Aram Moshayedi

  • interviews September 02, 2013


    Hacienda is a new exhibition space located in Zurich’s Seefeld neighborhood. Co-organized by Arthur Fink, Fabian Marti, and Oskar Weiss, it follows in the vein of artist-run or “off” spaces that are a part of the city’s artistic scene. Taking on a salon-like atmosphere and including a library reading room, Hacienda opened recently with a new project by Basel-based artist Hannah Weinberger in its main exhibition space. Here members of the collective discuss the gallery. Weinberger’s show runs August 25 to October 12, 2013.

    THE SPACE is located in an apartment in a small townhouse that serves as

  • interviews February 07, 2013


    Working under the moniker Women, designers Neil Doshi and Scott Barry are in the first phase of a five-year design initiative that sets out to inhabit a different location and set of working conditions each year. Currently underway in Yucca Valley, California, their first year, titled “Connections,” will culminate in two structures integrated into the terrain’s large rock formations and natural environs, remaining after completion as a design residency and library.

    ONE OF OUR INITIAL IDEAS was to base our studio on a certain finiteness—the notion that we would only operate for one hundred projects.

  • Abraham Cruzvillegas

    “How to generate a living sculpture nowadays?” Abraham Cruzvillegas asked in a notebook and online video that complemented his street-bound activities for Documenta 13. What about a sculpture without fixed form or shape? A definitely unfinished sculpture? A nonbudgetary sculpture? A sculpture made with nothing? A tale that is being written or told as a sculpture? These questions suggested a shift in the Mexican artist’s practice—a turn from autoconstrucción to autodestrucción. Outlining the largely invisible, unmarked, basically nonexistent works that Cruzvillegas placed throughout the city

  • picks August 13, 2012

    “No Person May Carry a Fish into a Bar”

    Exploring intersections of art and crime, this extensive exhibition relays a set of sordid tales that underscore the fact that the activities of art are hardly ever devoid of ulterior motives. Cocurated by artists Julian Hoeber and Alix Lambert, “No Person May Carry a Fish into a Bar” privileges a history of deranged, gruesome, and corrupt events conveyed by a series of images and art objects that are both trustworthy and by nature deceptive. In most cases, it is left ambiguous whether or not the testimonies of the artworks hold up—whether, for instance, Robert Buck’s the shrine (from e to

  • interviews June 21, 2012

    Amanda Ross-Ho

    “TEENY TINY WOMAN” is the first solo museum exhibition in Los Angeles by Amanda Ross-Ho. On view at the MoCA Pacific Design Center from June 23 to September 23, this show finds Ross-Ho characteristically spanning the disciplines of sculpture, photography, collage, and installation in a deliberately self-referential project that draws from and remixes her own output and artistic history of the past several years.

    THE IDEA OF THE RETROACTIVE GAZE is a consistent factor in my work, but not in the sense of cultivating historical distance or nostalgia; it is more a backward way of thinking, an

  • picks May 13, 2012

    Edgardo Aragón

    Despite art criticism’s rampant overuse of words such as traffic (or interrogate or investigate) to describe the seemingly nefarious “activities” of works, there is no better term to describe Edgardo Aragón’s recent videos that deal in the practices and fallout of narcotrafficking throughout his native Mexico. The trilogy of video installations in his first solo exhibition in the US, however, presents an oblique form of trafficking animated by the harsh realities of the region’s narcoterrorism and drug-related violence: the drug cartels’ makeshift techniques of torture and interrogation as forms


    JUST SHORT of its fourth anniversary as part of the eurozone, the Republic of Cyprus announced in the middle of last year that it was on the verge of becoming the next member state to seek a bailout from the European Union. At the time of my writing, this had not become an actuality—but other dangers loom, and the future of the euro itself is less certain than ever. As if possessed of an ability to foresee the future, Cypriot artist Christodoulos Panayiotou worked with the Central Bank of Cyprus in the months leading to the country’s monetary changeover in January 2008 to rescue all the

  • picks July 15, 2011

    Piero Golia

    With the location yet to be determined, Piero Golia announced in March of this year that it was time for his first show in Los Angeles. “I think [it] should be on June 23 . . . it is going to be paintings and sculptures,” he posted to Facebook, leaving it up to the galleries in the city to compete for the opportunity to unload the artist’s assortment of “Concrete Cakes and Constellation Paintings.” From the outset, Golia established the terms under which his precious objects were to be presented, and along the way he became the first artist ever to use social media to get a show at Gagosian.

  • interviews May 16, 2011

    Barbara Kruger

    Barbara Kruger’s latest solo exhibition is on view at L&M Arts, Los Angeles until July 9. Filling the interior and exterior of the gallery, the show includes recent installations, projections, and multichannel videos by the inimitable New York– and LA-based artist.

    FIVE HUNDRED WORDS can be too many or not enough. I should probably choose those words carefully. The choice of voice is important. I mean, this is Artforum, right?

    And what to say? Should I foreground the apparatus at work when artists appear in magazines? Because an artist’s relation to publications, websites, blogs, or any other

  • interviews January 26, 2011

    William E. Jones

    William E. Jones is one of Los Angeles’s leading independent filmmakers; his films often circulate in the context of museum and gallery exhibitions. On February 2–5, the Österreichisches Filmmuseum in Vienna will host the first retrospective of his film works in continental Europe. On the occasion of this presentation, Jones discusses the recent shift in his approach to his practice as well as the changing expectations that viewers have from one viewing situation to the next.

    AFTER I FINISHED IS IT REALLY SO STRANGE? IN 2004, it became difficult for me to make another long film. I was left with

  • picks November 29, 2010

    Jeff Koons’s Bowl With Eggs on the 210 Freeway, New Atlantis Enterprises, Paul McCarthy

    Few exhibitions this year rivaled the peculiar sight of Jeff Koons’s Bowl With Eggs, 2009, abandoned on the 210 freeway, moments after it had been unhitched from the truck responsible for its safe delivery from Carlson & Co. to the artist’s studio. On the same day that a video of the incident made its way onto YouTube with the title “jeffkoons.3gp,” the legendary art-fabricator announced that it was ceasing operations after almost forty years in the business. Many took this all to mean that the end was near, if it hadn’t come already. But in Los Angeles, where the cultural climate is by now

  • picks November 15, 2010

    Carter Mull

    Although the images found in Carter Mull’s latest exhibition are photographic in nature, the postcamera processes by which they come into being bear an indeterminate relationship to the medium’s conventions. Most often, the individual works in “Metemetrica” waver back and forth between reverence and irreverence for the cultural expectation that photographic images necessarily share some relationship with the world they represent. In Mull’s works that are framed on the gallery walls and that are used to line the floor, there is a visual density that revels in the residue and static that has

  • film October 04, 2010

    Looking Glass

    POINTS ON A LINE, the latest film by artist Sarah Morris, takes as its central focus two architectural subjects on the verge of critical exhaustion. Mies van der Rohe’s Farnsworth House in Plano, Illinois, and Philip Johnson’s Glass House in New Canaan, Connecticut, have, both together and separately, been exposed to such thoroughly repetitive visual and textual analysis that it is surprising to find the two icons called on to be reconsidered anew. Morris’s cinematic portrait of these architectural landmarks, designed and constructed roughly within the same period of time by the German mentor

  • picks September 27, 2010

    Erika Vogt

    “Geometric Persecution,” the title of Erika Vogt’s exhibition, is a neologism. Even so, there is something that rings familiar and true when one considers how or why geometry—that fundamental system of knowledge inherited from Euclid—might be a subject worthy of retribution. Vogt’s title offers another way to describe the more or less timeless pursuit of pictorial representation and those tendencies toward abstraction that have historically sought to undermine the supremacy of geometric order as the frame through which all experience is shaped. Thus, the video, drawings, and sculptural objects

  • picks June 17, 2010

    “Support Group”

    In the two years of rotating exhibitions at Cottage Home, a converted movie theater shared by three nearby Chinatown galleries, there has been little to no effort made to deal with the location’s peculiar qualities. “Support Group,” curated by Michael Ned Holte, is surely one of the most ambitious attempts to engage the architecture’s particularly daunting scale and its expansive, uninterrupted gallery space. The understated interrelationships among the show’s components—the exhibition-within-an-exhibition Pauline (organized by Mateo Tannatt) and works by Kathryn Andrews and Gaylen Gerber—suggest

  • interviews March 23, 2010

    Karl Haendel

    The Los Angeles–based artist Karl Haendel has exhibited his precise graphite drawings, which often touch on American production, nationally and internationally over the past half decade. Here he talks about the conditions surrounding a recent commission by the Lever House Art Collection in New York and his show at the quintessential modernist skyscraper that opens on March 25. 

    THE LEVER HOUSE IS A GLASS BOX, and glass boxes don’t really do very well with two-dimensional art. There’s an obvious reason: no walls to hang work on. Other artists who have had exhibitions here have built walls at

  • picks January 06, 2010

    Drew Heitzler

    The analysis of Hollywood film as legitimate historical material is a relatively recent phenomenon, which has led to extensive methodological overhauls throughout the social sciences. Drew Heitzler’s interrogative look at the Babylonian underside of Hollywood, and its associations with the American oil industry, contributes to this approach. Perhaps more important, however, it also reflects an artistic shift from the handling of cultural material as a ready-made system of signifiers that can be emptied out and evacuated of their meanings at will.

    For this exhibition, Heitzler has rearranged the

  • interviews October 06, 2009

    Judy Radul

    Judy Radul is a Vancouver-based interdisciplinary artist whose recent works investigate the relationship between performance and documentation. Here she discusses her new work World Rehearsal Court, which opens October 9 at the Morris and Helen Belkin Art Gallery at the University of British Columbia.

    IN VANCOUVER, a high-security courtroom was built for the Air India trial, which was held between April 2003 and December 2004. When I saw images of the room in the newspaper, I realized that I was looking at a kind of theater but also a cheap video studio, one that, through wood panel and red

  • picks August 17, 2009

    Nasrin Tabatabai and Babak Afrassiabi

    As the final presentation of a project dedicated to the political, economic, and cultural indeterminacy of Kish––a resort island fostering free trade and lax social restrictions off the coast of Iran—Nasrin Tabatabai and Babak Afrassiabi’s The Isle, 2005–2009, offers an extensive body of research. Focused on the architectural pursuits that have defined Kish’s prolonged stasis between modernization and tradition, the artists’ fixation on this site is reminiscent of widespread preoccupations with modernity’s difficult birth throughout the Middle East. More often than not, these analyses, like

  • picks June 11, 2009

    Raymond Pettibon and Yoshua Okon

    The centerpiece of Raymond Pettibon and Yoshua Okon’s exhibition mines the mythic history of Los Angeles’s cultural past. Flanked on both sides by individual works by each artist, Hipnostasis, 2009, is a jointly produced six-channel video installation that provides an intimate glimpse into the interior lives of six anonymous beach bums as they silently consume steaks on the rocks of Venice Beach at daybreak. Pettibon and Okon’s practices merge here for the first time to form a quiet document of a bygone era of the Venice Beach vanguard. The portraits that make up Hipnostasis focus on individual