3D printing Tag

Morehshin Allahyari - She Who Sees the Unknown

She Who Sees the Unknown (2017 – present)

SHE WHO SEES THE UNKNOWN is an in progress body of work on Digital Colonialism and re-Figuring as a Feminism and activism practice, using 3D scanners and 3D printers as my tools of investigation. Researching dark goddesses, monstrous, and djinn female figures of Middle-Eastern origin, I want to explore the symbolic meanings behind traditions and myths and speculate on the effects of colonialism and other forms of contemporary oppression. I devise a narrative through practices of magic and poetic-speculative storytelling, re-appropriation of traditional mythologies, collaging, meshing, 3D scanning/3D Printing, and archiving.

 

1- Archiving: researching and gathering an image and text archive of dark goddesses and female jinn and monstrous figure of the Middle-East origin, mostly from ancient mythical stories and resources (an archive that does not exist in any form). This archive will take the format of both a physical reading room, a book (in collaboration with an Archaeologist friend and Imam in Iran), as well as an online web based archive.

2- Production: creating a selection of 12 of these figures by re-appropriating and 3D modeling them from different ancient illustrations. Then 3D scanning the 3D printed models as a series of ritual ceremonial performances as well as video material for storytelling. I imagine the 3D printed sculptures to become an army of dark figures existing alongside a series of re-appropriated and mashed up talismans that I will source out from different Farsi and Arabic fawātih (فواتح) or “openers”, and other occult divinations. 

3- Storytelling: writing a separate narrative about each figure in form of video essay/fiction that uses the initial superpower/abilities of the specific jinn, goddess, monstrous figure but connects it to some form of contemporary oppression and colonialism.

4- Ha’m-Neshini (Sitting Together) + Fabulation Stations:  a series of intimate public performances, events and discussions in relationship to my research in collaboration with artists, scientists, and activist women from the Middle-East. 

For password to view She Who Sees The Unknown: Huma, please email morehshin@gmail.com.

 

Galleries

TRANSFER Gallery Exhibition

Work in Progress / 2016-2017

Video Stills

The 3D Additivist Cookbook (2016)

The 3D Additivist Cookbook, devised and edited by Morehshin Allahyari & Daniel Rourke, is a free compendium of imaginative, provocative works from over 100 world-leading artists, activists and theorists. The 3D Additivist Cookbook contains 3D .obj and .stl files, critical and fictional texts, templates, recipes, (im)practical designs and methodologies for living in this most contradictory of times.

In March 2015 Allahyari & Rourke released The 3D Additivist Manifesto, a call to push creative technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions.

#Additivism is a portmanteau of additive and activism: a movement concerned with critiquing ‘radical’ new technologies in fablabs, workshops, and classrooms; at social, ecological, and global scales. The 3D Additivist Cookbook questions whether it’s possible to change the world without also changing ourselves, and what the implications are of taking a position.

Gallery

Morehshin Allahyari - Material Speculation - Gorgon

Material Speculation: ISIS (2015-2016)

Material Speculation is a digital fabrication and 3D printing project by Morehshin Allahyari that inspects Petropolitical and poetic relationships between 3D Printing, Plastic, Oil, Technocapitalism and Jihad.

“Material Speculation: ISIS” is a 3D modeling and 3D printing project focused on the reconstruction of 12 selected (original) artifacts (statues from the Roman period city of Hatra and Assyrian artifacts from Nineveh) that were destroyed by ISIS in 2015. “Material Speculation: ISIS” creates a practical and political possibility for artifact archival, while also proposing 3D printing technology as a tool both for resistance and documentation. It intends to use 3D printing as a process for repairing history and memory.

Material Speculation: ISIS, goes beyond metaphoric gestures and digital and material forms of the artifacts by including a flash drive and a memory card inside the body of each 3D printed object. Like time capsules, each object is sealed and kept for future civilizations. The information in these flash drives includes images, maps, pdf files, and videos gathered in the last months on the artifacts and sites that were destroyed. These materials were sourced by an intense research process involving contacting different archeologists, historians, and museum staff (from Mosul Museum to archeologists and historians in Iraq and Iran).

On February 26, 2016, Allahyari published one of her reconstructions from “Material Speculation: ISIS,” as well as a dossier of her research, as part of Rhizome’s series The Download.[15] Through this commission, her object file for King Uthal was made openly available to anyone for 3D printing.

She is currently working on finding a platform/museum for the release and the preservation of all the digital files and models from this project.

*Special thanks to Pamela Karimi, Christopher Jones, Negin Tabatabaei, Wathiq Al-Salihi, Lamia Al Gailani Werr for their help with research.

*Special Thanks to Shannon Walsh, Shane O’Shea, Sierra Dorschutz,Patrick Delory, Christian Pramuk, and Mariah Hettel for their help with 3D modeling.

Gallery

Process

(please give the gif gallery a moment to load)

The 3D Additivist Manifesto (2015)

In March 2015, we -Morehshin Allahyari and Daniel Rouke– released The 3D Additivist Manifesto: a call to push Additivist technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. We then opened up submissions to a radical ‘Cookbook’ of blueprints, designs, 3D print templates, and essays on the topics raised by our Manifesto.

The full text and bibliography can be read & downloaded from: additivism.org/manifesto.

*The 3D Additivist Manifesto was created by Morehshin Allahyari and Daniel Rourke, with sound design from Andrea Young.

Introduction

The 3D printer is a profound metaphor for our times. A technology for channelling creative endeavour, through digital processes, into the layering of raw matter excavated from ancient geological eras. 3D fabrication can be thought of as the critical framework of #AdditivismAn electric mix of art project, online community, activism, ironic commentary, and revolutionary potential, #Additivism — a portmanteau of “additive” and “activism” aims to disrupt material, social, computational, and metaphysical realities through provocation, collaboration, and science fictional thinking.

The 3D Additivist Cookbook

In Summer 2016 we were artists in residence at Vilém Flusser Residency for Artistic Research in Berlin, an annual award through the transmediale festival for art and digital culture in Berlin. During the residency, we finished The 3D Additivist Cookbook, a publication unifying many of the strands of the project thus far, including essays, texts, artworks, and, of course, many 3D-printable files. 

Gallery

Morehshin Allahyari - Bitrates

بیت بر ثانیه – Bitrates (2014)

Bitrates is the first New Media Art exhibition in the city of Shiraz in Iran, curated and organized by artists Morehshin Allahyari and Mani Nilchiani, hosted by Dar-ol-Hokoomeh Project at Shiraz Artist House. With a vision to create a space dedicated to emerging artistic practices, workshops, talks, presentations and exhibitions, Dar-ol-Hokoomeh Project (co-founded by Mohsen Hazrati and Milad Forouzandeh) seeks to expose the creative community and general public to the potentials of new technologies and New Media theory and practice.

In their curation process, Morehshin and Mani have selected artists that each use variety of digital tools, material, and software in their works to present a specific category and technological aesthetics of new media art; from artgame, creative coding, experimental 3D animation to glitch art and animated GIF. The significance of the term “Bit Rate” is two fold: On the one hand, every digital art work at one point or the other needs to navigate the bottleneck of “bits”. Ideas turn into bits, bits are streamed over a network, to a screen, or to a tangible output such as a 3D printer to form an experience. While simultaneously, as a generation who sought their exposure to the world outside through slow, clunky dial-up modems, our interaction with the world at large was at the mercy of “bit rate”. بیت بر ثانیه (Bitrates) draws attention to these ideas through the presentation of the work that engages and explores technology and internet as a medium.

Featuring: Morehshin Allahyari, Benjamin Bacon, Andrew Blanton, Alex Myers, Brenna Murphy, Ramsey Nasser, Mani Nilchiani, Daniel Rourke, Alfredo Salzar-Caro, Angela Washko.

A lecture and a Q & A session will be held with Morehshin Allahyari and Mani Nilchiani at Daralhokoomeh on Sunday May 25th, 6:30 PM.

Website: http://daralhokoomeh.com

***GIFbites is one of the projects of Bitrates exhibition (curated by Daniel Rourke). For the opening of Bitrates, a selected version of this project was displayed in the gallery, followed by a complete showcase of all the GIFs for the GIFbites exhibition, May 30th-June 6.

Morehshin Allahyari - Dark Matter Series I - #dog #dildo #satellite-dish

Dark Matter (First Series – 2014)

Dark Matter is a series of combined, sculptural objects modeled in Maya and 3D printed to form humorous juxtapositions.; The objects chosen for the first series are the objects/things that are banned or un-welcome in Iran by the government. The objects that in many other countries people use or own freely but under Iranian government laws (for several reasons) are forbidden or discouraged to use. Owning some of these objects/things (dog, dildo, gun, neck tie, satellite dish, etc.) means going to jail, or getting a fine, or constantly being under the risk of getting arrested or bothered by the moral police. By printing and bringing the virtual 3D into physical existence, I want to simultaneously resist and bring awareness about the power that constantly threatens, discourages, and actively works against the ownership of these items in Iran. No matter how functional, through 3D printing, I am able to re-create and archive a collection of forbidden objects. In a way, the sculptural objects serve as a documentation of lives (my own life included) lived under oppressions and dictatorship. This is the documentation of a history full of red lines drawn in the most private aspect of one’s life.

What will happen when you re-contextualize the forbidden/banned/taboos? Could inserting the sculptures into another time and space change our relationship to these objects and challenge us to enter an historical dimension of the work? In other words, through positioning the tabooed I want to re-emphasize the dramatic and ironic aspect of forbidden; When looking back in twenty years, how would it feel to re-visit this collection?