Inspired by the creation of collective archives, Morehshin Allahyari (she/her/hers) makes 3-D printed sculptures, videos, and virtual reality experiences that challenge social and gender norms and explore cultural contradictions. She is the recipient of the United States Artist Fellowship (2021), and her work has been shown in venues such as the New Museum, New York, NY; The Museum of Modern Art, New York, NY; and Centre Pompidou, Paris, France. Allahyari is currently a Visiting Guest Professor at Sarah Lawrence College.
See more of Allahyari's work at her website: morehshin.com.
My approach to technology and ways of using technological tools has always been from this more conceptual, poetic, philosophical space, rather than being obsessed by technology for technology's sake.
It’s the morning of February 26, 2015. I’m scrolling through Twitter and I come across images and a video repeatedly shared on my newsfeed. It’s filmed, edited, and released by ISIS, documenting their destruction of artifacts at Mosul Museum in Iraq.
Moreshin Allahyari, Physical Tactics for Digital Colonialism
Physical Tactics for Digital Colonialism
This recording documents Allahyari's 2019 performance-lecture Physical Tactics for Digital Colonialism, commissioned and copresented by Rhizome and New Museum.
Can the internet resurrect the dead? The lost art object—be it speculative, missing, or destroyed like a statue smashed by ISIS—now circulate as JPGs, PDFs, and YouTube videos. Untethered from physical matter, these files work to extend life.
Morehshin Allahyari, The 3D Additivist Cookbook
The 3D Additivist Cookbook
Edited by Morehshin Allahyari & Daniel Rourke
The 3D Additivist Cookbook (2017), devised and edited by Morehshin Allahyari and Daniel Rourke, is a free compendium of imaginative, provocative works from over 100 world-leading artists, activists and theorists. The 3D Additivist Cookbook contains .obj and .stl files for the 3D printer, as well as critical and fictional texts, templates, recipes, (im)practical designs and methodologies for living in this most contradictory of times.
We are mindful that since the nineteenth century, as modern Western societies attributed the ability to create and wield technology primarily to men, they concurrently socialized women to perceive that what technology consists of, how it works, and what it may be used for is beyond their ken. This does not seem to have been the case in Iran.
Morehshin Allahyari & Jennifer Way, PhD, Digital/New Media Art and Contemporary Iran: Questions of Gender
Digital/New Media Art and Contemporary Iran: Questions of Gender
Morehshin Allahyari & Jennifer Way, PhD
Possibilities for action are as informed by political and cultural boundaries as they are by transglobal information networks, and incongruities between local and global status often result in vexing paradoxes of inclusion and exclusion. Such is the case of women and new media art in Iran. —Stephanie Tripp, PhD, Guest Editor of Media-N