Category Posts

Tehran vs. Tehrangeles: A Special Screening of Maxx

Wednesday August 27, 2014 at 8pm
Ooga Booga 2
356 S. Mission Road, Los Angeles

The cultural wars between Iran and its left coast diaspora have long been played out in the realms of cinema, television, and music—from pre-revolutionary films such as Mamal Amrikai to the lyrics of pop songs such as Sandy’s Talagh. State television vs. satellite; aging divas vs. youthful rappers; parkour vs. the Shahs of Sunset: the Tehranis have historically portrayed the diasporic Iranian as effeminate, gaudy and morally loose, while the Tehrangelenos see the the Iranians as illiterate, perverted, obscurist bumpkins—that is, if they even acknowledge them at all! Maxx (Saman Moghadam, 2005) is an artifact from the Khatami-era of cross-cultural dialogue, where old stereotypes get some new clothes. The film was a domestic success in Iran, and one of the earlier instances of a non art-house film finding an audience within the diaspora. Can Tehran and Tehrangeles learn to love each other?

Post-screening discussion will be led Bidoun editors and accompanied by Armenian arak and ice cream generously provided by MILK.

Maxx, Saman Moghadam, 2005, 110min, in Persian with English subtitles

August 25, 2014

LA Art Book Fair + Etel Adnan Readings + Screening

Bidoun at the Los Angeles Art Book Fair
January 31– February 2, 2014
The Geffen Contemporary at MOCA

Bidoun presents Etel Adnan: To look at the sea is to become what one is
Sunday, February 2, 2014, 11:30 am – 12:30 pm
Democracy Forum at the Japanese American National Museum
Across the courtyard from the Geffen Contemporary

Stop by our booth this week at the Los Angeles Art Book Fair and join us Sunday morning for a special screening and reading event to celebrate the forthcoming anthology To look at the sea is to become what one is: An Etel Adnan Reader (Nightboat Books, 2014) starring Bruce Hainley, Hedi El Kholti, Hans Ulrich Obrist, Rijin Sahakian, and Noura Wedell.

The Otolith Group‘s film I See Infinite Distance Between Any Point and Another (2012), shot largely in Adnan’s Paris apartment, centers on a reading of the first chapter of the renowned Lebanese-American artist’s poem, Sea and Fog. The sound of Adnan’s gentle voice, and the quiet but ever present ambient noise in her apartment, create a powerful, meditative atmosphere. If poetry can be understood as a study in constraint, the film, I See Infinite Distance Between Any Point and Another, can be understood as an experiment in concentration and a study of gestures, that speaks of the mobility of language and the movement of the ocean.

January 31, 2014

Bidoun Launch in Los Angeles!

Bidoun Launch Los Angeles
Sunday August 25, 2013 at 3pm
Ooga Booga 2, 356 S. Mission Road, Los Angeles

Join us for a celebrity-Bidouni-studded event with readings and performances and music and ice cream. Show begins promptly at 3!

August 19, 2013

Khordadian Mixtape

In honor of the SPORTS issue and our feature on Iranian dancercise king Mohammad Khordadian, Bidoun presents a compilation of some of our favorite early ’90s Tehrangelesi pop songs that soundtrack Khordadian’s videos, including:

Martik — Niloofar
Fataneh — Namehraboon
Moein & Faezeh — Del Shekasteh
Bijan Mortazavi — Havaye Eshgh
Black Cats — Rhythm of Love
Moein — Tamana
Hassan Shamaizadeh — Ye Dokhtar Daram
Siavash — Gol
Fataneh — Mola Mamadjan
Bijan Mortazavi — Zendegi
Samad — Hele Dan
Shahram Shabpareh — Shabe Toye Raaheh
Jalal Hemmati — Baba Karam

Click here to download!

April 5, 2011

Bidoun Library at the New Museum

New Museum (5th Floor)
August 4 — September 26, 2010
235 Bowery
New York, NY

The Bidoun Library Project at the New Museum is a highly partial account of five decades of printed matter in, near, about, and around the Middle East. Arrayed along these shelves are pulp fictions and propaganda, monographs and guidebooks, and pamphlets and periodicals, on subjects ranging from the oil boom to the Dubai bust, the Cold War to the hot pant, Pan-Arabs to Black Muslims, revolutionaries to royals, and Orientalism to its opposites.

Most of the 700-odd titles on display were acquired specifically for this exhibition. The shape of the collection was dictated primarily by search terms on the World Wide Web rather than any intrinsic notion of aptness or excellence. Searching for “Arab,” “paperback,” “1970s,” and “<$3,” we acquired dozens of books about the Oil Crisis, the cruel love of the Sheikh, and the lifestyles of the nouveau riche. A similar search for “Iran” produced its own set of types and stereotypes. We did not set out to find the best books about, say, the Iranian revolution; in a sense, we looked for the worst. Or, rather, we tried to look at what was there. The result is less a coherent group of titles or texts than an assortment of books as things, sorted roughly into four themes or units. Catalogues hang from the ceiling in front of each shelf cluster. Inside is a documentation of a selection of books from that shelf, in dialogue with excerpted texts and images from the library as a whole. The Bidoun Library includes a program of Iranian film, video, and television culled from low-fidelity DVDs and VHS tapes that circulate among Iranians in the Diaspora. The selection includes post-revolutionary variety shows, music videos, and other totems of middlebrow—unibrow?—culture. This is an Iranian cinema unlikely to be shown at Lincoln Center.

July 29, 2010

Robert Shapazian ( 1942 — 2010)

Bidoun will miss Robert Shapazian, who passed away in June. Robert was the founding director of the Gagosian Gallery in Los Angeles, where he worked for ten years. He was also, in the time we knew him, a great supporter of Bidoun and a friend to us all. Though Robert was a fixture in the art world, he remained deeply skeptical, relentlessly ironic, and detached from its excesses. The result was the stuff of great comedy. We will miss him dearly.

Read Robert Shapazian in conversation with Anna Boghiguian from Bidoun #08, Interviews.

June 25, 2010

Document: Iranian-Americans in Los Angeles at Fowler Museum, Los Angeles

From October 2009 through January 2010, four documentary photographers—Farhad Parsa, Arash Saedinia, Parisa Taghizadeh, and Ramin Talaie—focused their lenses on second-generation Iranian-Americans of Los Angeles, the world’s largest population of expatriate Iranians.

Fowler Museum at UCLA; Document: Iranian-Americans in Los Angeles; 6 June — 22 August, 2010; Farhad Parsa, Arash Saedinia, Parisa Taghizadeh, Ramin Talaie;

June 14, 2010

Bidoun, LACMA and the Cinémathèque de Tanger

Cinémathèque de Tanger

LACMA’s Wallis Annenberg Photography Department, the Ralph M. Parsons Fund and Bidoun present Another Border – Films and Videos from the Cinémathèque de Tanger Archives at LACMA in Los Angeles this June. The series is co-curated by Bidoun contributor, collaborator and friend, Yto Barrada.

We will be hosting the screenings on Tuesday June 9 at 7PM in the Leo S.Bing Theater. Regular contributor Gary Dauphin will be presenting, along with the world premiere of the Bidoun video commercial and a Bidoun hosted intermission reception.

We hope to see you there!


Tuesdays: June 9, 16, 23 & 30 | 7 pm | Bing Theater
Tickets required: $7 general admission, $5 museum members,
seniors (62+), students with valid ID

The Cinémathèque de Tanger is a nonprofit organization based in Tangiers, Morocco devoted to the preservation and promotion of Moroccan cinema. Curated by Bouchra Khalili and Yto Barrada, Another Border showcases the vitality of contemporary Moroccan film and video alongside the richness of historic archival footage from the region. This selection of Moroccan short movies, documentaries, experimental films, and videos follows the fault lines between representation and reality, in both daily life and extraordinary circumstances. The intersection between tradition, globalization, and shifting notions of ‘modernity’ creates not a clash, but a fertile space for reflection. Addressing both the complex space between the West and Morocco, the program provides a platform for further dialogue on the ideas of hope and hospitality.

June 1, 2009