Mohammad Salemy

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]

MA

Mohammad Salemy
Born1967
Iran[1]
NationalityCanada[2]
Other namesMo Salemy [3]
Alma materEmily Carr University of Art and Design, University of British Columbia
OccupationArtist, art critic,[4] curator,[5] writer[6]
OrganizationThe New Centre for Research & Practice

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,[25] Koerner Gallery, AMS Gallery at the University of British Columbia,[26] Access Gallery,[27][28][29] as well as the Satellite Gallery[30][31][32][33] and he was the curator of Dadabase.[34][35][36] Lastly his curatorial project "For Machine Use Only" was included in the 11th edition of the Gwangju Biennale.[37][38][39] His curatorial project "This is the Sea" was included in the 2017 edition of the artmonte-carlo [40] [9] Together with Patrick Schabus he curated the 2018 edition of the Sofia Queer Forum, that featured Barbara Hammer and Bruce laBruce.[41][42][43] [44][45]

Teaching

He is one of the co-founders of The New Centre for Research & Practice and the Fixing the Future platform. [46] In 2014, he organized the Incredible Machines conference in Vancouver. [47] and the "Here and Elsewhere, at War, and into the Future: Palestine" Discussion that was hosted Live at Whitebox Art Center.[48] 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.[49] He gave lectures and presentations at the New Museum, Art in General, the Dutch Art Institute, UNSW[50] University of New South Wales, Witte de With Contemporary Art, [51] Goethe-Institut, CalArts School of Critical Studies, NYU, CA2M[52] and the University of British Columbia.[53]

Publications

As a writer,[54] 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,[55] Flash Art, Brooklyn Rail[56] ,[57] Third Rail,[58]Ocula,[59][60] Spike Art Quarterly [61] DIS Magazine, C Magazine[62][63]

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", [64] and Politics of study.[65] He participated in numerous panel discussions and lectures in galleries, museums and colleges.[66][67][68][69][70][71][72]

Works (selection)

ART AFTER THE MACHINES, 2015 [73]

The Artist Is Hyperpresent, Installation 2015 [74][75]

What were you doing on 9/11?, 2010-2015 [76]

Stairwell, 2015 [77]

Preliminary materials for any theory, 2014 [78][79]

THIS IS NEW YORK GARBAGE, Color prints, 2009 [80]

In between the empty frames, Color prints, 2008 [81]

How to Assemble an Atomic Bomb, DVD and tin can, 2006.[82]

Exhumed: Deliberating R.M. Khomeini, Photographs, 2002 [83]

Other Endeavors

He was the co-founder of the successful fashion label "Government Clothing",[84] and is known for his activism[85] He also worked as a designer, specially for The Organ (band)'s album Grab that gun [86]

Bibliography
  • "The Sacred Meme Magic",[87]
  • "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 28 May 2015, pages 12–13
gollark: AIs running on computers need electricity and (less) cooling.
gollark: Us foolish meatbags need oxygen and stable ~300K temperatures and food and water and stuff.
gollark: But what if the AIs colonize outer space? They can beat humans at it.
gollark: See, any game can be made more fun if you implement human-level intelligences which can create stuff like pyramid schemes.
gollark: Presumably if food is magically non-perishable, lots of people will just store it, and the price won't vary *that* much because the only extra cost is some storage.

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 3 June 2018.
  5. "Sound of Conversation". ahva.ubc.ca. Retrieved 3 June 2018.
  6. Planet of the Arts, 1993, volume 8, issue 4, page 4
  7. "the8thclimate.org". the8th climate.org. Retrieved 30 May 2018.
  8. "Mohammad Salemy – Artspeak". artspeak.ca. Retrieved 3 June 2018.
  9. "artmonte-carlo Fair Dates: April 29-30, 2017". Retrieved 31 May 2018.
  10. "News Sound of Conversation". connect.ecuad.ca. Retrieved 3 June 2018.
  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 30 May 2018.
  13. "dr^k dossier". drik.mx. Retrieved 31 May 2018.
  14. "Art and Reason how art thinks". amandabeech.com. Retrieved 3 June 2018.
  15. "Dutch Art Institute". dutchartinstiute.eu. Retrieved 31 May 2018.
  16. ""The 8th Climate, 11th Gwangju Biennale"". the8thclimate.org. Retrieved 31 May 2018.
  17. "Art in the age of asymmetrical warfare". moussemagazine.it. Retrieved 3 June 2018.
  18. "Art in the age of asymmetrical warfare". www.wdw.nl. Retrieved 3 June 2018.
  19. "Emergency Biennale – Official Web Site!". www.emergency-biennale.org. Retrieved 31 May 2018.
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  22. "The Dig Centre A's first 10 years" (PDF). centrea.org. Retrieved 31 May 2018.
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  26. "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 31 May 2018.
  27. "ENCYCLONOSPACE IRANICA – Access Gallery". 24 February 2013. Retrieved 31 May 2018.
  28. "Tearsheet Encyclonospace Iranica" (PDF). Retrieved 31 May 2018.
  29. "TAHGHIGH PROJECT". TAHGHIGH PROJECT. Retrieved 31 May 2018.
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  32. "Morris and Helen Belkin Art Gallery – Nature, Knowledge and the Knower". belkin.ubc.ca. Retrieved 31 May 2018.
  33. "Interview with Mo Salemy". 7 January 2012. Retrieved 31 May 2018.
  34. "....:::: DADABASE GALLERY ::::..." www.dadabase.ca. Retrieved 31 May 2018.
  35. "Artificial Cinema". Retrieved 31 May 2018.
  36. https://www.dailyxtra.com/da-da-dadabase-43667
  37. "Mohammad Salemy – Participants – Witte de With". www.wdw.nl. Retrieved 31 May 2018.
  38. "WARNING: Use by Other than Registered //". Ali Ahadi. Retrieved 31 May 2018.
  39. "October Artery" (PDF). Retrieved 31 May 2018.
  40. "Fair Dates: April 29-30, 2017". Archived from the original on 14 June 2018. Retrieved 14 February 2019.
  41. https://www.dnevnik.bg/kultura/2018/11/12/3343026_mohamad_salemi_kurator_pokrai_trump_i_metoo_se_povishi/
  42. https://www.dnes.bg/izlojbi/2018/11/09/bejancite-izkliucheni-ot-obshtestvoto-v-rodina-za-vagabonta.393095
  43. https://www.bnt.bg/bg/a/sofiya-kuir-forum-rodina-za-vagabonta-v-galeriya-vaska-emanuilova
  44. https://dversia.net/4076/interview-nadejda-moskovska-mohammad-salemy-patrik-shabus/
  45. https://sofiaqueerforum.org/en/
  46. "Introduce No. 10 – seeyounextthursday.com". www.seeyounextthursday.com. Retrieved 31 May 2018.
  47. ""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 31 May 2018.
  48. "HERE AND ELSEWHERE, AT WAR, AND INTO THE FUTURE: PALESTINE". WhiteBox. Retrieved 31 May 2018.
  49. "Knowledge Forms and Forming Knowledge – Limits and Horizons of Transdisciplinary Art-Based Research – Patricia Reed". www.aestheticmanagement.com. Retrieved 31 May 2018.
  50. "Aesthetics After Finitude Conference & Exhibition 5–6 February 2015 – National Institute for Experimental Arts". www.niea.unsw.edu.au. Retrieved 31 May 2018.
  51. "Hybrid Ecologies and Audiences Today". e-flux.com. Retrieved 31 May 2018.
  52. "Jornadas de la imagen 2017". ca2m.org. Retrieved 31 May 2018.
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  54. http://artdaily.com/news/95198/Fridman-Gallery-opens-first-solo-exhibition-of-British-artist-Navine-G--Khan-Dossos
  55. https://www.bruil.info/product/volume-52-the-end-of-informality/
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  57. "After Anthropocinema". Retrieved 31 May 2018.
  58. "Instagram as Non-Photography" (PDF). thirdrailquarterly.org. Retrieved 3 June 2018.
  59. "OCULA REPORT Berlin's belated Biennale: A response to the responses". ocula.com. Retrieved 8 July 2018.
  60. "OCULA REPORT Tilting the scale: on the 57th Venice Biennale". ocula.com. Retrieved 3 June 2018.
  61. "Spike Art Quarterly Issue 54 out now". Art Agenda. Retrieved 3 June 2018.
  62. "C Magazine 126". Retrieved 31 May 2018.
  63. "Visitingcritics: Mohammad Salemy". Parsons Fine Arts. Retrieved 31 May 2018.
  64. "Reinventing horizons". reinventinghorizons.org. Retrieved 3 June 2018.
  65. "Politics of Study". www.mottodistribution.com. Retrieved 31 May 2018.
  66. "Panel Discussion With David Semeniuk. Oct 19, 2013. Gam Gallery". Soundcloud.com. Retrieved 31 May 2018.
  67. "Notes Towards a General Theory of Surface or How Art Might Survive Contemporary Art". Retrieved 31 May 2018.
  68. "WRITING / CURATING / ARTMAKING: A Triangular Practice". Retrieved 31 May 2018.
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  78. "Preliminary materials for any theory". Retrieved 3 June 2018.
  79. "Preliminary materials for any theory". Retrieved 3 June 2018.
  80. "MOHAMMAD SALEMY: THIS IS NEW YORK GARBAGE September 12, 2009 – November 15, 2009". dadabase.ca. Retrieved 3 June 2018.
  81. "MO SALEMY: IN BETWEEN THE EMPTY FRAMES -INTERNATIONAL WHATEVER SEPTEMBER 4 – DECEMBER 1, 2008". dadabase.ca. Retrieved 3 June 2018.
  82. "MO SA'LEMY". Emergency Biennale. Retrieved 3 June 2018.
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  84. Post, Miranda (7 September 2006). "Ethics to a Tee – The Tyee". thetyee.ca.
  85. "Speaking Out: A Lamentation for Parrhesian Strategies – AHVA – The Department of Art History, Visual Art & Theory". ahva.ubc.ca.
  86. "Grab that gun". allmusic.com.
  87. "=INFOESQUE" (PDF), khandossos.com
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