Listings for: Printed Project
Curator / Editor:Vivienne Dick
Assistant Editor: Treasa O’Brien
Published: March 2012
Physical Stuff Made Strange
Printed Project 15 invites filmmakers, artists and critics to approach the image from myriad perspectives: film as material, as phenomenological experience, as rendered or discontinuous image. Through interviews, essays and images contributors have explored themes such as: image and difference, image and rhythmn, sound image, video and live performance, and the auratic power of the projected image.
Contributors: Bev Zalcock, Abigail Child, Agnes Valda, Austin Ivers, Ed Halter, Jo Ann Kaplan, Liz Greene, Margaret Fitzgibbon, Sarah Pucill, Lucy Reynolds, Aine Philips, Sherry Millner, Ernie Larson, Maria Klonaris and Katerina Thomadaki.
Vivienne Dick
Vivienne Dick is an experimental filmmaker from Donegal. Living in New York in the mid seventies and early eighties, she became a key figure in the ‘No Wave’ movement.; a countercultural milieu that included Nan Goldin, Lydia Lunch, James Nares, Beth and Scott B, and Arto Lindsay. During this period, Dick worked mainly on Super 8. She has since worked in Ireland and London, producing a number of films in 16mm, and in video.
Her films have been screened around the world and recent major exhibitions include: Tate Britain, Moma and the Whitney in New York, IMMA in Dublin, and the Edinburgh and Berlin Film Festivals. She has received a number of Production Awards from The British Arts Council and The Irish Film Board, and has had work commissioned by Ch 4 (Dazzling Image, Midnight Underground), BBC (Artrageous, The Late Show) and RTE. Her work is in the collections of The Museum of Modern Art and Anthology Archives, NYC and the Irish Film Archives.
Launch/Discussion Event
30 March 2012
Galway Arts Centre
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“Passing frozen explorers from the 1960s and 70s, new parties from the camps of art and writing have recently set out for a still poorly mapped disciplinary territory we might call the Conceptual North Pole: there, antiquated terms like ‘inspiration’ or ‘influence’ would give way to a cross-disciplinary poetics involving nominally shared though constantly remade strategies, structures, and terms – installation, site, document, procedure and history are just a few”.
Printed Project 14: ‘the conceptual north pole’ encompasses new developments in conceptual poetry, meta-documentary; and artists who restage or reframe the idea of literature. Through a series of interviews with a range of visual and textual practitioners, The Conceptual North Pole explores a range of shifting categories and conceptualisations.
Contributors: Heriberto Yepez, Jeff Derksen, Lisa Robertson, Matthew Buckingham, Monica de La Torre, Emilie Clark, Gerard Byrne, Matthew Coolidge, Rob Fitterman, Kenneth Goldsmith, Cabinet
Curator /Editor: Lytle Shaw lives and works in New York. His poetry books include Principles of the Emeryville Shellmound, Low-Level Bureaucratic Structures: A Novel, Cable Factory 20, The Lobe, and 19 Lines: A Drawing Center Writing Anthology. Among his critical writings are Frank O’Hara: The Poetics of Coterie, two forthcoming books (Fieldworks: From Place to Site in Postwar Poetics and Specimen Box), and catalogue essays on Robert Smithson for DIA Center, Gerard Byrne for Koenig Books, and The Royal Art Lodge for The Drawing Center. Exhibitions of Shaw’s collaborative work with Jimbo Blachly (thechadwickfamilypapers.blogspot.com) have included EV+A 2010, PS1/MoMA, Tate Modern, ICA Philadelphia/Bartram’s Garden, Wave Hill, David Nolan Gallery and Winkleman Gallery in New York, where their next solo exhibition will be in February 2011. The catalog, The Chadwick Family Papers: A Brief
Public Glimpse, collects the first 5 years of their work together. A contributing editor for Cabinet magazine, Shaw teaches theory in the School of Architecture at the University of Limerick and American literature at New
York University.
Launch/Discussion Event
Art / Writing: Place and Possibility
In partnership with The Art / Writing Talks Series Curated by Fiona Fulham
2.00pm 11 December 2010
Goethe Institute, Dublin
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Printed Project 11, curated / edited by Sarat Maharaj, is a series of reflections, extensions and musings emerging from and around the Guangzhou Triennial 2008. The critical thinking and lines of inquiry explored include the global shifts in political and economic focus; mapping post-western modernity; and how this relates art practice and theory in China and beyond.
Launch / Discussion Event in Venice
‘Farewell to Post-Colonialism – Querying the Guangzhou Triennial 2008′ was launched with a discussion event at the 2009 Venice Biennale. Chaired by Noel Kelly, Sarat Maharaj, along with Chris Dercon, Charles Eshe, Daniel Birnbaum, Homi K Bhabha and Gao Shiming, explored issues arising from and relevant to this edition of Printed Project. The event took place on 5 June 2009 at Istituto Santa Maria della Pietá, Calle della Pietá, Castello Venice, and was supported by the Republic of Ireland & Northern Ireland exhibitions in Venice.
Curator / Editor
Sarat Maharaj is Professor of Art History and Theory at Goldsmiths College and Professor of Visual Art and Knowledge Systems, Lund University, Sweden. His specialist research covers Marcel Duchamp, James Joyce and Richard Hamilton. Current research includes ‘visual art as knowledge production and non-knowledge’ and the concept of ‘thinking through the visual’. Sarat Maharaj was a co-curator of the Third Guangzhou Triennial (together with Gao Shiming and Johnson Chang) 2008 and a co-curator for Documenta 11, 2002.
Co-Editor: Dorothee Albrecht. In collaboration with the GT-Curators: Johnson Chang Tsong-Zung and Gao Shiming; with the GT08 Research Curators: Sopawan Boonnimitra, Stina Edblom, Tamar Guimarães, Steven Lam, Khaled D. Ramadan.
Contributors
Avi Alpert, Maria Thereza Alves, Saleh Barakat, Ulrich Beck, Ecke Bonk, Conrad Botes, Zoe Butt, Lyn Carter, Amy Cheng, Amy Cheung, Chen Chieh-Jen, Joseph DeLappe, Johnson Chang Tsong-Zung, Paul Gladston, Khaled Hafez, Huang Xiaopeng , Du Keke, Michael Lee, Simon Leung, Trinh T. Minh-ha, Paul O’Kane, Annie Paul, Hans Hamid Rasmussen, Gertrud Sandqvist, Stuart Sim, Gilane Tawadros, Hu Xiang-cheng, ChenYun, Yi Zhou.
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Printed Project 13 Virtual Fictional brings together a range of artists practices that both reflect upon and utilize strategies drawing upon notions of meta -fiction, virtual space, hoaxes and misdirection. As Kevin Atherton has observed, as a consequence of the emergence of virtual reality technology in the 1990s, the age-old relationship between truth and fiction was cast into a new light. Now, two decades later, when the hype has largely subsided surrounding VR, we can see that the true alternative world that was emerging twenty years ago, was not after all, the one to be found by each of us individually through the act of putting a helmet over our heads, but rather the one that would collectively contain us all. Perhaps the lasting contribution that virtual reality technology has made is as a poetic metaphor serving to underscore and sharpen our awareness of the virtuality of existence itself, rather than, as so much of the hype wanted us to believe; as an alternative to it.
Curator /Editor
Kevin Atherton (born Isle of Man in 1950) is an artist and fine art educator with an ongoing interest in the relationship between the virtual and the fictional. Based in Dublin, he is the Head of the Sculpture Department and Fine Art Post-Graduate Coordinator at the National College of Art and Design (NCAD). He has exhibited in museums and galleries through out Europe and North America, most recently in 2009 in ‘The Studio Dialogues’ at the San Francisco Museum of Modern Art and in 2010 in ‘Changing Channels – Art and Television’ at the Museum of Modern Art Vienna, and from May – June this year at Tate Britain in ‘Rewind and Play’.Since the early eighties he has carried out over a dozen large-scale public sculpture commissions throughout Britain and Ireland including in 2009 Another Sphere, a surveillance sculpture, in Ballymun.He is currently completing a PhD in the Faculty of Visual Culture at NCAD.
Contributors
Printed Project 13: Virtual Fictional, curated / edited by Kevin Atherton, features contributions by Ciara Moore, Liz Lee, Peter Hill, Tim O¹Riley, David Crichley, John Smith, David Garcia, The Television, Priscila Fernandes and Keith Hopper.
Launch/Discussion Event
Artists Talk / Printed Project Launch Event
‘Virtual Fictional’
Void, Patrick Street, Derry
3 July 2010, 12.30 – 15.00hrs
Kevin Atherton in conversation(s) about curating / editing ‘Virtual Fictional’.
A two-part discussion, led by Void curator Susanne Stich and artist Sarah Pierce ranging broadly across the subjects of meta-fiction, virtual space, humour, fabrications and authorship in relation to contemporary visual art, prompted by overlapping concerns in both Atherton’s interests and the exhibition ‘What Remains’ by Christian Jankowski, on show at the Void.
The second element of the talk featured Kevin Atherton and Sarah Pierce: In Conversation. Since 2008, Atherton and Pierce have developed performances using Atherton’s original works, In Two Minds (1978) and Any Questions (1979).
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In the light of the recent crash in the global financial system, this issue of Printed Project takes a timely look at the notion of ‘circulation’ – not only circulation of goods, bodies, knowledge, ideas, images and money, i.e. the movement of certain forms – but also, and maybe more so, an idea of circulation as a form in itself.
Curator / editor Katya Sander has taken her cue from a number of recent sociologists and anthropologists, who have sought to understand and describe the market “as one form of circulation central to western imaginary of modernity”. As Sander notes “along with the market as one such matrix for western modernity, the notion of the public sphere and the idea of the nation state can also be understood as seminal forms of circulation for western modernity and the ways in which it is understood and imagined.”
Curator / Editor
Katya Sander (born 1970 Copenhagen) lives and works in Berlin and Copenhagen. Sanders most recent solo exhibitions include Production of Future. A Science Fiction About Counting at Künstlerhaus Stuttgart, TIFO (event) at Generator in Trondheim, and The Most Complicated Machines are Made of Words at Museum Moderner Kunst (MuMoK) in Vienna. Moreover, Sanders work has been shown in group shows such as in Documenta12 (9 Scripts From a Nation at War, with Andrea Geyer, Sharon Hayes, Ashley Hunt & David Thorne), Kunstraum Universität Lüneburg, Rooseum in Malmö, Charlottenborg in Copenhagen, Neue Berliner Kunstverein, CCA Watts Institute in San Francisco, ICCA Bucharest, Artists Space in New York, Australian Centre for Contemporary Art, Moderna Museet in Stockholm, Musée de L’Art Moderne de la Ville de Paris, Kunsthalle Wien, Aarhus Art Museum, MIGROS Museum, and others. She has worked in various collaborative constellations. Sanders writing on art, visual cultures, architecture and feminism has been published internationally in various books, magazines and journals. Together with Simon Sheikh she is a series editor of OE–Critical Readers in Visual Cultures, published with b_books, Berlin.
Contributors
Zach Formwalt, Elin Wikström, Neil Cummings, Pauline Boudry & Renate Lorenz,Alex Villar, Katja Eydel, Brian Holmes, Andrea Creutz & Thomas Boren, Ashley Hunt, Jason Simon, Simon Sheikh, John Strauss, Sandra Schäfer, Ralph and Stefan Heidenreich.
Launch/Discussion Event
‘Kick Starting the Core’, 6.30pm on 7 December 2010 at The Banker’s Club, Stephen Street Upper, D8.
‘Kick Starting the Core’ featured presentations by: Garrett Phelan – Visual Artist, Dr. Constantin Gurdgiev – Adjunct Lecturer in Finance with Trinity College, Dublin and Noel Kelly – Chief Executive Officer/Director Visual Artists Ireland.
In the light of crash of the global financial system, the launch of this edition of Printed Project (which took a timely look at the notion of ‘circulation goods, bodies, knowledge, ideas, images and money) occasioned a wide ranging discussion event looking at the interaction of art and economics in Ireland.
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‘The Art of Living with Strangers’, curated / edited by Lolita Jablonskiene, is based around the experience of the immigrant within their adopted environment and is indebted to the sociologist Zygmunt Bauman’s assertions that inhabitants of the contemporary city are – ‘permanent strangers’, and that co-habitation, according to Bauman, is ‘an art which, like all arts, requires study and exercise’. Moreover, Lolita Jablonskiene describes her edition of Printed Project ‘ as a workshop – constructed in the spirit of Alexander Rodchenko’s Workers’ Club – offering socio-political enlightenment, a platform for debate, and a space for the renewal of our energy at the end of a long working day‘.
Curator / Editor
Lolita Jablonskiene (PhD) is an art critic and curator based in Vilnius. In 2002 she was appointed chief curator of the National Gallery. Jablonskiene is currently writing a book on the development of contemporary art practices in Lithuania during the 1990s.
Contributors
Lolita Jablonskiene, Zygmunt Bauman, Flash Bar, Brendan Earley, Steven Flusty, Sam Ely & Sam Ely & Lynn Harris, Lukasz Piotr Galecki, Tessa Giblin, Daniel Jewesbury, Jesse Jones, Danius Kesminas, Eléonore de Montesquiou, Nikos Papastergiadis, Paulina Egle Pukyte, Simon Rees, Société Réaliste, Apolonija Sustersic, Sarah Tuck, What is to be done? / Chto delat?, Pavel Braila.
Launch event
This issue of Printed Project was launched at Temple Bar Gallery & Studios in Dublin on Friday 7 November 2009 at 6pm with a reception to celebrate the publication of the 10th Printed Project and also the European Council of Artists’ Annual Conference on Artist’s Mobility: Aspiration or Reality, hosted by Visual Artists Ireland and supported by the Irish Museum of Modern Art on 7 and 8 November 2008.
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Clarke & McDevitt have treated Printed Project issue 9, The Call of the Wild is now a Cry for Help, as an artist-led exhibition space – keeping the written content to a minimum in order to make the publication prominently visual. Moreover they write ‘As artists ourselves, we want our issue of Printed Project to be considered as an artwork in its own right’.
The contributions include solo visual projects, hand written text works and collaborative pages – with some artists choosing to literally work on top of the work of other artists – while others opted for a call-and-response approach, whereby new works were made in response to works sent.
A thread running through ‘The Call of the Wild is now a Cry for Help‘ is a concern with the ways in which artists consider different ways and means of engaging with histories be they in terms of ones personal life; or work; or of a wider cultural and / or political scope.
Contributors
Jonathan Meese, Sophie von Hellermann, Goshka Macuga, Luke Dowd, Liz Craft /
Klaus Weber, Markus Selg / David Godbold, Matthias Dornfeld / Sara MacKillop, Mamma Andersson, Jockum Nordström, Jewyo Rhii, Tyler Vlahovich.
Curator / Editors
Declan Clarke is an artist based in London and Dublin. Recent solo exhibitions include ‘Rebellion and Plots Ripen Like Fruit’, Kiosko Gallery, Santa Cruz, Bolivia in 2007. ‘Mine Are of Trouble’, Art Now Lightbox, Tate Britain, London, “Trauma and Romance” Off-Site Project, Douglas Hyde Gallery, Dublin in 2006.
Paul McDevitt is an artist based in Berlin. Recent solo exhibitions include ‘Guide Me’ Berwick Gymnasium, Berwick-upon-Tweed, UK, ‘Solitary Figure in Landscape’ Stephen Friedman Gallery, London in 2007. He participated in ‘Star Dust ou la Dernière Frontière’ MAC/VAL Musée D’Art Contemporain Du Val-De-Marn Paris and Hayward touring show ‘Cult Fiction’ in 2007.
Clarke and McDevitt have been collaborating on curated projects since 2000. Past projects include ‘Expect Nothing’ Gallery for One, Dublin 2007, ‘Matt Calderwood, Björn Dahlem, Sophie von Hellermann, Ian Kiaer, Cornelius Quabeck’ Dublin City Gallery the Hugh Lane 2005. ‘Play it as it Lays’ The London Institute Gallery, London 2002.
A full archive of previous Clarke and McDevitt projects is available at
www.clarkeandmcdevitt.com
Launch Events
DUBLIN: Thursday 17th April 2008
Followed by ‘Kunstschlampen’ (art table quiz) from 8:30pm
Upstairs at Toner’s, 139 Baggot Street Lower, Dublin 2
LONDON:Saturday 19th April, 2008
Stephen Friedman Gallery, 25 – 28 Old Burlington Street, London W1
BERLIN: Friday 25th April 2008
Bar in der Karl-Marx-Allee 36
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The dilemmas and tensions of artistic autonomy have been a constant throughout the past two centuries. With the age of Modernity, the shackles of tradition and the ancien regime may have loosened but new pressures have come to exert themselves – the demands of an ever-growing public audience, the taste of the established academy, the buying power of the mercantile classes, and the political machinations of the state. Against all these forces, the artist has always tried to push back by drawing on a sense of obligation to something beyond – to his practice, to Beauty, to Truth, or even to nihilistic, post-modern nonsense.
Today, the artist luxuriates in a freedom unimagined by his predecessors. Yet, there are new responsibilities. Artists are accused of not being socially useful. Arts organisations are told they must cater to more disadvantaged groups. The commercial market is also overwhelming, fixing the channels through which artists practice and speak to the public.
Should we be concerned about the state of autonomy today or was it ever thus?
This issue of Printed Project brings together a range of contributors to think about artistic autonomy. They bring their past and present experiences to bear on the question of why we – not just artists, but society as a whole – need such freedom.
Launch Event
To mark the launch of Printed Project’s eighth edition, edited by cultural commentator Munira Mirza, Gasworks hosted a discussion event expanding upon the issue’s focus on ‘artistic freedom – anxiety and aspiration. Does Autonomy Really Matter Anymore? Panel Discussion And Printed Project Launch Event Wednesday 5 December, 6- 8.00pm at Gasworks 155 Vauxhall Street,London, SE11 5RH. www.gasworks.org.uk
Contributors
JJ Charlesworth, Pauline Hadaway, Paul O’Neill, Andrew Calcutt, Sonya Dyer, Padraic Moore, Cecilia Wee, Dolan Cummings, Emma Ridgway, Becky Shaw, Andrew Brighton, Josie Appleton.
Curator / Editor
Munira Mirza is a writer and researcher on issues relating to cultural policy, race and identity. She presented the BBC Radio 4 series, The Business of Race (2005) and Fighting Chance (2007) and edited a collection of essays called Culture Vultures: Is UK arts policy damaging the arts? (2006). She is currently researching her PhD at the University of Kent on the politics of local cultural policies.
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Kim Levin’s edition of Printed Project, entitled ‘Unconditional Love’ features works by artists internationally known for their extreme projects and interventions – sometimes possessing elements of possible danger or destruction, illegality or un-lovability. The 12 projects presented in the publication run the gamut from fantasy to reality, with some interesting connections arising between them.
Printed Project Issue 7 was presented at the Irish Visual Art Periodicals launch (Circa, Printed Project, Source) at the Venice Biennale on Saturday 9 June 2007.
Contributors: Writers – Kim Levin, Ekaterina Degot; Artists – Maurizio Cattelan, Marina Abramovic, Tania Bruguera, Christoph Buchel Luca Buvoli, Andrea Fraser Kendell Geers, Oleg Kulik, Maurice O’Connell, Santiago Sierra, Nedko Solakov, Tavares Strachen.
Curator / Editor
Kim Levin is an independent art critic and curator. Until 2006, she was a regular contributor to The Village Voice. From 1996 to 2002, she was International President of the International Association of Art Critics (AICA) based in Paris. She is the author of Beyond Modernism: essays on Art from the ‘70s and ‘80s (Harper Collins 1988; Tokyo Shoseki 1991); and editor of Beyond Walls and Wars: Art, Politics and Multiculturalism (Midmarch Press 1992). She conceived and co-edited Art Planet: A Global View of Criticism (The AICA Press, Volume 1 1999) and is co-author of Transplant: Living Vegetation in Contemporary Art (Hatje Cantz, Germany, 2000).
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Entitled ‘I Cant Work Like This’ and co-edited by Anton Vidokle & Tirdad Zolghadr, Printed Project Issue 6 includes varied contributions that take as their starting point the notion of failure – in particular how to reassess failure in a context of ‘cutting defeatism’ among artists, writers and curators.
This issue of Printed Project was launched in Dublin, Madrid and Berlin:
Dublin: 15 February 2007 at Project, Essex Street.
Madrid: 18 February at ARCO 5th International Contemporary Art Experts Forum
Berlin: 24 February at the unitednationsplaza.
“The decision to invite Anton Vidokle to edit of Issue 6 of Printed Project arose out of events that took place in June 2006, when the city of Nicosia cancelled Manifesta 6 and terminated the curators’ contracts, a move that is virtually unheard of on this level. In July, during a heat wave in Dublin, in the casual banter that precedes this type of meeting, Printed Project’s editorial panel shared our disbelief, relaying to one another various sources of speculation. The idea arose to use the next issue of Printed Project to document this controversy, in hopes that this would allow some public entry into the decision. However, this approach would contradict our editorial mission: to support guest editors through an open platform in the form of a printed publication with no prescribed theme. We decided that an appropriate response to Manifesta’s cancellation would be to invite one of the curators to do anything they wanted. In effect, to offer a platform where one had been stripped away.
Anton invited Tirdad Zolghadr to co-edit the issue. It is important to mention that many of the contributions here are based on the opening conference called ‘Histories of Productive Failures: From French Revolution to Manifesta 6’, which took place at the unitednationsplaza, Berlin in October of 2006.”
(From Our failure to Disagree by Sarah Pierce, in ‘I Can’t Work Like This’ Printed Project : Issue 6)
Contents:
Natascha Sadr Haghighian: Front and Back Cover Design
Sarah Pierce, Our Failure to Disagree
Tirdad Zolghadr & Anton Vidokle, A Disagreement
Anselm Franke, The Grudge
Maria Lind, When Water is Gushing In
Adrienne Goehler, United Nations Plaza: The Toast
Martha Rosler, Transition and Digressions – an on-going series of photographs
Liam Gillick, The Winter School – A Fiction Towards Documenta X
Liam Gillick, Selected Transcription from Talk at UN Plaza, Berlin, 2006
Diedrich Diederichsen, The New Ugliness of the Oppressed as Ornament
Ingrid Serven, Oh God, She Said,Talking to a Tree
Fia Backström, Herd Instincts 360°
Joseph Cohen, Berliner Vortrag
Hans Ulrich Obrist, The Agency of Unrealised Projects
Tirdad Zolghadr, Epilogue. But You Promised
Tom Holert, Surviving Surveillance? Failure as Technology
UNP Staff, I Can’t Work Like This: A Written Assessment
Biographies
Anton Vidokle was born in Moscow and is currently based in Berlin. His work has been exhibited in shows such as the Venice Biennale, Dakar Biennale and at Tate Modern, London; Moderna Galerija, Ljubljana; Musee d’art Modern de la Ville de Paris; Museo Carrillo Gil, Mexico City; UCLA Hammer, LA; ICA, Boston; Haus Der Kunst, Munich; P.S.1, New York; amongst others. With Julieta Aranda, he put together e-flux video rental. As founding director of e-flux, he has produced projects such as Next Documenta Should Be Curated By An Artist, Do it, Utopia Station poster project, and organised An Image Bank for Everyday Revolutionary Life and Martha Rosler Library. Anton Vidokle was a co-curator of Manifesta 6.
Tirdad Zolghadr works as a freelance curator, writes for Frieze magazine and has also contributed to Parkett, Bidoun, Cabinet, afterall, Neue Zürcher Zeitung, Straits Times Singapore and other publications. After his MA in Comparative Literature he began work in the field of journalism and documentary film, being a co-founder of the Tehran-based online publication Bad Jens in 1999, and co-director of Tehran 1380 (with Solmaz Shahbazi), a documentary on Tehran mass housing in 2002. His recent “Tropical Modernism” explores the history of Iranian socialism and was premiered at the Oberhausen Short Film Festival 2006. Since 2004, Zolghadr has curated events at Cubitt London, IASPIS Stockholm, Kunsthalle Geneva, various Tehran artspaces and other venues. He was co-curator of the International Sharjah Biennial 2005, and is currently preparing a long-term exhibition and research project addressing social class in the art world that shall take place at Gasworks London, Platform Istanbul and Tensta Konsthall. Zolghadr is also a founding member of the SHAHRZAD art & design collective and will shortly publish his novel Softcore with Telegram Books, London.
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