HUMA AND TALISMANS
3D Printed Sculpture, Black Resin 12” x 6” x 5”
3 Talisman, Clear Resin 3” x 2” x 1” Edition 3 + 2AP. 2016
‘Huma and Talismans’ was presented as part of Allahyari’s solo exhibition, SHE WHO SEES THE UNKNOWN. This body of work focuses on Digital Colonialism and ‘re-Figuring’ as a Feminism and activism practice using 3D scanners and 3D printers as tools of investigation.
SHE WHO SEES THE UNKNOWN: HUMA
HD Video – 1920 x 1280p with Audio, Single Channel. Edition 5 + 2AP. 2016
Researching dark goddesses, monstrous, and djinn female figures of Middle-Eastern origin, Allahyari devises a narrative through practices of magic and poetic-speculative storytelling, re-appropriation of traditional mythologies, collaging, meshing, scanning, and archiving.
3D SCANNING SCREEN CAPTURE PERFORMANCE
HD Video – 1920 x 1280p, Edition 10 + 2AP. 2016
Allahyari’s ritualistic re-scanning of her 3D printed sculptures is a software-based performance symbolic of the artist’s interrogation of the ownership of 3D scanned data. The 3D capture of the finished work is performed with high-tech hardware, the output is a new 3D model of the work via the proxy of it’s physical form. The video is a screencapture of the artist’s process using the software, as the work is re-rendered in 3D.
MOREHSHIN ALLAHYARI is an artist, activist, educator, and occasional curator. She is the recipient of the leading global thinkers of 2016 award by Foreign Policy magazine.
Morehshin was born and raised in Iran and moved to the United States in 2007. Her work deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects and as a poetic means to document our personal and collective lives struggles in the 21st century. Morehshin is the co-author of The 3D Additivist Cookbook in collaboration with writer/artist Daniel Rourke– (published on December 2016 online in 3DPDF format and in print by the Institute of Networked Cultures). Her modeled, 3D-printed sculptural reconstructions of ancient artifacts destroyed by ISIS, titled Material Speculation: ISIS,have received widespread curatorial and press attention and have been exhibited worldwide.
Morehshin has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Archittectura, Museum of Contemporary Art in Montreal, Tate Modern, Queens Museum, Pori Museum, Powerhouse Museum, Dallas Museum of Art, Jeu de Paume, Contemporary Arts Museum of Houston, Museum für Angewandte Kunst. She has been an artist in residence at BANFF Centre (2013), Carnegie Mellon University’s STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), and the Vilém Flusser Residency Program for Artistic Research in association with Transmediale, Berlin (2016). Her work has been featured in the New YorkTimes, Huffington Post, Wired, National Public Radio, Parkett Art Magazine, Frieze, Rhizome, Hyperallergic, and Al Jazeera, among others.
Morehshin is currently an artist in residence at Eyebeam’s one year Research Residency (2016-2017) in NYC where she is developing a new body of work on Digital Colonialism and ‘re-Figuring’ as a Feminism and de-colonialism practice, using 3D scanners and 3D printers as her tools of investigation. Researching dark goddesses, monstrous, and djinn female figures of Middle-Eastern origin, Allahyari devises a narrative through practices of magic and poetic-speculative storytelling, re-appropriation of traditional mythologies, collaging, meshing, scanning, and archiving.
Morehshin Allahyari is one of the 2016-2017 residents at Eyebeam. ‘SHE WHO SEES THE UNKNOWN’ was Allahyari’s first iteration of a new research project to be developed in residency at Eyebeam – a nonprofit studio for collaborative experiments with technology toward a more imaginative and just world. By providing generous support to artists for research, production and education, Eyebeam makes ideas real.