Sohrab Mohebbi

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PublisherSculpture Center2019
Banu Cennetoğlu’s moving-image work 1 January 1970–21 March 2018 H O W B E I T Guilty feet have got no rhythm Ke iboynuzu AS IS MurMur I measure every grief I meet Taq u Raq A piercing Comfort it affords Stitch Made in Fall Yes. But. We had a golden heart. One day soon I’m gonna tell the moon about the crying game presents the totality of the artist’s visual archive from June 10, 2006, to March 21, 2018. The time span of the project is bookended by, at one end, Cennetoğlu’s engagement with The List (see pages 6–10 ...
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PublisherHome Cooking2021
HOME COOKING is a digital artist-run space started in March 2020 featuring activities, movement, music, poetry, video, and more.
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PublisherShifter2012
Shifter’s eighteenth issue gathers conversations and interviews between various cultural practitioners that elaborate on the subject of intention. To intend is to have a conception of the future. To direct and extend attention to a moment that is yet to arrive. To construct a contingent model of the future, while negotiating and adjusting it at any given moment against countless uncertainties, thus providing the greatest possible chance of this future’s arrival. To reflect upon an action and determine its intention is then to trace the arc of this willed movement – looking back, culling through layers of events, interactions, and gestures, ...
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PublisherSculpture Center2020
For his new commission at SculptureCenter, Rafael Domenech has created a large-scale modular installation in the ground-floor gallery. Responding to the conditions of the exhibition space as a former trolley repair shop, Domenech used the building’s existing structure, in particular the tracks of an industrial gantry system, as a machine to produce and facilitate the work. Working with materials typically destined for construction sites, the work engages with the urban vernacular of the rapidly growing Long Island City neighborhood…
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PublisherSculpture Center2019
Searching the Sky for Rain came out of a series of conversations over the past decade with artists, thinkers, and colleagues on questions around representation and abstraction, identity and identification, inclusion and exclusion, visibility and non-visibility. The language used to discuss the exhibition deliberately rejected the terminology usually used by institutions to address social positions and particularities. The exhibition brings together works by artists who disregard the ways in which the art industry regulates, classifies, compartmentalizes, and essentializes difference into sanctioned categories. This multicultural “appropriation/misappropriation” is, according to Gloria Anzaldúa, “an attempt to control difference by allocating it to bordered-off ...

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