la Rivoluzione’, pp. 102-107 as well as in English under the title of ‘The Double System of Image Production in Post-Revolution Iran’, pp. 223-225,in : Iran Unedited History 1960-2014 : Sequences of Modernity in Iran from 1960 to the Present (Rome: MAXXI – National Museum of XXI Century Arts)
  3. ‘Trying to Make Others Hammerable’, in: Mohammad Rezairad (ed.) (2014) Daftarha-ye Andishe (Books of Thought), vol. I (Tehran: Nila), pp. 82-84.
  4. ‘Immigrants of Culture’, Herfeh:Honarmand 50, March 2014, pp. 184-187 (Tehran, Iran).
  5. ‘The Unconscious of Iranian Modern Art’, Herfeh:Honarmand 50, March 2014, pp. 11-55.
  6. ‘Reading Iranian Contemporary Art’, Art and Australia 51:3, April 2014, pp. 432-437.
    7.
  7. ‘Introduction to “The Nightingale’s Butcher Manifesto” and “Volume and Environment II”’, ARTMargins 2:3, June 2014. pp. 118-134.
    8.
  8. ‘Historiography of Art in Iran’, Tandis: 261, 5 Nov. 2013, pp. 12-13.
  9. ‘Literature of Things: the Border Between Reality and Imagination in Orhan Pamuk’s Museum of Innocence’, Shabakeh Aftab: 12, Sept. 2013, pp. 97-98.
  10. ‘Curatorship in Iran’, Tandis: 256, 27 Aug. 2013, pp. 6-7.
  11. ‘Letter’, Herfeh:Honarmand 45, spring 2013.
  12. ‘Iranian Contemporary Art is Bad’, Herfeh:Honarmand 44, winter 2012.
  13. ‘Controllers of Time Channels’, Herfeh:Honarmand 41, spring 2012.
  14. ‘Pand-e-Pir-e-Dana (Wiseman’s Sayings)’, Herfeh:Honarmand 40, winter 2011, pp.98-9.
  15. ‘The Right to Beauty’, Feminist School,  2 Sept. 2011.
  16. ‘Performance Art in Iran: Dada Matinee’, Pages, issiue no. 8. May 2011, pp. 107-111.
  17. ‘Tehran: Always Living Temporarily’, Herfeh:Honarmand, issue no. 36, spring 2011, pp. 12-13.
  18. ‘Animal Sovereignty and Dignity of Body’, Feminist School, No. 6, March 2011, pp. 119-121.
  19. ‘Tearing Down Identity, Raising Up Nothing’, Herfeh:Honarmand 34, summer 2010, pp. 102-3.
  20. ‘Bullshit/Talking/Nonsense’, Herfeh:Honarmand 34, summer 2010, pp. 234-5.
  21. ‘Right to Fashion, Right to Contemporaneity’, Art Tomorrow, spring 2010, Issue no. 1, pp. 98-101.
  22. ‘Tehran Art Galleries in Autumn and Winter 2009’, Art Tomorrow, spring 2010, p. 33.
  23. ‘Persian Poetry of Future’, Roodaki 57-58, 11 March 2010, p. 11.
  24. ‘Selected Photographs’, Herfeh:Honarmand 32, spring 2010, pp. 128-9.
  25. ‘Sasy Mannequin: Music in Absurd Social Space’, Herfeh:Honarmand 31, winter 2009, pp. 209-210.
  26. ‘Let Him Rejoice Who Breathes Up Here in the Roseate Light’, Rokhdaad Online Magazine, August 2009.
  27. ‘Torn Cloak of  Berbrova’, Khabar Newspaper, 14 May 2009.
  28. ‘Happy Pluralism of Iranian Women’s Movements’, Feminist School and Centre for Iranian Women websites, 13 May 2009.
  29. ‘Fiminine Will of Republic’, Women’s Field website and Rokhdaad website, 12 May 2009.
  30. ‘Thoughts for Our Ruined Situation: Review on Urgent Thought by Omid Mehrgan’, Khabar Newspaper, 12 May 2009.
  31. ‘On Derrida on Heidegger on Spirit’, Khabar Newspaper, 10 May 2009.
  32. ‘Democracy as Being-Together or Just a Guilty Conscience (On Women’s Alliance)’, Gooya News, Iran Global and Feminist School websites, 8 May 2009.
  33. ‘Khatami Was a Good Man!’, Rokhdaad Website, May 2009.
  34. ‘Is It Important to Vote?’, Rokhdaad Website, 2 May 2009.
  35. ‘Contraction of the Unlimited Space of Authorship: On New Regulations of Cyber Censorship in Iran’, Khabar Newspaper, 21 April 2009.
  36. ‘Public Spaces of Writing’, Rokhdaad Online Magazine, No. 4, April 2009.
  37. ‘Nothing Is Said of Women In This Text (On Iranian Feminism)’, Rokhdaad Online Magazine, No. 3, Feb. 2009.
  38. ‘Badiou Ethics and Iranian Moralism’, Khabar Online website, 24 Jan. 2009
  39. ‘Theology of Benjaminian Translation’, Rokhdaad website, Nov. 2008.
  40. ‘Why am I not a Reformist’, Rokhdaad website, Oct. 2008.
  41. ‘The Power of the Press: A Power without Responsibility’, Hammihan 103, 30 June 2007, p. 10.

B. Translated to Persian:

  1. ‘Problème des musées’, by Paul Valéry, Herfeh:Honarmand 53, winter 2014, pp. 124-125.
  2. ‘Anatomic Interaction’, review of Fatemeh Pasha’s exhibition at Azad Art Gallery, 17 July 2009.
  3. ‘Placeless Time, Song of Cock’, texts by Mehdi Sahabi and Aydin Aghdashloo, review on Mostafa Darrehbaghi’s exhibition at Aaran Gallery, 22 May 2009.
  4. ‘Capital in Capital Letters’, by Homayoon Askari Sirizi, review of Arash Hanai’s exhibition at Aaran Gallery, 24 April 2009.
  5. ‘Manifesto in a Clear Language’, Antonin Artaud, Rokhdaad website, April 2009.
  6. ‘Renovation for Energy—Efficiency: Principles, Issues To Be Addressed, Possibilities’, by Roberto Gonzalo, Memar 42 (Spring 2007): 13-15.
  7. ‘Imagination: The Branding of Experience’, by Stuart I. Frolick, Memar 42 (Spring 2007): 104.
  8. ‘The Mediated Motion’, by Gunter Vogt, Memar 42 (Spring 2007): 105.
  9. ‘Office Design Standards’, by Dadvid Adler, Memar 41 (Winter 2006): 3-6.
  10. ‘Detail Award 2005 for Aesthetics and Construction’, Memar 30 (2005).
  11. ‘Seattle Central Library’, by Barbara Lamprecht, Memar 29 (March 2005): 151-155.
  12. ‘Natural Balance’, by Rita Capezzuto, Memar 26 (Summer 2004): 118-129.
  13. ‘Glass Action’, Memar 26 (Summer 2004): 74- 75.
  14. ‘Variations on the Museum’, by Sebastiano Brandolini, Memar 26 (Summer 2004): 65-69.
  15. ‘Deep Planning’, by John Thackara, Memar 21 (Summer 2003): 35-36.
  16. ‘A Subtle View of the Modern Movement’, by Roberto Dulio, Memar 21 (Summer 2003): 5.
  17. ‘Structure and Cladding’, by Michele Calzavara, Memar 20 (Spring 2003): 4.
  18. ‘Informal Engineer’, Memar 20 (Spring 2003): 146-147.
  19. ‘Alexandria Library Reborn’, Memar 20 (Spring 2003): 98-105.
  20. ‘At the Carwash’, by Clare Melhuish, Memar 20 (Spring 2003): 46-49.
  21. ‘Roller-coaster Construction’, Memar 17 (Summer 2002): 79-92.
  22. ‘The Ever-Elusive Le Corbusier’, by William J. R. Curtis, Memar 17 (Summer 2002): 12-13.
  23. ‘From Builder’s Son to Architect (Renzo Piano’s Profile)’, Memar 16 (Spring 2002): 66-73.

Lectures:

  1. „Das visuelle Tagebuch eines Pirschjägers: Begegnung mit iranischer Kunst seit 1953“, Fridtjof-Nansen-Akademie für politische Bildung, at the conference: Bildkünste zwischen dem Nahen Osten und Europa: Transfers, Bezüge, Abgrenzungen, Fridtjof-Nansen-Haus, 2-4 Mai 2016, Ingelheim, Germany.
  2. „Was gibt es daran nicht zu verstehen? Zeitgenössische iranische Kunst und ihre Rezeption“, at the opening of the Good News From Iran exhibition, Pasinger Fabrik, München, 14 Oct. 2014.
  3. ‘The Iranian Mirror of Bahman Mohasses’, paper given at the Symposium of the Munich Doctoral Program for Literature and the Arts MIMESIS: ‘Mimetic Surfaces: Reflections on Mirrors in the Arts’, 14-15 July 2014, Kloster Ettal, Germany
  4. ‘The Double System of Image Production in Post-Revolution Iran’, Institute of Iranian Studies, Freie Universität Berlin, 20 June 2012
  5. ‘The Aftermath of Image Production Revolution in Post-Revolution Iran’, Iranian Contemporary Art Symposium, Bonn University, Bonn, 19 May 2012
  6. ‘City as Graphics: Deciphering the Urban Stammering of Tehran’, American University of Beirut, Dept. of Architecture and Design, Beirut, 18 April 2012.
  7. ‘Post-Modernism and Iran’, panel with Iman Afsarian, Helia Darabi, Hamid Reza Sahhafzadeh, Mah-e-Mehr Institute, Tehran, Iran, 15 June 2011.
  8. ‘Fashion Design as an Applied Art’, Shariati University,Tehran, Iran, June 2011.
  9. ‘Interactive Art’, Isfahan Society of Painters, Isfahan, Iran, 4 Nov. 2010.
  10. ‘Installation Art’, Tooba Cultural Center, Bandar Abbas, Iran, 17 Sept.010.
  11. ‘Performance as Theory and Art’, Howzeh Honari, Shiraz, Iran, 4 Aug. 2010.
  12. ‘Contemporaneity and Iranian Situation’, Howzeh Honari, Shiraz, Iran, 30 June 2010.
  13. ‘Guiding Design Patterns in Qajarid Architecture and Decoration’, Ninth Annual IQSA Conference 2009: Architecture in Qajar Persia, Institute for Iranian Studies of the Austrian Academy of Sciences, University of Vienna, and co-sponsored by the Historians of Islamic Art Association (HIAA), Vienna, Austria, 4-5 June 2009.
  14. ‘Artaud’s Knife and the Persian Language’, delivered at Freie Universität Berlin before students of Iranian Studies, 28 May 2009.
  15. ‘Public Spaces and the Politics of State Experience in Iranian Cities’, Oriental City Conference, Dept of Interdisciplinary Eurasiatic Research, Institute of  Oriental Philology, Jagiellonian University, Krakow, Poland, 20-22 May 2009.
  16. ‘Performance in Contemporary Art’, Avicenna Cultural Centre, Tehran, Iran, 2 March 2009.
  17. ‘Performance Art and Iranian Situation’, Hormoz Evironmental Art Festival, Hormoz, Iran, 11 Feb. 2009.
  18. ‘Badiou Ethics and Postmodern Nihilism’, Contemporary Leftists Discourses Seminar, Politico-Economical Theory Institute, Tehran, Iran, 22 Jan. 2009.
  19. ‘Mitra Tabrizian: Photography and Contemporary Visual Paradigm’, Research Week Seminar, Honar University, Tehran, Iran., 13 Dec. 2008.
  20. ‘Metaphysics of Absence: Shiraz Martyr’s Museum’, Dept of Visual Cultures, Goldsmiths College, University of London, London, UK, 2 Dec. 2008.
  21. ‘Iranian Contemporary Culture as a Beckettian Mode of Expression’, Artist’s Talk, presentation at Dept of Visual Cultures, Goldsmiths College, University of London, London, UK, 25 Nov. 2008.
  22. ‘Richard Rogers and His High-Tech Architecture’, Zabol University, Zabol, Iran, 20. Oct. 2008.
  23. ‘Politics of Opening: Translation as Authorship (Urbanism and Multi-Layered Translation)’, presentation for Jan van Eyck Academy students at Pages Magazine Workshop, Tehran, Iran, 22 Aug. 2008.
  24. ‘Educating Contemporary Art’, talk with Dr Keshmirshekan, Channel 4, National Television, 8 June 2008.
  25. ‘The Function of Ornament in Applied Arts’, Persian Applied Arts Seminar, Sooreh Institute of Higher Education,  24 May 2008.
  26. ‘Adolf Loos on Ornament: Aesthetics of Our Architecture Today’, Zabol University, Zabol, Iran, 21 April 2008.
  27. ‘The Role of The New and Persian Contemporary Arts’, Visual Arts Festival, Zabol University, Zabol, Iran, Dec. 2008
  28. ‘Performance and Performativity’, Cinema and Theatre University, Tehran, Iran, 16 Oct. 2007.
  29. ‘Kant’s Aesthetic Theory’, Darvag Art Institute, Shiraz, Iran, Sept. 2007.
  30. ‘The Role of Creativity in the Design of Architectural Ornamentation in Q?jar Period,’ Arts and Crafts Second Student Festival, Shiraz, Iran, 7 Oct. 2004.

Events Organised:

A.Talks and lectures:

  1. Artist Talk: Mitra Tabrizian, presentation for students of Photography Dept., Honar University, Tehran, Iran, 14 April 2009.
  2. Artist’s Talk: Ghazaleh Hedayat, Honar University, Tehran, Iran, 1 Dec 2008.
  3. Artist’s Talk: Shadi Ghadirian, Honar University, Tehran, Iran, 17 Nov 2008.
  4. Artist’s Talk: Peyman Hooshmandzadeh, Honar University, Tehran, Iran, 3 Nov 2008.
  5. Artist’s Talk: Farshid Azarang, Honar University, Tehran, Iran, 20 Oct. 2008.
  6. ‘Museum Design and Cultural Industry: A Critique’, lecture by Amir Ahmadi Arian, Zabol University, Zabol, Iran, 14 Dec. 2007.
  7. ‘Neo-Conceptual Trend in Contemporary Art Today’, lecture by Hamid Severi, Zabol University, Zabol, Iran, 29 Nov. 2007.
  8. ‘Sociology of the Arts’, lecture by Mohammad Hassan Ahmadi, Zabol University, Zabol, Iran, 23 Nov. 2007.
  9. ‘Recent Trends in Contemporary Art’, lecture by Behnam Kamrani, Tehran Museum of Contemporary Arts, Tehran, Iran, 2 Nov. 2007.
  10. 10.  ‘Historical Account of Museum Development in Iran’, lecture by Aidin Aghdashloo, Tehran Museum of Contemporary Arts, Tehran, Iran, 1 Nov. 2007.

B. Panels:

  1. Curator’s talk with Christoph Sehl for ‘Tehran Mon Amour’ exhibition at Galerie Royal, Munich, 27 March 2015.
  2. Discussion panel with Mehrdad Najmabadi for ‘Hozoor’ photography exhibition, Aria Gallery, Tehran, Iran, 23 June 2011.
  3. Discussion panel with Hamid Severi for Salvador Dali Print Exhibition, Aria Gallery, Tehran, Iran, 30 May 2011.
  4. Discussion panel with Mehdi Moghimnejhad for Photo of the Year competition winners’ exhbition, Mohsen Gallery, 31 May 2010.
  5. Discussion panel regarding Amir Mobed’s performance piece at Mohsen Gallery, Tehran, Iran, 28 May 2010.
  6. Viewer’s poll for selection of solo exhibition artist at Mohsen Gallery among 17 artists, panel with Behrang Samazadegan and Mehrdad Mohebali, Mohsen Gallery, Tehran, Iran, 24 May 2010.
  7. Discussion panel with Helia Darabi and Dr Hamid Keshmirshekan for group exhibition titled ‘Obligatory Military Services’, Mohsen Gallery, Tehran, Iran, 17 May 2010.
  8. Discussion panel with Amir Hossein Bayani, Sohrab Mahdavi and Khosrow Khosravi for group exhibition titled ‘In Honour of 68’, Mohsen Gallery, Tehran, Iran, 10 May 2010.
  9. ‘Installation in Iran’, discussion panel with Homayoon Askari Sirizi and Shirin Hajkarimloo, Mohsen Gallery, Tehran, Iran, 3 May 2010.
  10. Discussion panel with Amir Hossein Khorshidfar, Hamid Sever, Mehran Mohajer and Azadeh Akhlaghi for Akhlaghi’s photo exhibition titled ‘Me, as the Other Prefers’, Mohsen Gallery, Tehran, Iran, 26 April 2010.
  11. Discussion panel with Amir Hossein Bayani, Behrang Samadzadegan, Shahoo Babai, Hamid Reza Jadid, Mohammad Eskandari and Mehdi Hosseini Esghlaghi for group exhibition titled ‘Fereydoon Khan’, Mohsen Gallery, Tehran, Iran, 19 April 2010.
  12. Panel with Riad Komu and Behnam Kamrani for Komu’s solo exhibition titled ‘Safe to Light’ at Azad Art Gallery, Tehran, Iran, April 2010.
  13. Group discussion with participants of Mohsen Gallery Drawing Auction, Mohsen Gallery, Tehran, Iran, 8 March 2010.
  14. Discussion panel with Pooya Abbasian, Farshid Monfared, Behrang Samadzadegan and Hamid Severi for Abbasian and Monfared’s exhibition titled ‘Aklil-ul-Molook’, Mohsen Gallery, Tehran, Iran, 1 March 2010.
  15. Discussion panel with Hediyeh Ahmadi, Amir Hossein Bayani and Behnam Kamrani for Ahmadi’s photo installation titled ‘Fashion Network’, Mohsen Gallery, Tehran, Iran, 22 Feb. 2010.
  16. ‘Art and Aggression’, discussion panel with Amir Ahmadi Arian, Iman Afsarian and Behran Samadzadegan, Mohsen Gallery, Tehran, Iran, 11 Jan. 2010.

C.Workshops:

  1. ‘Ass without a Burden Surely Walks Nimbly’, with Maryam Taghavi, LeRoy Neiman Center, School of the Art Institute of Chicago, 13-15 Feb. 2016.
  2. ‘Designing with Sections’, workshop on architectural design at Semnan University, Semnan, Iran, 24 April 2011.
  3. ‘Performance, Citizenship, New Media’, workshop on performance art with Prof. Richard Schechner at Silk Road Gallery, Tehran, Iran, 15-16 April 2011.
  4. Interactive Art Workshop, performance/installation with /a:t/BrE group at Isfahan Society of Painters, Isfahan, Iran, 4 Nov. 2010.
  5. ‘Cutartists’ Workshop’, performance art workshop with /a:t/BrE group, Howzeh Honari, Shiraz, 5 Aug. 2010.
  6. ‘Creative Exhibition Statement Writing’, Howzeh Honari, Shiraz, 1 July 2010.
  7. With Dimitra Natskouli at Performance: Theory and Practice course, 15, 22 and 29 Aug. 2009 at Mah-e-Mehr Art Institute, Tehran, Iran.
  8. With Dimitra Natskouli on Performance Art and Movement Therapy, Khorshid Institute, 20 Aug. 2009, Yazd, Iran.
  9. With Mitra Tabrizian for Honar University students, Tehran, Iran, 15 April2009.
  10. ‘Museum Design’, with Firouz Firouz, Zabol University, Zabol, Iran, 12 Feb. 2008.
  11. ‘Design Process’, presentation of works and architectural design workshop, with Mohammad Majidi, Zabol University, Zabol, Iran, 27 Dec. 2007.
  12. ‘Museum Design’, with Nasrin Faghih, Zabol University, Zabol, Iran, 7 Dec. 2007.

D.Video-Links:

  1.  ‘Performance, Citizenship, New Media’, with Prof. Richard Schechner at Silk Road Gallery, Tehran, Iran, 15-16 April 2011.
  2. ‘Performance and Politics’, with Dr Gavin Butt from Dept. of Visual Cultures, Goldsmiths College, London, organized at Mah-e-Mehr Institute, Tehran. 30 Sept. 2009.
  3. With Lord Richard Rogers, UK, on topic of urban desing, organized at Zabol University, Zabol, Iran, 21 Oct. 2008.
  4. ‘Architectural Education’, with Prof. Mohsen Mostafavi, Harvard University, USA, organized at Zabol University, Zabol, Iran, 19 May 2008.
  5. Third System of the Arts’, with David Clowney from Rowan University, New Jersy, USA, organized at Sooreh Institute of Higher Education, Tehran, Iran, 9 March 2008.
  6. ‘Museum, History and the Viewer’s Power’, video-link with Dr Jean-Paul Martinon from Goldsmiths College, University of London, UK, organized at Zabol University, Zabol, Iran, 29 Nov. 2007.

E.Competitions:

  1. ‘Action, Expression, Creativity’, painting competition jury member (together with Ali Nasir), Mah-e-Mehr Institute, Tehran, Iran, 2012.
  2. Architectural competition sponsored by Detail Magazine, Germany, for Students of Zabol University, Zabol University, Zabol, Iran, 21 April 2008
  3. Architectural competition sponsored by El Croquis Magazine, Spain, for Students of Zabol University, organized at Zabol University, Zabol, Iran, 21 April 2008
  4. Architectural competition sponsored by Sassan Afshar for Students of Zabol University, organized at Zabol University, Zabol, Iran, 21 April 2008
  5. Architectural competition sponsored by Superpipe Company for Students of Zabol University, organized at Zabol University, Zabol, Iran, 21 April 2008

F. Seminar:

  • Symposium of the Munich Doctoral Program for Literature and the Arts MIMESIS: ‘Mimetic Surfaces: Reflections on Mirrors in the Arts’, 14-15 July 2014, Kloster Ettal, Germany (jointly organized with MIMESIS group)
  • ‘The Aesthetic Status of Applied Arts in Iran Today’, seminar at Sooreh Institute of Higher Education, 31 May 2008, lectures and panel by Omid Mehrgan, Dr Mohammad Hassan Ahmadi, Amir Ahmadi Arian, Aidin Aghdashloo, Helina Ghaemi, Hamid Severi and Bavand Behpoor. Together with a video-link with Dr David Clowney, Rowan University, NJ, USA..

Video Art:

  • ‘A kiss for Tzara’ & ‘Highly Problematic’, River’s Edge Film Festival, August 17-20, 2006, Paducah, Kentucky, USA.
  • ‘Madder Lake Dream’, 2nd Athens Video Art Festival, 6 April 2006, Athens, Greece.
  • ‘Freehand Rachmaninoff’, Bodylicious exhibition, presented by JIL Project, Flux Laboratoy, 31st March-1st April, Geneva, Switzerland, 2006.

Performing Arts:

  • ‘What Is Left Is a Woe, an Outcry and a Memory’, Goldsmiths College Visual Cultures Dept. tenth anniversary, The Show Room, London, 6 Dec. 2015 (Performed by Alice Jump)
  • Lecture performance at Trashing Performance programme, London, 28 Oct. 2011. (Performed by Augusto Corrieri)
  • Designed and Performed Hugoball, Hormoz Evironmental Art Festival, Hormoz, Iran, 10 Feb. 2009.
  • Directed Carwash, Ab Miravim Performance Group, Tehran, 26 Dec 2008.
  • Performed  and directed Art Intervention, Ab Miravim Perfromance Group, Tehran Museum of Contemporary Art, Tehran, Iran, 21 Dec 2008. Broadcast on Arte channel on 11 Feb. 2009 as a part of the film ‘The Cave of Treasures’ by Bahman Kiarostami.
  • Performed and directed Dada Matinée, Ab Miravim Performace Group, Laleh Park, Tehran, Iran, 19 Dec 2008. Broadcast on Arte channel on 11 Feb. 2009 as a part of the film ‘The Cave of Treasures’ by Bahman Kiarostami.
  • Performed and directed Talking holes/Eating holes, Time for Pill Performance Group, Tooti Tala’i Restaurent, Tehran, Iran, 18 Dec 2008.
  • Directed group performace Reading Out with Hadi Nasiri and students of Honar University, Valiasr St, Tehran, Iran, 29 Sept. 2008.
  • Set designer of ‘Quartet’, by Amir Reza Koohestani, Mowlavi Theatre, Tehran, Iran, Sept 2007.
  • Performance with Dimitra Natskouli, in front of Tate Modern, Feb. 2006, London, UK.
  • Directed group performance, Goldsmiths College, Feb. 2006, London, UK.
  • Set designer of ‘Amid the Clouds’, by A.R.Koohestani, Kunsten Festival Des Arts, Brussels, May 2005,  London International Festival of Theatre(LIFT), Royal Court Theatre, London, July 2005 and other festivals at Paris, Vienna, Zurich and Tehran. (paid work)
  • Writing consultant, ‘Dance on Glasses’, by A.R.Koohestani, Theater der Welt, Bonn, Germany, June 2002, 5th International Chekhov Olympiad, Moscow, Russia, May 2003, and also shown in France, Italy, Switzerland and Canada.
  • Attended Contemporary Dance class at Laban Centre, London, UK.
  • Attended Mitra Najmabadi’s Set Design Workshop, Shiraz, Iran, 2002.

Exhibitions:

  • Taipei Biennial, Taipei, Republic of China, Sept. 2012.
  • ‘Notebooks’ (group exhibition), Azad Art Gallery, Tehran, Iran, 13-25 May 2011.
  • ‘Text Installations’, Ave Gallery, Tehran, Iran, 5-11 Oct. 2007.
  • NOISE Festival (cross-media virtual arts festival), Oct. 2006, Manchester, UK.
  • Curated ‘Contemporary Persian Artists Group Exhibition’, Goldsmiths College, London, UK, 9-23 Jan 2006.
  • ‘Group Exhibition with Salim Sefidbakht’, Vesal Gallery, Shiraz, Iran. 20-25 Feb. 2000.
  • ‘11th Iranian Artists Festival’, Fars Gallery, Shiraz, Iran. Sept. 1999.
  • ‘Mehr Gallery Third Group Exhibition’, Mehr Gallery, Shiraz, Iran. Sept. 1999.
  • ‘Fars Artists Group Exhibition’, Fars Gallery, Shiraz, Iran. March 1999.
  • ‘Mehr Gallery Second Group Exhibition’, Fars Gallery, Shiraz, Iran. 8-15 Jan. 1998.
  • ‘Hafiz First Annual Memorial’, Shiraz, Iran. 12 Oct. 1997.
  • ‘Mehr Gallery First Group Exhibition’, Vesal Gallery, Shiraz, Iran. 11-20 Jun. 1996.

Curatorship:

  • ‘Fake for Glory’ (co-curated with Judith Rottenburg and Frank Campoi), Galerie Royal, Munich, Germany, 30 Oct.-1 Dec. 2015. Exhibition accompanying international conference: Faking, Forging, Counterfeiting: Descredited Practices at the Margins of Mimesis
  • Part of Taipei Biennial with Reza Abedini, Taipei, Republic of China, Sept. 2012.
  • Salvador Dali Prints’, Aria Gallery, Tehran, Iran, 27 May-12 June 2011.
  • ‘Performance Box Curatorship’, Mohsen Gallery, Tehran, Iran, 1-6 Oct. 2010.
  • ‘Drawing Auction’, jointly curated with Rozita Sharafjahan, Shahpour Pouyan and Behnam Kamrani at Mohsen Gallery, 5-17 March 2010.

Translated

Ethics: Essay on the Understanding of Evil


Socialism and Individualism


Authored

Truth is a Mammal Walking Down the milky Way


Edited

Cities of Past, Cities of Future

Todorov in Tehran

Walid Sadek and Literary Power of Absence

As an Iranian couple in their honeymoon one with blood red hair the other without any, looking for an art center in an industrial zone we must have appeared bizarre to the locals of Eastern Beirut at Jisr-el-Wati next to Beirut River.

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Right to Fashion, Right to Contemporaneity

1.

I am standing in front of the movie theatre. From the façade, you cannot tell it has been closed for twenty years. I hold my hands next to my face and look inside. What I see does not quench curiosity, it increases it. A sumptuous winding staircase rises to the second floor. Some dusty closed box-office wickets. The rest in darkness. Delicate golden door frames. Everything is a la mode. A la mode de quand?

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Silence Is The Blood Whose Flesh Is Singing

Statement for Homa Bazrafshan’s exhibition at Shirin Gallery, titled ‘I Am a Vineyard Myself’.

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Fires in Forests

Statement for Melodie Hosseinzadeh’s exhibition titled ‘Storks Won’t Come Back Again’ at Azad Art Gallery,  25-30 Sept. 2009.

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Fashion Labyrinth

Statement for Hedieh Ahmadi’s photo installation titled ‘Fashion Network’ at Mohsen Gallery, 19-24 Feb. 2010.

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