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Realty
Theorists and artists ask: how can art ends its complicity with gentrification? Based on a long-term program led by KW Berlin curator and writer Tirdad Zolghadr, Realtypromotes strategies to overcome contemporary art's complicity with gentrification, and to instead put the massive leverage and wealth now circulating in the art industry to positive use. With the help of numerous artists and experts who have contributed to Zolghadr's program between 2017 and 2020, this reader examines how contemporary art can contribute to decisive conversations on urbanism. The book thereby eschews the rabbit hole of infinite critique that typically dogs this subject, in favor of presenting ideas for practical positive change. Contributors include: Marwa Arsanios, Khaldun Bshara, Laura Calbet Elias, Marco Clausen, Simone Hain, Maria Hetzer, Sabine Horlitz, Suhail Malik, Bahar Noorizadeh, Marion von Osten, Kristel Raesaar, Penny Rafferty, Christopher Roth, Katya Sander and Paul Seidler.
Plot
A speculative, existentialist fiction on the melancholia of revolutionary politics and good intentions, Tirdad Zolghadr's novel is composed of the logorrhea of online communication and unpublished manuscripts. At the start of the New Zion Empire in 2016--a time of unprecedented dystopic stability with superpower coalitions, generous drone regiments, awesome capital investments, and more soft-power propaganda than ever employed in modern history--Sergeant Jim of the United States is taken hostage in Yazd, once the proud seat of the Persian Empire, and becomes a wildly popular mouthpiece for Third World rhetoric, postcolonial jingles, anti-imperial anecdotes, and anti-Zionist mottos. The abduc...
Softcore
The Promessa, a 1970s cocktail bar, is to be reopened in Tehran. Not as the glamorous location it once was, but as a slick showroom for art, fashion, and corporate receptions-a heady mix of profit, culture, and metropolitan swagger. By and by a hidden agenda emerges, involving an international network with gruesome intentions. Join the narrator, a young man with artistic ambitions who has no wish to disappoint his cosmopolitan backers, as he frantically struggles to open the Promessa on time. Shamelessly opportunistic, he turns local painters into stage props, militia members into video artists, and a spate in prison into a career opportunity. A frenetic, compelling look at modern Tehran, co...
Internal Necessity
This rich and extensive collection of writings, interviews, image spreads, letters,graphic essays and Skype conversations is the product of 2009's fertile''summer academy'' at the Zentrum Paul Klee in Bern. Guest curator, the Berlinbasedwriter/curator Tirdad Zolghadr, surprised participants by canceling thescheduled annual ''fellow exhibition'' that summer. Instead, participants were askedto contribute to this book, which makes a strong argument for print publicationsas equally worthy sites of art production alongside studio practice and exhibitions.The cancellation ''did not stem from a boredom with art, nor even with its rituals,but simply from an impatience with the unquestioning exhibition routine that predominates,''writes Zolghadr. Featured writings include Bruce Hainley, Los Angleles,a contributing editor at ArtForum and professor at Art Center College of Design,Mmariangela Mendez Prencke, Bogota, Columbia, curator, professor and graduatefrom BARD College, Uriel Orslow, Swiss artist, and many, many more.
REALTY
How to transcend land grab economies, even by means of art? The reader REALTY moves from the safety of critique to the vulgarity of suggestions. The pandemic's effect on mobility presents a historic opportunity. Rarely has criticism of our extractive artworld logic of one-place-after-another been louder. REALTY is a long-term curatorial program by Tirdad Zolghadr (*1973), initially commissioned by the KW Institute for Contemporary Art. With the help of numerous artists and experts who contributed over 2017–2020, this reader revisits how contemporary art can contribute to decisive conversations on urbanism. TIRDAD ZOLGHADR (*1973) is a curator and writer. He is currently artistic director of the Sommerakademie Paul Klee. Curatorial work over the last two decades includes biennial settings as well as long-term, research-driven efforts, most recently as associate curator at KW Institute for Contemporary Art Berlin, 2016-20.
Traction
The first in a new series of readers from the Carpenter Center for Visual Arts at
Shahrzad
Welcome to History, reads one of the endless opening pages of this dense paperback. The Shahrzad collective (Shirana Shahbazi, Manuel Krebs, Tirdad Zolghadr) once again tackles geopolitical aesthetics via idiosyncratic linkages of metonymy and allegory, textual poetics and iconic images, blunt content and overbearing design. In the words of the collective: "These days, it seems that even in those prosperous, provincial environs we call the West, history is becoming a more complex affair than the Eurocentric teleology of 'how we ended up the joyous pinnacle of civilization, happy as pigs in shit.'... And yet, throughout this apparent free-for-all, History as we know it persists." The upshot of all that theorizing is a densely and decoratively set compendium of material from Pliny the Elder, Michael Jackson and Christopher Columbus, among other luminaries, set under headings including "The Death of the Historian," "The Great Wall of China," "Mystery" and "Ali G."
Solution 168-185
"As for the more long-term solutions, this is certainly a job for the avant-garde, be it in the shape of architects, supercilious tourist intellectuals, secret societies or some other semi-conspiratorial cluster... This demands an avantgarde a little more proactive... and responsive than a Brechtian Villa Aurora... It's hardly a surprise that, over time, most Americans have become suspicious of people sympathetic to avant-gardism, assuming them all to be fascist hyena pigs, ipso facto no less. But in point of fact, America offers a rich tradition of politicized avant-garde conspiracies, the Black Panthers being only the most impressive recent example to have caught the public eye. To be hone...
Shahrzad
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The Human Snapshot
The 1955 exhibition The Family of Man, first shown at MoMA, used
