December 2018 – runovers

One Take: Sahej Rahal’s Bashinda, frieze, issue 216 (January 2021).
Notes on Class, Labor, and the Moving Image, catalogue essay, Not Working: Artistic Production and Matters of Class, Kunstverein München + Archive Books, Berlin (September 2020).
Toward a Comparative Futurism – Revised and Extended (December 2019).
Toward a Comparative Futurism, catalogue essay, Cosmological Arrows, Bonniers Konsthall + Art and Theory Publishing, Stockholm (August 2019).
National Identity Meets Digital Nativity: On the Works of Shabahang Tayyari, Canvas Magazine, No. 15, vol. 14 (July 2019).
On the Installation Shots of Contemporary Art Exhibitions, catalogue essay, thing, aura, metadata. A poem on making., The Museum of Contemporary Photography of Ireland, Dublin (July 2019).
Shilpa Gupta and Zarina at Ishara Art Foundation, review, art–agenda (June 2019).
On the Works of Morteza Ahmadvand, Ghazaleh Hedayat, and Sahand Hesamiyan, catalogue essays, The Spark Is You, Parasol Unit, London and Venice (May 2019).
CAD Conspiracy: Pattern Recognition in Contemporary Art (with Bahar Noorizadeh and Chris Tegho), video-essay installation with Generative Adversarial Networks (2019–ongoing).
Ethics of Time Travel: Toward a Comparative Futurism, talk, The Twilight Symposium: Science Fiction Inside Colonialism, e-flux journal + La Colonie, Paris (February 2019).
Peer Pressuring the Past, Future-Fictioning the Present: On the Films of Bahar Noorizadeh, brochure text, Governing Machines and the Future of Futures, Mercer Union, Toronto (October 2018).
“What Was Gulf Futurism” (with Ahamd Makia), in ZIGG: Superficial (October 2018).
A Butterfly Effect Across the Chronosphere, talk, Armen Avanessian & Enemies #30: Ethnofuturisms, Roter Salon, Volksbühne, Berlin (September 2018).
Ethnofuturisms (Berlin: Merve Verlag, 2018).
Notes From the Attic: Displaying the Material History of the CIA, Cabinet, issue 65 (Fall 2017–Winter 2018).
A Postcard from Tehran, Spike Art Quarterly, No. 57 (September 2018).
Tehran Behind the Screen, Domus, No. 1027 (September 2018).
Instrumental Xenotation, blog post (September 2017).
The Politics of Surplus: An Affirmative Strategy of Resistance, coursework, Goldsmiths, University of London (August 2017).
Objective Hyperreality vs. Hyperobjective Reality, blog post (July 2017).
Despotic Ophidiophobia, blog post (July 2017).
“Post-Capitalist Desire”, in The Fisher-Function (London: EGRESS, 2017).
This Is the Sea, Isn’t It?, catalogue essay, This Is the Sea, artmonte-carlo, Monaco (April 2017).
The Contract of Identification with Pain or A Child’s Instantaneous Desire for Aging, blog post (February 2017).
🚨💭, blog post (January 2017).
The Exhibition Whisperer, Spike Art Quarterly, online (January 2017).
The Aesthetics of Afterlife, blog post (November 2016).
August 3, 2016: After Pak Sheung-Chuen, blog post (August 2016).
Trans-Temporal Perspectives, PNYX (an autonomous imprint of Architectural Association, London), issue 24 (June 2016).
An Alternative Entry in Five Moves, blog post (June 2016).