At Southern Exposure in San Francisco, South Asian, Southwest Asian, and North African artists evoke the challenges they face in celebrating their cultural origins.
In her new performance lecture title “Physical Tactics for Digital Colonialism,” Allahyari explores what it means for data to be colonized.
The Art Happens Here favors a less technical definition of net art, as material based in or for internet cultures.
Artist Morehshin Allahyari has invited four artists, activists, and scientists to join her on May 27 to explore myths, colonialism, and storytelling.
A group show at Paris’s Galerie Charlot uses bygone tools and techniques to explore modern media.
Morehshin Allahyari is developing a series of a dozen 3D-printed statues based on ancient images of forgotten, proto-feminist deities.
Seven months after ISIS destroyed Palmyra’s 1,800-year-old Arch of Triumph, the structure has risen once more — this time 2,800 miles away from the ancient city, in London’s bustling Trafalgar Square.
Morehshin Allahyari and Daniel Rourke’s expansive project #Additivism is a call for the radical rethinking of new technologies like 3D printing, the plastification of the world, and the position of humans within it.
In the past year alone, members of ISIS have marred cultural treasures in Iraq and Syria, taking sledgehammers and drills to statues at the Mosul Museum and delivering numerous blows to the ancient site of Palmyra, including its 1,800-year-old Arch of Triumph.
Not long ago I wrote an article celebrating the work being done by cyberfeminist collective Deep Lab. After the piece was published, a writer, curator, and friend wrote to me to express concerns about the lack of women of color artists in the group.
Completed in June, “Like Pearls” in as an animated and interactive web-based collage inspired by Farsi spam from Morehshin Allahyari’s inbox.