Mohammad Salemy

MA
Mohammad Salemy
Born 1967
Iran[1]
Nationality Canada[2]
Other names Mo Salemy [3]
Alma mater Emily Carr University of Art and Design, University of British Columbia
Occupation Artist, art critic,[4] curator,[5] writer[6]
Organization The New Centre for Research & Practice

Mohammad Salemy (born 1967 in Iran, Kermanshah) [7] is an artist,[8] art critic, curator,[9][10] writer[11] .[12] He is sometimes referred to as "Mo Salemy".[13][14]

Biography

Salemy holds a master's degree in both Critical and Curatorial Studies from the University of British Columbia. [15] His work is situated in the space between curatorial and artistic practice.[16]

Artist

As an artist he has shown his work internationally[17][18][19][20][21][22] and nationally, specially in Ashkal Alwan in Beirut and Witte de With in Rotterdam.[23] In 2016 he participated in the Gwangju Biennale with his project "For Machine Use Only".[24]

Curator

Salemy has curated shows at the Morris and Helen Belkin Art Gallery, Koerner Gallery, AMS Gallery at the University of British Columbia,[25] Access Gallery,[26][27][28] as well as the Satellite Gallery[29][30][31][32] and he was the curator of Dadabase.[33][34][35] Lastly his curatorial project "For Machine Use Only" was included in the 11th edition of the Gwangju Biennale.[36][37][38] His curatorial project "This is the Sea" was included in the 2017 edition of the artmonte-carlo [9]

Teaching

He is one of the co-founders of The New Centre for Research & Practice and the Fixing the Future platform. [39] In 2014, he organized the Incredible Machines conference in Vancouver. [40] and the "Here and Elswhere, at War, and into the Future: Palestine" Discussion that was hosted Live at Whitebox Art Center.[41] In 2015 he co-organized the "Knowledge Forms and Forming Knowledge – Limits and Horizons of Transdisciplinary Art-Based Research" Seminar at the University of Graz and the IZK Künstlerhaus – Halle für Kunst & Medien.[42] He gave lectures and presentations at the New Museum, Art in General, the Dutch Art Institute, UNSW[43] University of New South Wales, Witte de With Contemporary Art, [44] Goethe-Institut, CalArts School of Critical Studies, NYU, CA2M[45] and the University of British Columbia.[46]

Publications

As a writer, critic, and editor, Salemy has been a regular contributor to numerous exhibition catalogues, anthologies, and journals. His writings have appeared in numerous journals, catalogues, books, and magazines including: e-flux, Volume,[47] Flash Art, Brooklyn Rail[48] ,[49] Third Rail,[50]Ocula,[51][52] Spike Art Quarterly [53] DIS Magazine, C Magazine[54][55]

In 2016 he edited the book For Machine Use Only ' (&&& / The New Centre, 2016.) that featured texts by Jason Adams / Kate Armstrong, Elie Ayache, Benjamin Bratton, Clint Burnham, Lou Cantor, Manuel Correa, Alexander Galloway, Leo Goldsmith, Simón Isaza, Victoria Ivanova, Vaclav Janoscik, Ed Keller, Diana Khamis, Jessica Law, Siwin Lo, Nicola Masciandaro, Gean Moreno, Benjamin Noys, Jeff O’brien, Matteo Pasquinelli, David Roden, Judith Rodenbeck, Rory Rowan, Daniel Sacilotto, Samuel Sackeroff, T’ai Smith, Nick Srnicek, Kate Steinmann, Steven Warrick, and Peter Wolfendale.

His texts were published in books like "reinventing horizons", [56] and Politics of study.[57] He participated in numerous panel discussions and lectures in galleries, museums and colleges.[58][59][60][61][62][63][64]

Works (selection)

ART AFTER THE MACHINES, 2015 [65]

The Artist Is Hyperpresent, Installation 2015 [66]

What were you doing on 9/11?, 2010-2015 [67]

Stairwell, 2015 [68]

Preliminary materials for any theory, 2014 [69][70]

THIS IS NEW YORK GARBAGE, Color prints, 2009 [71]

In between the empty frames, Color prints, 2008 [72]

How to Assemble an Atomic Bomb, DVD and tin can, 2006.[73]

Exhumed: Deliberating R.M. Khomeini, Photographs, 2002 [74]

Other Endeavors

He was the co-founder of the successful fashion label "Government Clothing",[75] and is known for his activism[76] He also worked as a designer, specially for The Organ (band)'s album Grab that gun [77]

References

  1. ↑ https://huge.bg/софия-куиър-форум-2018-ще-бъде-куриран-от-и/
  2. ↑ "The New Centre for Research & Practice". thenewcentre.org.
  3. ↑ http://artobserved.com/2008/05/ao-on-site-urs-fischer-gavin-brown-tony-shafrazi-gallery-may-9-july-12-2008/
  4. ↑ "Art Dubai". artforum.com. Retrieved 2018-06-03.
  5. ↑ "Sound of Conversation". ahva.ubc.ca. Retrieved 2018-06-03.
  6. ↑ Planet of the Arts, 1993, volume 8, issue 4, page 4
  7. ↑ "the8thclimate.org". the8th climate.org. Retrieved 2018-05-30.
  8. ↑ "Mohammad Salemy – Artspeak". artspeak.ca. Retrieved 2018-06-03.
  9. 1 2 "artmonte-carlo Fair Dates: April 29-30, 2017". Retrieved 2018-05-31.
  10. ↑ "News Sound of Conversation". connect.ecuad.ca. Retrieved 2018-06-03.
  11. ↑ http://exilegallery.org/publications/arts-of-the-working-class-issue-1-a-city-is-a-stateless-mind/
  12. ↑ "HERE AND ELSEWHERE, AT WAR, AND INTO THE FUTURE: PALESTINE – WhiteBox". Whitebox. Retrieved 2018-05-30.
  13. ↑ "dr^k dossier". drik.mx. Retrieved 2018-05-31.
  14. ↑ "Art and Reason how art thinks". amandabeech.com. Retrieved 2018-06-03.
  15. ↑ "Dutch Art Institute". dutchartinstiute.eu. Retrieved 2018-05-31.
  16. ↑ ""The 8th Climate, 11th Gwangju Biennale"". the8thclimate.org. Retrieved 2018-05-31.
  17. ↑ "Art in the age of asymmetrical warfare". moussemagazine.it. Retrieved 2018-06-03.
  18. ↑ "Art in the age of asymmetrical warfare". www.wdw.nl. Retrieved 2018-06-03.
  19. ↑ "Emergency Biennale – Official Web Site!". www.emergency-biennale.org. Retrieved 2018-05-31.
  20. ↑ "MO SA'LEMY". Emergency Biennale. Retrieved 2018-06-03.
  21. ↑ "Emergency in Chechnya". centrea.org. Retrieved 2018-06-03.
  22. ↑ "The Dig Centre A's first 10 years" (PDF). centrea.org. Retrieved 2018-05-31.
  23. ↑ "Art in the age of asymetrical warfare". artviewer.org. Retrieved 2018-05-31.
  24. ↑ "Gwangju Biennale". Retrieved 2018-06-04.
  25. ↑ "Ali Ahadi: WARNING – Use by Other Than Registered Owner Prohibited by Law – AHVA – The Department of Art History, Visual Art & Theory". ahva.ubc.ca. Retrieved 2018-05-31.
  26. ↑ "ENCYCLONOSPACE IRANICA – Access Gallery". 24 February 2013. Retrieved 2018-05-31.
  27. ↑ "Tearsheet Encyclonospace Iranica" (PDF). Retrieved 2018-05-31.
  28. ↑ "TAHGHIGH PROJECT". TAHGHIGH PROJECT. Retrieved 2018-05-31.
  29. ↑ "Research Library – Digital Special Collections – Nature, Knowledge and the Knower". lbry-web-007.amnh.org. Retrieved 2018-05-31.
  30. ↑ http://arteeast.org/quarterly/architecture-and-de-measurement-in-abbas-akhavans-work/
  31. ↑ "Morris and Helen Belkin Art Gallery – Nature, Knowledge and the Knower". belkin.ubc.ca. Retrieved 2018-05-31.
  32. ↑ "Interview with Mo Salemy". 7 January 2012. Retrieved 2018-05-31.
  33. ↑ "....:::: DADABASE GALLERY ::::..." www.dadabase.ca. Retrieved 2018-05-31.
  34. ↑ "Artificial Cinema". Retrieved 2018-05-31.
  35. ↑ https://www.dailyxtra.com/da-da-dadabase-43667
  36. ↑ "Mohammad Salemy – Participants – Witte de With". www.wdw.nl. Retrieved 2018-05-31.
  37. ↑ "WARNING: Use by Other than Registered //". Ali Ahadi. Retrieved 2018-05-31.
  38. ↑ "October Artery". Retrieved 2018-05-31.
  39. ↑ "Introduce No. 10 – seeyounextthursday.com". www.seeyounextthursday.com. Retrieved 2018-05-31.
  40. ↑ ""In conjunction with Access Gallery, the independent curator Mohammad Salemy presents "Incredible Machines," a conference addressing different aspects of the expanding role of networked computers and digital processes in the production of knowledge."". Retrieved 2018-05-31.
  41. ↑ "HERE AND ELSEWHERE, AT WAR, AND INTO THE FUTURE: PALESTINE – WhiteBox". Retrieved 2018-05-31.
  42. ↑ "Knowledge Forms and Forming Knowledge – Limits and Horizons of Transdisciplinary Art-Based Research – Patricia Reed". www.aestheticmanagement.com. Retrieved 2018-05-31.
  43. ↑ "Aesthetics After Finitude Conference & Exhibition 5–6 February 2015 – National Institute for Experimental Arts". www.niea.unsw.edu.au. Retrieved 2018-05-31.
  44. ↑ "Hybrid Ecologies and Audiences Today". e-flux.com. Retrieved 2018-05-31.
  45. ↑ "Jornadas de la imagen 2017". ca2m.org. Retrieved 2018-05-31.
  46. ↑ "Mohammad Salemy - New Centre for Research & Practice - Academia.edu". thenewcentre.academia.edu. Retrieved 2018-05-31.
  47. ↑ https://www.bruil.info/product/volume-52-the-end-of-informality/
  48. ↑ "July 15th, 2014"|publisher=Brooklyn Rail|title=AFTER_ANTHROPOCINEMA
  49. ↑ "After Anthropocinema". Retrieved 2018-05-31.
  50. ↑ "Instagram as Non-Photography" (PDF). thirdrailquarterly.org. Retrieved 2018-06-03.
  51. ↑ [hhttps://ocula.com/magazine/reports/berlin-s-belated-biennale-a-response-to-the-respon/ "OCULA REPORT Berlin's belated Biennale: A response to the responses"]. ocula.com. Retrieved 2018-07-08.
  52. ↑ "OCULA REPORT Tilting the scale: on the 57th Venice Biennale". ocula.com. Retrieved 2018-06-03.
  53. ↑ "Spike Art Quarterly Issue 54 out now". Art Agenda. Retrieved 2018-06-03.
  54. ↑ "C Magazine 126". Retrieved 2018-05-31.
  55. ↑ ""Visitingcritics: Mohammad Salemy"] at PARSONS FINE ARTS". amt.parsons.edu. Retrieved 2018-05-31.
  56. ↑ "Reinventing horizons". reinventinghorizons.org. Retrieved 2018-06-03.
  57. ↑ "Politics of Study". www.mottodistribution.com. Retrieved 2018-05-31.
  58. ↑ "Panel Discussion With David Semeniuk. Oct 19, 2013. Gam Gallery". Soundcloud.com. Retrieved 2018-05-31.
  59. ↑ "Notes Towards a General Theory of Surface or How Art Might Survive Contemporary Art". Retrieved 2018-05-31.
  60. ↑ "WRITING / CURATING / ARTMAKING: A Triangular Practice". Retrieved 2018-05-31.
  61. ↑ "January 29, 2014"|publisher=Washington Square News |title=Today on campus
  62. ↑ "Mar 7, 2017"|publisher=Artweek|title=Global Art Forum
  63. ↑ "Jan 17, 2018"|publisher=Open Sandberg 2018|title=Guests
  64. ↑ "September 8, 2017"|title=Transforming Technology - VIENNA ART WEEK 2017, pages 106|publisher=Vienna Art Week
  65. ↑ "'Art Is Work' at Krokus Gallery". Retrieved 2018-06-03.
  66. ↑ "NEWS Real Edgy A Report from Home Works 7 and Athens Biennale 5 to 6". Retrieved 2018-06-03.
  67. ↑ "9/11 & the Temporality of Televisual Intersubjectivity". Retrieved 2018-06-03.
  68. ↑ "Art In The Age Of…Asymmetrical Warfare" (PDF). Retrieved 2018-06-03.
  69. ↑ "Preliminary materials for any theory". Retrieved 2018-06-03.
  70. ↑ "Preliminary materials for any theory". Retrieved 2018-06-03.
  71. ↑ "MOHAMMAD SALEMY: THIS IS NEW YORK GARBAGE September 12, 2009 – November 15, 2009". dadabase.ca. Retrieved 2018-06-03.
  72. ↑ "MO SALEMY: IN BETWEEN THE EMPTY FRAMES -INTERNATIONAL WHATEVER SEPTEMBER 4 – DECEMBER 1, 2008". dadabase.ca. Retrieved 2018-06-03.
  73. ↑ "MO SA'LEMY". Emergency Biennale. Retrieved 2018-06-03.
  74. ↑ "EXHUMED: DELIBERATING R.M KHOMEINI". centrea.org. Retrieved 2018-06-03.
  75. ↑ Post, Miranda (7 September 2006). "Ethics to a Tee – The Tyee". thetyee.ca.
  76. ↑ "Speaking Out: A Lamentation for Parrhesian Strategies – AHVA – The Department of Art History, Visual Art & Theory". ahva.ubc.ca.
  77. ↑ "Grab that gun". allmusic.com.

Bibliography

  • "The Sacred Meme Magic",[1]
  • "For Machine Use Only", &&& / The New Centre, 2016.
  • "Politics of Study". www.mottodistribution.com.
  • Manuel Correa, "artoffline" produced by Indiepix Films,2018.
  • Dorothée Dupuis (ed.), Mohammad Salemy and the New Centre for Research and Practice" in "Terremoto 4. " 2015.
  • "Reinventing Horizons". www.reinventinghorizons.org. 2016.
  • Salemy, Mohammad. "Tom McGlynn and the Asymtotes of Opticality", catalogue essay, For Geochromatic Index on Dadabase.Com NYC, 2014
  • Salemy, Mohammad (6 December 2017). "Our World: McLuhan's Idea of Globalized Presence as the Prehistory of Computational Temporality – Imaginations".
  • "Time and Televisual Intersubjectivity, McLuhan's Idea of Globalized Presence as the Prehistory of Telecomputation" in "This is Paradise: Art and Artists in Toronto", Published on May 28, 2015,pages 12–13
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