• View of “Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian,” 2014.

    Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian

    Gallery Isabelle van den Eynde

    The sensory overload produced by Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian’s exhibition “The Exquisite Corpse Shall Drink the New Wine” was immediate. There was work everywhere, from paintings, collages, and videos to assemblages and sculptures, arranged within a number of partitioned spaces that divided the gallery floor, which was painted with a black-and-white triangular pattern that evolved into colorful floral forms and other more organic-looking motifs as it snaked around the gallery. On this writer’s visit, the sound of Nancy Argenta performing Henry Purcell’s “O Solitude,

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  • Reza Aramesh, Action 136: Put this in your record: I am Present!, 2014, three-channel 35-mm slide projection, color, silent.

    Reza Aramesh

    Leila Heller Gallery

    Although Reza Aramesh draws on an extensive archive of media images of wartime atrocities for representations of male bodies in moments of pain, suffering, and forced submission, his performances, large-scale black-and-white photographs, and, most recently, sculptures (all of which he refers to as “actions”) are never strictly mimetic. The London-based Iranian artist extracts victims’ poses, gestures, and expressions from documentary images and then enlists amateurs—young, fit, and dressed in everyday street wear—to reenact them. These reenactments, carefully choreographed tableaux

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