Kaarnamaa Institute of Art & Visual Culture
ABOUT US
WHO WE ARE
Kaarnamaa Institute of Art and Visual Culture is an independent research and educational organization, dedicated to the study of global modern art and visual culture through scholarly publications, academic courses, and public programs in the fields of art history and visual studies. Kaarnamaa’s community of researchers, writers, and educators are committed to promoting scholarship about the transnational art of the twenty-first century and alternative narratives of modern art through multiple platforms, including the Institute’s quarterly periodical, Kaarnamaa; A Journal of Art History and Criticism, academic courses, public programs, and oral history project and archives.
Kaarnamaa means exhibition in Persian.
WHAT WE DO
Kaarnamaa Institute of Art and Visual Culture works to accomplish its mission through three distinct, yet interconnected departments:
Publication
Kaarnamaa; A Journal of Art History and Criticism analyzes global modern art and visual culture in the twenty-first century. Established in 2017, the journal publishes (both in print and online) scholarly essays, articles, and reviews which are edited to discover connections and patterns among artists and exhibitions. One of the projects embedded in the print version of the journal is the Meta-Text, in which the journal invites artists to take over around twelve pages of the quarterly to create a project akin to an artist’s book.
Kaarnamaa: A Journal of Art History and Criticism is registered under ISSN number 2578-9287 at the Library of Congress. Please see the journal’s archive below.
Education
Kaarnamaa is also invested deeply in training the new generation of art historians, critics, and art writers through academic courses which strive to be part of the alternative modes of contemporary education and scholarship outside traditional academia. One of these courses, “The History of Modern Art in Iran”, is a transdisciplinary lecture and seminar series that offers precise and diverse narratives of the subject in collaboration with a wide range of scholars in Iran and in the diaspora. Alongside this course, Kaarnamaa also publishes the Chronology of Modern Art and Visual Culture in Iran; a visual study of the topic from the Persian Constitutional Revolution in 1905 to the present day.
Public Programs and Oral History
In the past ten years, Kaarnamaa has been in constant conversation with artists, writers, critics, and curators, providing direct access to their works and words. Through talks, lectures, panels, and interviews, Kaarnamaa records the diverse voices of contemporary artists and helps reconstructing the broken narratives of modern art in Iran. This includes Kaarnamaa’s semiannual panel of critics which analyzes and discusses the most significant art events of Iranian art today. In 2018, based on this unparalleled collection of first-hand narratives, the Institute launched the Oral History Project as the first part of its Archives of Iranian Art. Kaarnamaa has benefited from the contribution of many artists, writers, and scholars to compile and process these resources.
OUR BACKGROUND
Each of these projects has its own independent history, and in 2014, they coalesced into Kaarnamaa (and its English sister publication, Accent Wall). The group who founded Kaarnamaa had previously worked closely with each other for almost five years. In this latent period, the collective published hundreds of reviews and news articles, and formulated the form, content, and strategy of its publications and public programs. Since 2012, with the contribution of a wide range of Iranian artists and writers, Kaarnamaa has organized more than 200 public programs and interviews. In 2017, Kaarnamaa; a Journal of Art History and Criticism, the Institute’s flagship quarterly publication was launched. In 2018, Kaarnamaa began its Oral History Project as the first part of the institute’s Archives of Iranian Art. In 2020, the Institute launched its research and education program, comprising of online academic courses on various aspects of art history, theory, and criticism.
EDITORIAL BOARD
& CORE FACULTY
Kaarnamaa Institute of Art is an all-volunteer community of scholars, writers, and editors who work simultaneously from the Institute’s headquarters in New York, London, and Tehran. Kaarnamaa’s editorial board and core faculty consists of Æli Reza Sahaf Zadeh, founder and editor; Hosein Eyalati, editorial director, Raha Khademi, managing editor; Sam Mohtasham, associate editor; Nazanin Noroozi, editor-at-large; Katayoon Dashtbazi, Sara Sarafrazfard, assistant editors; and, Narges Karimian, Mehran Khoshnevis, and Kaveh Zohdi; research assistants. Mohammad Reza Mirzaei, Manzar Mohammadi, Kamnoush Khosravani, Foruzan Nazari, and Elham Salemian routinely contribute to the Institute’s projects.
Kaarnamaa regularly partners with other research, educational, and artist-run organizations. We have benefited from the support and collaboration of Charsoo Institute of Art and Culture, Iran Heritage Foundation, Tandem of Culture, and Tanbafi.
SUPPORT US
As a mission-led institution whose core faculty and editors work voluntarily, we have chosen to rely on the individual support of our readers and community members. Kaarnamaa has never been a for-profit institution and will never be. We do not run advertisements, nor do we accept governmental grants. For the daily operation of the Institute, we need the help of people like you who believe in our mission and what we do. Your donations or gifts of any size keep us going and enable us to increase Kaarnamaa’s reach and impact by maintaining fair prices for students who need our services.
CONTACT
Please contact us, should you need more information, have a specific inquiry about our courses, or would like to purchase or subscribe to the Journal.
Summer 2023 | V 7, N 2
Woman, Life, Liberty
Woman, Life, Liberty, and the Arts; A Chronicle | Kaarnamaa
Forget the Gallery: Iranian Art and Social Activism during the “Woman, Life, Liberty”
Movement | Milad Rostami
Woman, Life, Liberty, and the Seismic Reconfigurations of Culture | Æli Reza Sahaf Zadeh
The Poorness of Defiant Images | Hosein Eyalati
Iranian Artists on “Woman, Life, Liberty”, A Kaarnamaa Panel | Raha Khademi
Spring 2023 | V 7, N 1
Woman, Life, Liberty
Hair: Grappling with Hijaab the Work of Iranian Women Artists | Raha Khademi
Body Is Not a Medium: Three Performances of ‘Woman, Life, Liberty | Raha Khademi
Bodies Composted; Visual and Tactile Components of Kin-Making through Zhina Uprising in Iran | Kamnoush Khosrovani
Dancing on the Ashes of the City/Temple | Saba Memar
May 68 Posters: Art in the Streets | Kaarnamaa
What’s Your Plan? Revolution! Détournement and Subversive Art | Hajjir Raad
The Lessons We Did Not Learn: Guernica and the Political Art | Kaarnamaa
Direct Action and “Woman, Life, Liberty” Movement | Kaarnamaa
Winter 2023 | V 6, N 4
Woman, Life, Liberty
Fall 2022 | V 6, N 3
META-TEXT: Woman, Life, Liberty
Spring 2022 | V 6, N 1
FROM HISTORY TO CRITICISM
Dan Graham: 1942-2022 | Narges Karimian
Lawrence Weiner: 1942-2021 | Narges Karimian
Wayne Thiebaud: 1920-2021 | Forouzan Nazari
bell hooks: 1952-2021 | Elham Salemian
Dave Hickey: 1940-2021 | Mehran Khoshnevis and Elham Salemian
Jean-Luc Nancy: 1940-2021 | Kaveh Zohdi
Nick Zedd: 1958-2022 | Hajjir Raad
Virgil Abloh: 1980-2021 | Kaarnamaa
Etel Adnan 1925-2021 | Kaarnamaa
Hossein Valamanesh: 1949-2022 | Kaarnamaa
META-TEXT
Jonas Höschl
POSTFACE
The Moment of Photography | Sam Mohtasham
Carrie Mae Weems: Passages and Performances of Identity | Æli Reza Sahaf Zadeh
Lessons on Subversive Thinking: The Marquis De Sade and the Avant-Garde | Æli Reza Sahaf Zadeh
Let the Record Show: A Political History of ACT UP New York, 1987-1993 | Kaarnamaa
A Black Gaze; Artists Changing How We See | Kaarnamaa
Architecture in Global Socialism | Mehran Khoshnevis
Winter 2022 | V 5, N 4
FEATURES
Modern Art in Iran, 1950s-1970s; A Taxonomy | Raha Khademi
Tehran Auction and the Ideological State Apparatus of the Arts | Milad Rostami
ART AS IT HAPPENS
Grid and Serial Imagery in Post-Conceptual Art | Æli Reza Sahaf Zadeh
Jasper Johns: Paragone Regained | Hosein Eyalati
Matter and Desire: Postminimal Sculpture | Kaarnamaa
META-TEXT
Sonia Balassanian
POSTFACE
Catherine Opie | Æli Reza Sahaf Zadeh
The Films of Andy Warhol, Catalogue Raisonné | Kaarnamaa
Vernacular Photography | Kaarnamaa
Fall 2021 | V 5, N 3
FEMINIST FUTURE
The Decline of Male Reason and Feminist Future | Milad Rostami
Judy Chicago: Activism and Creation | Sam Mohtasham and Elham Salemian
Figuration versus Abstraction: The First Generation of Modern Iranian Women Artists | Raha Khademi
META TEXT: Ron Athey
ART AS IT HAPPENS
Otherness in the Time of Epidemics | Sam Mohtasham
Historiography in the Center | Raha Khademi
POSTFACE
Queer Ascesis: Transgression and Endurance in Performance Art of the Late-Twentieth Century | Æli Reza Sahaf Zadeh
Merce Cunningham: After the Arbitrary
Helen Frankenthaler: Fierce Poise
Stephen Shore: Steel Town and Transparencies
Chronologies of Art
FROM HISTORY TO CRITICISM
Chuck Close 1940-2021| Forouzan Nazari
Louise Fishman: 1939-2021| Sara Sarafrazfard
Summer 2021 | V 5, N 2
ABSTRACT REPRESENTATION
Figures on the Verge of Abstraction | Milad Rostami
Abstraction and Feminine Identity in Modern Art | Sam Mohtasham
Julie Mehretu: Opacity and Otherness | Mahsa Biglow
REVIEWS
Lynn Hershman Leeson: Deconstruction of the First Person Singular | Hosein Eyalati
Three, Two, One: Alice Neel’s Bodies | Katayoon Dashtbazi
META TEXT | Omer Fast
FROM CRITICISM TO HISTORY
Anna Halprin: The Life and Art Duo | Kamnoush Khosrovani
Richard Nonas: 1936-2021
Mary Beth Edelson, 1933-2021 | Elham Salemian
Gene Youngblood 1942-2021 | Forouzan Nazari
Christian Boltanski: 1944-2021
Spring 2021 | V 5, N 1
RADICAL BODY
Trace of the Body: David Hammons | Raha Khademi
Homogeneous Identities / Maladaptive Bodies | Raazieh Pourfazli
Sunil Gupta: Peripatetic Identity | Katayoon Dashtbazi
Jesper Just: On your Behalf | Hosein Eyalati
REVIEWS
Political Abstraction: Howardena Pindell and Harmony Hammond | Milad Rostami
Decisive Moments: Bruce Davidson and Engaged Photography | Sara Sarafrazfard
Tending to Object | Sam Mohtasham
META TEXT: Golnar Adili
POSTFACE
Mary Ellen Mark
The New Monuments and the End of Man
Heritage and Debt
FROM CRiTICISM TO HISTORY
Barbara Rose | Sam Mohtasham
Sally Banes | Elham Salemian
Cindy Nemser | Forouzan Nazari
Winter 2021 | V 4, N 4
ELECTRONIC MEDIA
MeToo and Contemporary Iranian Art | Raha Khademi and Mahsa Biglow
Nam June Paik: The Future that was Now | Sam Mohtasham
Keith Sonnier and Mary Weatherford: Electronic Material | Milad Rostami
Ludification in the Art of Ericka Beckman | Æli Reza Sahaf Zadeh
AI between Gadgetry and Systems | Mahsa Biglow
Monitoring the Earth: Art and Ecosystem | Cepideh Eghtedari
METATEXT: Martha Wilson
REVIEWS
Steven Parrino: Necrophilia and Painting | Raha Khademi
Sterling Ruby: Rearranging Modern Order | Cepideh Eghtedari
Dana Schutz: Unexpected Narratives | Sara Sarafrazfard
POSTFACE
LIFE Magazine and the Power of Photography | Kaarnamaa
The Photography Cultures Reader: Representation, Agency and Identity | Kaarnamaa
Yvonne Rainer: Work 1961-73 | Kaarnamaa
Fall 2020 | V 4, N 3
ALTERITY
Discourses of the Others and De-Centering the Canon | Hosein Eyalati and Æli Reza Sahaf Zadeh
Frank Walter: Modern Art and Otherness | Milad Rostami
Lynette Yiadom-Boakye: Be Some Other Color | Raha Khademi
Self-Representation: Gordon Parks, Dawoud Bey, Deana Lawson, Tyler Mitchel | Editors of Kaarnamaa
An-My Lê: Simulacra of the Sublime | Æli Reza Sahaf Zadeh
METATEXT: David Salle
REVIEWS
Allen McCollum: Taxonomy of Forms | Mahsa Biglow
Between Street and Stage: Philip-Lorca diCorcia and Paul Graham | Katyoon Dashtbazi
Mamma Andersson: Ambivalent Topographies | Sara Sarafrazfard
POSTFACE
Jim Dine; The Secret Drawings | Editors of Kaarnamaa
Masculinities; Liberation through Photography | Editors of Kaarnamaa
America; Films from Elsewhere | Editors of Kaarnamaa
FROM CRITICISM TO HISTORY
Larry Kramer | Sam Mohtasham
Milton Glaser | Katayoon Dashtbazi
Summer 2020 | V 4, N 2
EXPANDED PAINTING
Gerhard Richter: The Dialectic of Color and Silver | Hosein Eyalati
Wade Guyton: Hand of the Machine | Raha Khademi
Emancipated Painting: Paint and Gravity in the Work of Vivian Suter, Sam Gilliam, and Katharina Grosse | Katayoon Dashtbazi
David Park: Doubt and Dread | Editors of Kaarnamaa
Figurative Painting Now: Institutional Criticism | Milad Rostami
METATEXT: R. H. Quaytman
REVIEWS
Peter Saul: Socialist Pop | Sara Sarafrazfard
Paul McCarthy: A Recipe for Disaster | Mahsa Biglow
Pattern and Decoration: Matisse’s Armchair | Sam Mohtasham
Christo and Jeanne-Claude: Form and Being | Raazieh Pourfazli
FROM CRITICISM TO HISTORY
Germano Celant
Susan Rothenberg
Zarina
POSTFACE
Persia Reframed: Iranian Visions of Modern and Contemporary Art
A Modernism toward Yesterday, or even Tomorrow | Mohammadreza Mirzaei
Spring 2020 | V 4, N 1
OBJECT
Donald Judd: Folding Space into Objects | Milad Rostami
Rachel Harrison: Avant-Garde and Meme | Raha Khademi
Sarah Sze: Things | Mahsa Biglow
Environment as a Medium | Raazieh Pourfazli
REVIEWS
Hans Haacke: On the Threshold of Autonomy | Hosein Eyalati
Watching the Pain of Others | Mahsa Biglow
The Politics of Identity in Shirin Neshat’s Work | Editors of Kaarnamaa
Nicky Nodjoumi: Good Old Days, Bad New Days | Sara Sarafrazfard
METATEXT: ARTIST’S PROJECT
A. L. Steiner and Nicole Killian
POSTFACE
Anne Teresa De Keersmaeker: Dance and its Trace | Kamnoush Khosrovani
More than one Image: An Art History of the Hyperimage | Sam Mohtasham
FROM CRITICISM TO HISTORY
Massoud Arabshahi: 1935-2019
May Stevens: 1924-2019 | Sam Mohtasham
Winter 2019 | V 3, N 4
PHOTOGRAPHY
Allan Sekula: The Order of Images | Hosein Eyalati
Rezoning: Street Photography | Sam Mohtasham
Cindy Sherman: The Wrong Woman | Katayoon Dashtbazi
Alex Prager: Californication | Raha Khademi
After Mapplethorpe: Monologues for the Camera | Editors of Kaarnamaa
Paul Mpagi Sepuya: Surface Tension | Parastoo Aslanbeik
Optical Unconscious, and the Sometimes Failed Magic in Photography Today | Mohammadreza Mirzaei
POSTFACE
Pier Groups, Just Kids, Bloodflowers
META-TEXT: ARTIST’S PROJECT
John Lehr
REVIEWS
Vija Celmins: Visual Transmutations | Raha Khademi
Mika Rottenberg: Post-Industrial Aesthetics | Cepideh Eghtedari
Barbara Hammer: In Whose Body? | Elham Salemian
FROM CRITICISM TO HISTORY
John Baldessari, Charles Jencks, Manoucher Yektai
Fall 2019 | V 3, N 3
PERFORMANCE
Anne Imhof: Sex, Faust, Angst | Milad Rostami
William Pope.L: From Down Here | Raazieh Pourfazli
Suzanne Lacy: Get the Message? | Sam Mohtasham
Vito Acconci: Svengali or Mephisto | Sam Mohtasham
Revisit, Reread, Reenact | Mahsa Biglow
POSTFACE
Performance in the 21st Century
Out of Bounds: Marcia Tucker
Meta Text: Esteban Cabeza de Baca
Homeostasis and Survival in Barney's Redoubt | Æli Reza Sahaf Zadeh
Shahryar Nashat: Desiring Machines | Hosein Eyalati
Hito Steyerl: Image Hacker | Mahsa Biglow
An Epilogue on Camp | Manzar Mohammadi
De Kooning: A Wider Look
From Criticism to History:
Robert Frank, Douglas Crimp, and Lutz Bacher
Summer 2019 | V 3, N 2
The Syzygy: Periodical Exhibitions
Venice Biennale 2019 | Milad Rostami
Venice Biennale 2019; Pavilions | Raha Khademi
Whitney Biennial 2019 | Mahsa Biglow
Whitney Biennial; A Brief History| Sara Sarafrazfard
Oil, Opioid, Tear Gas: Sponsorship of Art Institutions | Kaarnamaa
Meta-Text: Dash Snow
Cady Noland | Æli Reza Sahaf Zadeh
Amy Sillman | Tannaz Tavassoli
Raha Raissnia | Milad Rostami
Art After Stonewall | Sam Mohtasham
Digital Archeology | Cepide Eghtedari
The Review Panel: Fall 2018-Winter 2019
POSTFACE:
How Institutions Think; Talking Art; Art & Queer Culture; Queer Holdings; Robert Adams: From the Missouri West
From Criticism to History:
Okwui Enwezor, Monir Shahroudy Farmanfarmaian, Robert Morris
Spring 2019 | V 3, N 1
Warhol is a Law | Æli Reza Sahaf Zadeh
The Films of Andy Warhol | Raazieh Pourfazli
John Waters | Sam Mohtasham and Parastoo Aslanbeik
Hairy Who | Raha Khadami
Martha Rosler | Sam Mohtasham
Fitch and Trecartin | Katayoon Dashtbazi
POSTFACE:
Like Andy Warhol; Warhol’s Working Class: Pop Art Egalitarianism; Nan Goldin: The Beautiful Smile; Curatorial Activism: Towards an Ethics of Curating
Meta-Text: Mehrdad Mirzaei
Ed Atkins | Mahsa Biglow
Rafael Lozano-Hemmer | Cepide Eghtedari
The Shed: From Industrial Chic to Digital High-Tech | Sara Sarafrazfard and Raazieh Pourfazli
From Criticism to History:
Robert Venturi, Jack Burnham, Jonas Mekas, Susan Hiller
Winter 2019 | V 2, N 4
Pierre Huyghe | Hosein Eyalati
Dion Mark | Raazieh Pourfazli
Trevor Paglen | Parastoo Aslanbeik
POSTFACE:
Weather as Medium: Toward a Meteorological Art | Kaarnamaa
Daniel Steegmann Mangrané | Soha Saghazadeh
Siah Armajani | Æli Reza Sahaf Zadeh
Tala Madani| Milad Rostami
Charline von Heyl | Hamideh Atashpa
#metoo and the Contemporary Art World | Elham Salemian and Mahsa Biglow
Meta-Text: Katya Grokhovsky
William Kentridge | Æli Reza Sahaf Zadeh
Julian Schnabel | Tannaz Tavassoli
Mehran Mohajer | Soha Saghazadeh
Ehsan Yarshater 1920-2018 | Raha Khademi
Fall 2018 | V2, N3
Bruce Nauman | Æli Reza Sahaf Zadeh
John Akomfrah | Mahsa Biglow
Günther Förg | Raha Khademi
Elmgreen & Dragset | Raazieh Pourfazli
Donna Gottschalk | Parastoo Aslanbeik
In the Fields of Empty Days | Milad Rostami
Mohsen Vaziri-Moghadam: 1924-2018 | Milad Rostami & Raha Khademi
Before Projection | Raazieh Pourfazli
Unspeakable | Kaarnamaa
Turner Prize 2018 | Hosein Eyalati
META-TEXT: Keith Smith
Art and Conspiracy | Soha Saghazadeh
Friend of Dorothy | Sam Mohtasham
Exterior, Night | Sam Mohtasham
POSTFACE: Global Art Market
Summer 2018 | V2, N2
Criticism and Market | Milad Rostami & Æli Reza Sahaf Zadeh
Like Life | Raazieh Pourfazli
Adrian Piper | Milad Rostami
Zoe Leonard | Soha Saghazadeh
David Wojnarowicz | Æli Reza Sahaf Zadeh
Peter Hujar | Parastoo Aslanbeik
Robert Mapplethorpe | Kaarnamaa
Fakir Musafar | Sam Mohtasham
Jenny Saville | Mahsa Farhadikia
Panel Discussion: Reza Abdoh
Panel Discussion: In the Studio
Meta-Text: Mohammadreza Mirzaei
Harald Szeemann | Sam Mohtasham
The New Museum Triennial | Hosein Eyalati
Made in LA | Hosein Eyalati
Carrie Moyer | Hosein Eyalati
Irving Sandler | Sara Sarafrazfard & Sam Mohtasham
The Myth of the Woman Warrior | Linda Nochlin
Spring 2018 | V2, N1
Indigenization of Art | Hosein Eyalati
Reza Abdoh | Sam Mohtasham and Æli Reza Sahaf Zadeh
Review Panel: Spring 2018
Meta-Text: Raha Raissnia
Sally Mann/Kara Walker | Milad Rostami
Mark Bradford | Kaarnamaa
The Removal of Confederate Statues | Mahsa Biglow
Danh Vo | Raazieh Pourfazli
Stephen Shore | Sam Mohtasham
David Salle | Æli Reza Sahaf Zadeh
Robert Gober | Sam Mohtasham
New Photography | Soha Saghazadeh
Reassembling Painting | David Joselit
Laura Owens | Kaarnamaa
Jean-Michel Basquiat | Kaarnamaa
Winter 2018 | V1, N3
Art in the Age of the Internet | Soha Saghazadeh
The Message: New Media Works | Mahsa Biglow
Age of Terror: Art Since 9/11 | Hosein Eyalati
Thomas Ruff: From Analog to beyond Digital | Sam Mohtasham
Meta-Text: Abdolreza Aminlari
Museum and Gallery Expansions | Mahsa Biglow
Tony Cragg: The Nature's Factory | Milad Rostami
Louise Bourgeois: An Unfolding Portrait | Sam Mohtasham
Carolee Schneemann: Kinetic Painting | Razieh Pourfazli
Eroticism, Women, and Censorship | Mahsa Farhadikia
Photography is not Enough | Mohammadreza Mirzai
What does 'Aan' Tell about Us? | Æli Reza Sahaf Zadeh
An Incomplete History of Protest | Æli Reza Sahaf Zadeh
Fall 2017 | V1, N2
2017 Skulptur Projekte Münster | Milad Rostami
People against Art | Sam Mohtasham
2017 Istanbul Biennial | Razieh Pourfazli
Repression of Art in Turkey | Kaarnamaa
Trigger: Gender as a Tool and a Weapon | Æli Reza Sahaf Zadeh
Nairy Baghramian | Æli Reza Sahaf Zadeh and Razieh Pourfazli
In Memoriam: Linda Nochlin: 1931-2017 | Mahsa Farhadikia
Kaveh Golestan: Prostitute (In the Dark Room) | Hosein Eyalati
Meta-Text I: Kaveh Golestaan
Technologies of the Image | Soha Saghazadeh
Book Review: In Search of Lost Spaces | Sam Mohtasham
Kaarnamaa Review Panel: Paaiiz 2017
Louise Lawler: Why Pictures Now | Soha Saghazadeh
Rodney Graham: Media Studies | Arash Dehghani
Carl Andre: Sculpture as Place | Sam Mohtasham
Meta-Text II : Grayson Cox
Summer 2017 | V1, N1
The Summer Syzygy: On Periodic Exhibitions
Whitney, Venice, Documenta
2017 Whitney Biennial | Æli Reza Sahaf Zadeh
2017 Whitney Biennial | Soha Saghazadeh
On “Open Casket” by Dana Schutz | Sam Mohtasham
Documenta 14 (2017) | Hosein Eyalati
Documenta, a Brief History | Razieh Pourfazli
Venice Biennale 2017 | Milad Rostami
Venice Biennale 2017, National Pavilions | Mahsa Biglow
Curators of Venice Biennale, Whitney Biennial, and Documenta
Sharjah Biennial | Mahsa Biglow
Meta-Text: Nicky Nodjoumi
Animality | Hosein Eyalati
David Hockney | Sam Mohtasham
Walead Beshty | Sam Mohtasham
Rei Kawakubo | Manzar Mohamadi
Howard Hodgkin: 1932-2017 | Milad Rostami