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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. 

About-Archive

Archive

0702 RJD En.jpg

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

0701 RJD En.jpg

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

Kaarnamaa Institute of Art and Visual Culture

Winter 2023 | V 6, N 4

Woman, Life, Liberty

Kaarnamaa Institute of Art and Visual Culture

Fall 2022 | V 6, N 3

META-TEXTWoman, Life, Liberty

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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 

Kaarnamaa Institute of Art and Visual Culture

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  

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

 

Kaarnamaa Institute of Art and Visual Culture

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

 

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

Kaarnamaa Institute of Art and Visual Culture

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

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