Siah Armajani: Monument Valley

Transcription

1 SIAH ARMAJANI

2 2 3 Siah Armajani: Monument Valley Xin Wang 1 A bridge by Siah Armajani (b.1939) is always a moving target, an ontological riddle. It must be quite odd for a visitor new to his practice to encounter such a structure either as a sculptural installation or paper-based model within the confines of gallery walls. Neither sculptures that foreground form nor ready- mades that highlight new aesthetic paradigms, his bridges couldn t even serve the function that their structurally robust forms suggest as junctures connecting divided space. But it is this oddity, or cognitive dissonance, that precisely activates the bridge maker s true itinerary, in which the work functions as a threshold. It not only evokes the familiar metaphorical tropes that bridges typically bring to mind the articulation of difference and overcoming separation, as the artist himself puts it but also constellates the artist s personal symbolisms; homage to poets, philosophers and activists; and references to the utopian, civic structures Armajani has designed for specific public sites and imaginaries over the past several decades. 1 One foot in this world, as an inanimate thing rooted in concrete space, and the other steeped in the realms of history, memory and ideology, his works never seem to settle for one identity, one function or even one metaphorical gesture, but rather explode with multiple commitments to meaning and mobilisation. Only when arriving at this understanding have we truly traversed the passage Armajani has paved for us. For the Tehran-born, Minnesota-based artist, the bridge is a kind of dream infrastructure that embodies multiplicity, sometimes contradictions and layers linked to registers of aesthetic, cultural and critical experiences. The Fibonacci House Bridge (1968), created eight years after the artist relocated from Tehran to Minneapolis in light of possible political persecution due to his involvement in pro-democracy protests in Iran, is an early and telling example of Armajani s intellectual ambition for his built structures. It was in equal parts informed by the conceptual potency of mathematics and the utilitarian charm of the vernacular American architecture of his new home. 2 The Fibonacci sequence, built upon a single rule dictating that every number after the first two be the sum of the two preceding ones, has wide resonance in computational visualisation, including with the golden spiral, often associated with ideal expressions of aesthetic form, and natural phenomena, ranging from seashells to nebulae. Likewise, Armajani saw something sublime in the understated, self-evident structures of the farmhouses and barns in his new architectural environment, citing Erich Mendelsohn and Le Corbusier in praising these structures as precursors of the Modern movement. 3 Fibonacci House Bridge (1968) Stained balsa wood on artist's wood base /8 8 1/8 in ( cm) Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Joseph H. Hirshhorn Purchase Fund, 1991 Accession Number: 91.2 Armajani s engagements with the bridge as well as with other architectural structures that characterise his oeuvre: gardens, reading rooms, cenotaphs are inherently and profoundly interdisciplinary. But rather than an alignment with the largely Euro-American-centric discourse of modernism, in which artists began to renegotiate the distance between life and art by expanding the conceptual scope of what is considered art, what is evident here, perhaps, is the fact that the myriad disciplines explored in Armajani s project were never considered alien or external to the notion of art and

3 4 5 Irene Hixon Whitney Bridge (1988) Steel, wood, paint, bronze 375-ft steel-truss construction Detail view Model for Lissitzky's Neighborhood, Center House (1978) Plastic, balsa wood, enamel, corrugated cardboard Solomon R. Guggenheim Museum, New York, NY Acquired in visuality by the artist. Growing up in a small but vibrant Christian community in Iran, Armajani was also immersed in Islamic visual cultural traditions. Resonances of this immersion seem to have manifested in the isometric representation of architectural elements and urban landscapes in his paintings; in the intimate, sometimes compartmentalised interplay between text and image in both two-dimensional and three-dimensional works; and in the conceptual approach to architectural language that defies a unified narrative, spatial or otherwise. Particularly relatable to the Chinese audience of Armajani s oeuvre is how poetry and writing figure prominently into the visual program, and how text and image have fundamentally different semiotic relationships through which meaning is generated, digressed, deferred and, ultimately, expanded. This is curiously aligned with yet distinctly different from the eruption of language into the aesthetic field in the 1960s in conceptual art. Works on paper from his Tehran period, such as Father Has an Apple (1958) and Father Has a Pear (1958), distill the quotidian practice of filling school writing books in the kitchen into a mesmerising narrative through schematised signs and forms. Many of Armajani s public commissions feature texts usually of poetic and commemorative nature that mediate and enrich the architectonic experience. The Irene Hixon Whitney Bridge (1988), a dynamic hybrid of suspension and arch structures commissioned for the city of Minneapolis, features on its upper lintel a poem by John Ashbery (American, b. 1927): It is so much like a beach after all, where you stand and think of going no further and then it got very cool. Affixed to the beam, these words nevertheless float in the same way as the Koranic and poetic verses that intersect with the walls, gazebos and bridges in miniature paintings of Persian gardens, as if the painterly arrangement has been transposed in three-dimensional space. Conversely, perhaps, the inscribed text has the power of incorporating those who cross paths in situ or not into the artist s design of an ideal space, folding its beholder to the realm of fiction and aspiration, just as the Persian gardens were designed with the express purpose of materialising paradise on earth. In Manifesto: Public Sculpture in the Context of American Democracy, compiled by the artist from 1968 to 1978 and revised in 1993, Armajani exhibits a strong ownership of the avant-garde agenda to demystify art, restore its political agency and obliterate the distinction between art and social life: public sculpture attempts to fill the gap that comes about between art and public to make art public and artists citizens again. 4 The fact that a manifesto was penned and the pensive yet declarative style in which it was written are equally telling.in both his writings and public commissions, Armajani champions the utilitarianism and democratic impulse of public art, considering it a tool for activity, a statement that certainly calls to mind the constructivist mantra not the old, not the new, but the necessary, coined by the Russian avant-garde s key proponent Vladimir Tatlin. The sense of utilitarianism isn t limited, however, to calibrating art for social progress and public service; there s also the utilitarianism in which artists discover new aesthetic paradigms through engaging with new visual languages of industrial structures, machinery and technology. The industrially calibrated aspect of American modernity, in particular, has captured the imagination of non-american artists from Francis Picabia to Jean Tinguely, with the former claiming to have found a new material for art in 1915: Almost immediately upon coming to America it flashed on me that the genius of the modern world is in machinery and that through machinery art ought to find a most vivid expression I don t know what possibilities may be in store. 5 Technology and machinery have been, in large part, perceived as useful allies by the avant-garde as powerful metaphorical tools deployed to broaden the scope of experimental techniques, to critique art as a professionalised institution and even to save the avant-garde from the specialisation of itself. In a way, we may see the bridge almost always modernist in appearance in Armajani s case through a curious lineage of structures encompassing: Marcel Duchamp s bicycle wheel and coffee mill; Francis Picabia s mechanic portraits of fellow artists; the Italian Futurists obsession with fantastical aerodynamics; Tatlin s flying bicycle (Letatlin, ) and Monument to the Third International ( ), which was, in fact, designed to host the new headquarters for the Third International to carry the revolutionary momentum forward; and El Lissitzky s Lenin Tribune (1920) a moving speaker s podium. It is not surprising, then, that Armajani s civic structures, regardless of their status of materialisation model, installation, sculpture, markers and mediators of public space comfortably serve as ideological, democratic, even ethical devices. Armajani claimed in his Manifesto that the ethical dimensions of the arts are mostly gone and only in a newly formed relationship with a non-art audience may the ethical dimensions come back to the arts. 6 It would appear that the same can be said about non-art materials. In Wonderlands of the Avant-Garde: Technology and the Arts in Russia of the 1920s, historian Julia Vaingurt evokes Heidegger s analysis of the original inseparability of technology, in its Greek conception, from art: Techne is the name

4 6 7 Dictionary for Building ( ) Partial installation view Siah Armajani: L art n est pas le salon de beauté de la civilisation, MAMCO Musée d art moderne et contemporain, Geneva February 21 May 6, 2007 Collection MAMCO Musée d art modern et contemporain, Geneva, Switzerland North Dakota Tower (1968) Ink on paper Collection of the artist 3 not only for the activities and skills of the craftsman, but also for the arts of the mind and the fine arts. Techne belongs to the bringing forth, to poiesis: it is something poietic. 7 In this light, Armajani s fascination with modernist built structures lies not only in their utilitarian and public dimensions, but also in their revealing nature, and how they mobilise from the artist and his intended public alike confrontation with form, functionality and meaning in something familiar yet largely unexamined in shared quotidian experiences that constitute the public domain in a fundamental way. Between 1974 and 1975, Armajani created a series of small sculptures collectively titled Dictionary for Building. Taking note of the modest yet striking forms of vernacular structures from stairs down the basement to loading docks on a trip across the United States, Armajani composed a travelogue that explored both a culturally codified architectural language and the social, even fictional spheres it mobilises. Incisive yet playful, specific yet highly abstract, Armajani s reinterpretations of these structures are created through the ingenious use of equally modest materials, such as cardboard and woodchips. The artist presents us with not only humble yet potent monuments, but his processing of their significance and dignity; guided by that process, we become mindful of not only what we see, but also what becomes revealed in our newly found ways of seeing. True to the conceptual intrigue of Armajani s work, in which monumentalisation can be found and represented in the mundane as well as in poetry often unfold architecturally, the artist s grandest landmark is one that can never be erected. North Dakota Tower (1968), conceived at a moment when the artist began thinking about architecture as a material for art, follows a simple design: that it shall cast a shadow that covers the entire width of the state from the eastern edge, where it will be sited. According to the artist s calculation, the structure would be at least 18 miles tall. Two years later, Robert Smithson would create his groundbreaking earthwork Spiral Jetty, a gigantic spiral constructed on the northeastern shore of the Great Salt Lake, and land art would begin to violently shake up the art institution by challenging its few remaining boundaries, including those of institutional walls, commoditisation, ownership, even spectatorship itself, by demanding that we travel up to the art. But North Dakota Tower, a work that only exists as a conceptual design, was the quintessential non-site, to borrow Smithson s famous notion, because it didn t even have a site on earth. I keep thinking about the shadow, a metaphor too poignant as we relate our puny existence to the sun and live in the long shadow of troubled histories eerily so in light of today s highly controversial and ethically problematic pipeline access drawn across the state s map, and the American democracy that s not quite as it was in Armajani s Manifesto decades ago. I keep thinking about Tatlin s tower: the iron and glass structure that would straddle the river Neva and reach some 1,300 feet (nearly 400 metres), with internal glass columns hosting various agency offices that would rotate at different speeds. It was intended as a functional monument-machine that catapults and delivers its public towards an idealised future. However, in its unrealised form as a design model paraded through Russia s streets in the 20s and exhibition models recreated over and over in worldwide exhibitions in the following decades it seems that it best captured the revolutionary momentum and the imagination of its audience, the same way Armajani s shadowcasting mega tower haunts mine. I am reminded of Monument Valley, not the red-sand natural spectacle in Arizona, but the popular video game played out on the smartphone screen. In it, the player helps Princess Ida navigate through a series of architectural spaces characterised by disorienting geometric realities and optical illusions. She solves the puzzle in each space to unlock the next one, which could be a castle, a bell tower, a watermill or a graveyard. Her ultimate goal is to recover her memory and, in that process, restore her land. There s a sense of reality and gravitas to the game, which also provides a comparable structure to understand Armajani s wide-ranging and widely dispersed works. Here, the monument valley is an allegorical bridge that functions more than a conduit for exchange it also maps an itinerary of self-knowledge. It is in this deeply personal and introspective manner that Armajani s works become so publicly resonant.

5 8 9 Installation view Information July 2 September 20, 1970 The Museum of Modern Art, New York, NY Siah Armajani: Bridge Builder (Kansas City, MO: Kemper Museum of Contemporary Art, 2016), 25. Murtaza Vali, Siah Armajani: Return to Exile, ArtAsiaPacific, July/August Accessed 10 January 2017 ( Ibid. As reprinted in Siah Armajani: Contributions Anarchistes (Nice: Villa Arson, Centre National d art Contemporain, 1994), 62. Francis Picabia as quoted in Pontus Hultén, The Machine as Seen at the End of the Mechanical Age (New York: Museum of Modern Art; distributed by New York Graphic Society, Greenwich, Conn., 1968), 93. As reprinted in Siah Armajani: Contributions Anarchistes (Nice: Villa Arson, Centre national d art contemporain, 1994), 61. Julia Vaingurt, Wonderlands of the Avant-Garde: Technology and the Arts in Russia of the 1920s (Evanston, Ill.: Northwestern University Press, 2013), 12. Xin Wang is a curator and art historian based in New York. She has worked as special exhibition researcher at the Metropolitan Museum of Art on projects such as Ink Art: Past as Present in Contemporary China (2013). She was the associate curator for Asian Contemporary Art Week 2014 and the inaugural edition of its signature program, FIELD MEETING. As an independent curator, she has co-organised the panel Magiciens de la Terre and China: Looking Back 25 Years with Asia Art Archive at Columbia University, curated the New York solo debut of artist Lu Yang (2014) and presented a critically acclaimed series of exhibitions titled The BANK Show: Vive le Capital and The BANK Show: Hito Steyerl (2015) in Shanghai. Her writing has appeared frequently in exhibition catalogues (including the 2015 Venice Biennale) and publications such as Artforum, e-flux, Kaleidoscope, Art in America, Flash Art, the Metropolitan Museum s blog, Hyperallergic and Leap. She is currently building a discursive archive of Asian futurisms in contemporary art practice at and is a PhD candidate in modern and contemporary art at NYU s Institute of Fine Arts.

6 10 11 Dictionary of Numbers, 1957 Mixed media on paper 48.9 x 29.8 cm (19 ¼ x 11 ¾ in)

7 12 13 Paria, why are you here among the captives? Didn t you have enough bread? Didn t you have enough food? Why did you come here? To look at people in chains? People in chains in prisons? The place which does not have nights or days? Paria, Paria why, why? Here there is only suffering and misery. Ahmad Shamlu ( ) Paria No. 1, 1957 Mixed media 43.2 x 11.4 cm (17 x 4 ½ in)

8 14 15 Songs #1 and #2, 1957 Watercolour and ink on paper 57 x 88.3 cm (22 ½ x 34 ¾ in) I ran, I ran [ ] I reached the mountain top. I saw two grandmothers [ ] one gave me water, one gave me bread. I ate the bread and I gave the water to the earth. The earth gave me grass, I gave the grass to a young goat, the goat gave me droppings, I gave the droppings to the bread-maker, the bread-maker gave me fire. I gave the fire to the jewellery-maker, the jewellery-marker gave me scissors. I gave the scissors to the tailor and the tailor gave me a robe. I gave the robe to my father, father gave me dates. I ate one and the other one fell on the earth. I asked my father for another date and he hit my hat, My hat fell in the garden and the garden gave me a rose.

9 16 17 Father Has a Pear, 1958 Watercolour and ink on cloth 57.2 x 91.1 cm (22 ½ x 7 ½ in) Father Has an Apple, 1958 Watercolour and ink on cloth 71.9 x 19.1 cm (28 x 7 ½ in)

10 18 19 House After the Bridge, Mixed media 18.4 x 61 x 13.2 cm (7 ¼ x 23 x 5 ½ in) House Above the Bridge, Mixed media 26 x 45.7 x 12.1 cm (10 x 18 x 4 ¾ in)

11 20 21 House Before the Bridge, Mixed media 16.5 x 45.7 x 14 cm (6 ¼ x 17 x 5 in) House Below the Bridge, Mixed media 17.1 x 41.3 x 11.7 cm (6 ¾ x 16 ¼ x 4 in)

12 22 23 Bridge with Base No. 1, 1969 Stained balsa wood 19.7 x 91.4 x 23.2 cm (7 ¾ x 36 x 9 in)

13 24 25 Loading Dock 2, 1985 Plexiglas, paint and metal 35.5 x 38.1 x 35.5 cm (14 x 15 x 14 in) One Bedroom House, 1972 Painted wood 29.1 x 54 x 25.4 cm (11 ½ x 21 ¼ x 10 in)

14 26 27 Bridge Over a Tree, 1970 Mixed media 20.6 x 86.4 x 24.8 cm (8 x 34 x 9 ¾ in)

15 28 29 Morning Bridge, 1969 Stained balsa wood 22.2 x x 14.3 cm (8 ¾ x 54 x 5 in)

16 30 31 Ronchamp, 2009 Mixed media 48.6 x 34 x 20.3 cm (19 x 13 x 8 in)

17 32 33 King Post Bridge, 1968 Balsa wood 23.2 x 44.1 x 16.8 cm (9 x 17 x 6 in) House with a Golden Chimney, 1974 Metal and plastic 17.8 x 46 x 12.7 cm (7 x 18 x 5 in)

18 34 35 The Art of Bridge Making 3, 1974 Mixed media 47.6 x x 18.4 cm (18 ¾ x 71 ½ x 7 ¼ in)

19 36 37 The Art of Bridge Making 2, 1974 Mixed media 64.1 x 179 x 21 cm (25 ¼ x 70 ½ x 8 ¼ in)

20 38 39 Gazebo for Two Anarchists: Emilio Coda and Richard Henry Dana, 1991 Wood and steel 24 x 30.5 x 14 cm (9 x 12 x 23 ½ in)

21 40 41 Tomb for Alfred Whitehead, 2013 Felt pen on graph paper 61 x 48 cm (24 x 19 in) Tomb for John Berryman, Felt pen on graph paper 91.4 x cm (36 x 60 in)

22 42 43 Tomb for Heidegger, 2012 Mixed media x x 254 cm (69 x 56 x 100 in)

23 44 45 In WRITTEN BERLIN now there are two tombs of honor at the newly renamed Bonhoeffer and Benjamin Gate located on the site of the historic Brandenburg Gate. They are the tombs of two great men, Dietrich Bonhoeffer and Walter Benjamin. One rose up to kill Evil Itself. One committed suicide. Bonhoeffer, the Existentialist Christian Theologian And the other, Walter Benjamin, the Great Critical Writer of the 20th Century. WRITTEN BERLIN is the story of the City of Berlin Before the Great Mayhem. WRITTEN BERLIN is the story of the City of Berlin Before the Blood. WRITTEN BERLIN is the story of the City of Berlin Before the Broken Glass. WRITTEN BERLIN is the story of the City of Berlin When Art, Literature and Music flourished. When it was the Cultural Center of Europe. WRITTEN BERLIN is an accumulation of archaeological history Based upon Benjamin s childhood memories. And it is a tribute to Bonhoeffer s struggle to save Christianity from the eminent danger of Evil Itself. WRITTEN BERLIN is of specific places that Benjamin visited He walked the City, he visited relatives, he used the cafés of the neighborhoods; All with the foreboding of the future to come. For Bonhoeffer, WRITTEN BERLIN is in the memory of his lectures, his sermons and his fears. It records his clandestine meetings with fellow travelers in the clergy and among the parishioners. Bonhoeffer was struggling day in and day out to fire up leading clergy like Paul Tillich and Karl Barth To stand up for a clear statement of the Christian Church against Evil. They did not. And the Clergy of the Church did not. And the Christian Church of Germany did not. They all capitulated. With ashes in their mouths. Siah Armajani

24 46 47

25 48 49 Dawn, Noon, Dusk and Night, 2010 Coloured pencil on Mylar, four parts 62.9 x 47.6 cm (24 ¾ x 18 ¾ in)

26 50 51 Sunset at Hiawatha Avenue, 2004 Coloured pencil on Mylar 84.5 x cm (33 ¼ x 72 in)

27 52 53 Staten Island Lighthouse and Bridge at St. George Terminal, ft steel, stained glass and wood construction Staten Island Ferry Terminal, Staten Island, NY Staten Island, 1996 Balsa wood, plastic and paint 88.2 x x 33 cm (34 ¾ x 53 ¼ x 13 in)

28 54 55 Bridge / Ramp, ft steel construction LBBW, Stuttgart, Germany Stuttgart Bridge, 1994 Bronze and paint 17.5 x x 31.1 cm (6 x 49 x 12 ¼ in)

29 56 57 Street Corner No. 2, 1994 Bronze x x 22.9 cm (67 ½ x 110 x 9 in)

30 58 59 Kansas City Bridge No. 2, 2016 Balsa wood, basswood and paint 55.9 x x 11.7 cm (22 x 62 x 4 in)

31 60 61 T3 Paris, 2008 Mixed meida 27 x 45.7 x 28.3 cm (10 x 18 x 11 in)

32 62 63 Street Corner No. 1, 1994 Bronze and wood x x 33 cm (53 x 110 ½ x 13 in)

33 64 65 Disaster of War (after Goya) #5, 2009 Pencil on Mylar 61 x 90.2 cm (24 x 35 ½ in)

34 66 67 Disaster of War (after Goya) #4, 2009 Pencil on Mylar 61 x 90.2 cm (24 x 35 ½ in) Disaster of War (after Goya) #7, 2009 Pencil and coloured pencil on Mylar 61 x 91.4 cm (24 x 36 in)

35 68 69 About the Artist Siah Armajani (b. 1939, Tehran) moved to the Armajani s Tombs series ( ) references both His work has also been featured in group exhibitions, of Contemporary Art, Chicago; the Museum of United States from Iran in He attended Macalester American modernist and vernacular architecture, including Passages in Modern Art: , Dallas Contemporary Art, Los Angeles; Museum für College in Minnesota, where he studied philosophy, playing tribute to figures including Walt Whitman, Museum of Art (2016); Cycle Des histoires sans fin, séquence Moderne Kunst, Frankfurt; the National Gallery and now lives and works in Minneapolis. His sculptures, John Berryman, Nicola Sacco and Bartolomeo Vanzetti, automne hiver , Musée d art moderne et of Art, Washington, D.C.; the Nelson-Atkins Museum drawings and public works exist between the boundaries amongst others. contemporain, Geneva (2015); Art Expanded, of Art, Kansas City; Stedelijk Museum, Amsterdam, of art and architecture, informed by democratic and and Art at the Center: 75 Years of Walker Collections, The Netherlands; and the Walker Art Center, populist ideals. Armajani is recognised as a leading Armajani s most celebrated public artworks are bridges, Walker Art Center, Minneapolis (2014); Iran Modern, Minneapolis. figure in the conceptualisation of the role and function walkways and gardens, including the Irene Hixon Whitney Asia Society, New York (2013); Spectacular of the of public art, with nearly one hundred projects realised Bridge (1988), Minneapolis; the World Financial Center s Vernacular, Minneapolis Institute of Arts (2011); Word into internationally since the 1960s. promenade (in collaboration with Scott Burton and Cesar Art: Artists of the Modern Middle East, British Museum, Pelli) (1986), Battery Park City, New York; Gazebo for Two London (2006); Far Near Distance: Contemporary Positions The artist s education in Western thought and philosophy Anarchists (1992), Storm King Art Center, Mountainville, of Iranian Artists, House of World Cultures, Berlin (2004); began in Tehran, where he attended a Presbyterian New York; Floating Poetry Room (2005), Ijburg, Carnegie International, Pittsburgh (1988); Skulptur school for Iranian students, and continued through his Amsterdam; Bridge for Iowa City (2000), University of Projekte Münster 87 (1987); International Survey of Recent undergraduate years in the US. Early theoretical interests Iowa; and numerous gardens at Villa Arson Museum, Painting and Sculpture, Museum of Modern Art, New York continue to influence his work, taking form in objects Nice. He was commissioned to design the Cauldron for (1984); 74th Annual American Exhibition, Art Institute and architectural spaces designed in homage to literary, the 1996 Centennial Olympic Games in Atlanta, Georgia. of Chicago (1982); Whitney Biennial; Whitney Museum philosophical and political figures, including Martin of American Art, New York (1981); 39th Venice Biennale, Heidegger, Ralph Waldo Emerson, Theodor Adorno, The artist has been the subject of more than fifty American Pavilion (1980); Information, Museum of Ahmad Shamlou and Alfred Whitehead, amongst others. solo exhibitions since 1978, including surveys and Modern Art, New York (1970); and Documenta 5 (1972), retrospectives at Parasol unit, London (2013); the Nelson- 7 (1982) and 8 (1987), Kassel. American vernacular architecture has been a consistent Atkins Museum of Art, Kansas City (2008); Musée d art visual motif in Armajani s practice, and is manifest in moderne et contemporain, Geneva (2007, tour); Museo Armajani s work is in numerous public collections, his public works, including bridges, gardens and outdoor Nacional Centro de Arte Reina Sofia, Madrid (1999, tour); including the Art Institute of Chicago; the Carnegie structures. In the artist s words: I am interested in the Villa Arson, Nice (1994); Lannan Foundation, Museum of Art, Pittsburgh; the Dallas Museum of Art; nobility of usefulness. My intention is to build open, Los Angeles (1992); Kunsthalle Basel (1987); the British Museum, London; the Hirshhorn Museum and available, useful, common, public gathering places Westfälisches Landesmuseum, Münster (1987, tour); and Sculpture Garden, Washington, D.C.; the Metropolitan gathering places that are neighbourly. These concerns the Institute of Contemporary Art, Philadelphia (1985). Museum of Art, New York; the Museum of Modern Art, take form in his ongoing series titled Reading Rooms The Walker Art Center in Minneapolis is planning a New York; the Solomon R. Guggenheim Museum, New and Reading Gardens, as well as public spaces, pavilions large-scale retrospective of Armajani scheduled to open York; the Minneapolis Institute of Art; Musée d art and shelters for social exchanges or solitary meditation. in moderne et contemporain, Geneva; the Museum

36 70 71 SIAH ARMAJANI SOLO EXHIBITIONS Born 1939, Tehran, Iran Lives and works in Minneapolis, MN EDUCATION BA, 1960, Macalester College, Saint Paul, MN 2016 Siah Armajani: Bridge Builder, Kemper Museum of Contemporary Art, Kansas City, MO Siah Armajani, Alexander Gray Associates, New York, NY 2014 Siah Armajani: The Tomb Series, Alexander Gray Associates, New York, NY 2013 Siah Armajani: An Ingenious World, Parasol unit, London, UK Siah Armajani: Bridges for Paris Transit System, MAMCO, Geneva, Switzerland Related Works, Senior & Shopmaker Gallery, New York, NY Siah Armajani, Jiri Svestka Gallery, Prague, Czech Republic 2001 Siah Armajani, Senior & Shopmaker Gallery, New York, NY 2000 Siah Armajani: Glass Room, Senior & Shopmaker Gallery, New York, NY Siah Armajani, University of Iowa, Iowa City, IA Siah Armajani, Diputación de Huesca, Spain; Fundación César Manrique, Canary Islands Siah Armajani, The Customs House, Newcastle, UK 1995 Siah Armajani, MAMCO Musée d art modern et contemporain, Geneva, Switzerland 1994 Siah Armajani, Sculpture and Public Art Projects, Ikon Gallery, Birmingham, UK Anarchistic Contributions , Villa Arson, Nice, France Street Corners I, Max Protetch Gallery, New York, NY 1993 Ammann, Kunsthalle Basel, Switzerland; Stedelijk Museum, Amsterdam, The Netherlands; Galerie Rudolf Zwirner, Cologne, Germany; Galerie Ghislaine-Hussenot, Paris, France Siah Armajani: Reading Room Sacco & Vanzetti, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany; Portikus, Frankfurt, Germany 1985 Dictionary for Building IV, Max Protetch Gallery, New York, NY Siah Armajani: Bridges, Houses, Communal Spaces, Dictionary for Building, Institute of Contemporary Art, University of Pennsylvania, Pennsylvania, PA Cleveland, OH; Kansas City Art Institute, Kansas City, MO Reading Room No. 2, Sullivan Hall Gallery, Ohio State University, Columbus, OH 1978 Red School House for Thomas Paine, Philadelphia College of Art, Philadelphia, PA 1977 Thomas Jefferson s House: West Wing Sunset House, Walker Art Center, Minneapolis, MN 2011 Siah Armajani: , Muelensteen, New York, NY 2009 Siah Armajani: Murder in Tehran, Max Protetch, New York, NY Siah Armajani: 3 Sculptures 3 Drawings, Max Protetch Gallery, New York, NY 2008 Dialogue with Democracy, The Nelson-Atkins Museum of Art, Kansas City, MO 2007 Siah Armajani: Fallujah, Artium, Vitoria-Gasteiz, Spain; Centro de Arte y Naturaleza/Fundación Beulas, Huesca, Spain; Fundación Cesar Manrique, Lanzarote, Canary Islands; Santa Fe Art Institute, NM Siah Armajani: L art n est pas le salon de beauté de la civilisation, MAMCO Musée d art moderne et contemporain, Geneva, Switzerland 2005 Siah Armajani, Weinstein Gallery, Minneapolis, MN 2002 Siah Armajani: Glass Room for an Exile and 1999 Siah Armajani, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain 1998 Park Furniture: Sculpture and City Center Drawings, Max Protetch Gallery, New York, NY Dictionary for Building, The Matthew Architecture Gallery, University of Edinburgh, Edinburgh, Scotland 1997 Siah Armajani: The Poetry of Public Art, Beloit College, Beloit, WI Musterwohnen: Siah Armajani, Room Furniture No. 1 A Chair for Gropius, Berlin, Germany 1996 Anarchistic Contributions , Neue Galerie am Landesmuseum Joanneum, Graz, Austria Siah Armajani: Reading Spaces, Museu d Art Contemporani de Barcelona, Barcelona, Spain Siah Armajani: Streets and Street Corners, Gallery Joe, Philadelphia, PA Siah Armajani: The Staten Island Ferry Pedestrian Bridge and Other Works, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, NY Recent Works, Wright Museum, Beloit College, Beloit, WI Common Houses, Swiss Institute, New York, NY Streets, Storm King Art Center, Mountainville, NY Streets: Sculptures and Notations, Max Protetch Gallery, New York, NY 1992 Streets: Sculptures and Notations, Arts Club of Chicago, Chicago, IL The Poetry Garden, Lannan Foundation, Los Angeles, CA 1991 Elements, Max Protetch Gallery, New York, NY 1989 Elements, Max Protetch Gallery, New York, NY 1988 Siah Armajani: Sacco and Vanzetti Reading Room No. 2, Hayden Gallery, List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA 1987 Siah Armajani, Max Protetch Gallery, New York, NY Siah Armajani, curated by Jean Christophe 1984 Dictionary for Building III, Max Protetch Gallery, New York, NY 1983 Dictionary for Building II, Max Protetch Gallery, New York, NY 1982 Siah Armajani Constructions: The Dictionary Series, Fleisher Galleries, Philadelphia, PA Poetry Lounge, Baxter Art Gallery, California Institute of Technology, Pasadena, CA Picnic Garden, Grand Rapids Art Museum, Grand Rapids, MI 1981 Office for Four, Hudson River Museum, Yonkers, NY Dictionary for Building I, Max Protetch Gallery, New York, NY 1980 Newsstand, Contemporary Art Center, Cincinnati, OH 1979 First Reading Room, Max Protetch Gallery, New York, NY; New Gallery of Contemporary Art,

37 72 73 SELECTED GROUP EXHIBITIONS 2016 (INFRA) STRUCTURE: complex, below and further on, Lannan Foundation Gallery, Santa Fe, NM Passages in Modern Art: , Dallas Museum of Art, Dallas, TX 2015 Passage, Alexander Gray Associates, New York, NY Cycle Des histoires sans fin, séquence automne-hiver , Musée d art moderne et contemporain (MAMCO), Geneva, Switzerland 75 Gifts for 75 Years, Walker Art Center, Minneapolis, MN Bricologie: La Souris et le perroquet, Villa Arson, Nice, France 2014 Art Expanded, , Walker Art Center, Minneapolis, MN Art at the Center: 75 Years of Walker Collections, curated by Olga Viso and Joan Rothfuss, Walker Art Center, Minneapolis, MN 2013 Iran Modern, Asia Society, New York, NY Modern Iranian Art: Selections from the Abby Weed Grey Collection at New York University, Grey Art Gallery, New York, NY It s New / It s Now, Minneapolis Institute of Art, Minneapolis, MN /11, MoMA PS1, Queens, NY The Spectacular of Vernacular, Walker Art Center, Minneapolis, MN Site Conditioned, Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV CLAP, Hessel Museum of Art, Annandale-on-Hudson, NY Drawings for the New Century, Minneapolis Institute of Art, Minneapolis, MN The View from Here: Storm King at Fifty, Storm King Art Center, Mountainville, NY 2010 Until Now: Collecting the New ( ), Minneapolis Institute of Arts, Minneapolis 2009 Event Horizon, Walker Art Center, Minneapolis, MN 2008 Artists and War, North Dakota Museum of Art, Grand Forks, ND The Interior: Contemporary Photographic Views, Weinstein Gallery, Minneapolis, MN 2007 Arte y derechos civiles en el nuevo(des)orden global, Fundación César Manrique, Lanzarote, Canary Islands 2006 The Contemporary Persian Scene: The American and European Experience, LTMH Gallery, New York, NY Word into Art: Artists of the Modern Middle East, British Museum, London, UK Between the Lakes: Artists Respond to Madison, Madison Museum of Contemporary Art, Madison, WI 2004 Gardens of Iran: Ancient Wisdom, New Visions, Tehran Museum of Contemporary Art, Tehran, Iran Architecture and Arts: , curated by Germano Celant, Palazzo Ducale, Genoa, Italy Far Near Distance: Contemporary Positions of Iranian Artists, House of World Cultures, Berlin, Germany Symmetries: Armajani, Artschwager, Le Va, LeWitt, Senior & Shopmaker Gallery, New York, NY 2002 Between Word and Image: Modern Iranian Visual Culture, Grey Art Gallery, New York, NY Doors: Image and Metaphor in Contemporary Art, curated by Nancy Cohen and Alice Dillon, Visual Arts Center of New Jersey, Summit, NJ 2001 Drawing Projects: Drawings by Seven Artists, Gallery Joe, Philadelphia, PA New Work: Recent Additions to the Collection, Addison Gallery of American Ar, Andover, MA Follies: Fantasy in the Landscape, Parrish Art Museum, Southampton, NY 2000 Sculptor s Drawings, Gallery Joe, Philadelphia, PA Biennial Exhibition of Public Art, Neuberger Museum of Art, Purchase, NY Comfort Zone: Furniture by Artists, Paine Webber Art Gallery, New York, NY 1998 Projects/Installations, MoMA PS1, Queens, NY 1997 National Airport Artists on Paper, Numark Gallery, Washington, D.C. Views from Abroad: European Perspectives on American Art, Museum für Moderne Kunst, Frankfurt, Germany 1996 Monument et modernité: Etat des lieux: commandes publiques en France, , Musée du Luxembourg, Paris, France The House Transformed, Barbara Mathes Gallery, New York, NY Winter Book Marks, Carolyn Ruff Gallery in collaboration with the Minnesota Center for Book Arts, Minneapolis, MN 1995 In So Many Words, Minnesota Museum of American Art, St. Paul, MN 1994 The Garden in the Galleries, Walker Art Center, Minneapolis, MN New Furniture for the Villa, Galerie der Stadt Esslingen, Esslingen, Germany 1993 Annual Sculpture Exhibition, Storm King Art Center, Mountainville, NY Inside and Out, Roanoke College, Salem, VA Outdoor Sculpture Displayed Indoors, Max Protetch Gallery, New York, NY Unpainted to the Last: Moby-Dick and Twentieth- Century American Art, Spencer Museum of Art, University of Kansas, Lawrence, KS Différentes natures: Visions de l'art contemporain, Place de la Défense, Paris, France 1992 Century of Sculpture, Stedelijk Museum and Nieuwe Kerk Foundation, Amsterdam, The Netherlands The Open Work, curated by Marjorie Welish, John Good Gallery, New York, NY Like Nothing Else in Tennessee, Serpentine Galleries, London, UK Rehanging of the Permanent Collection, Walker Art Center, Minneapolis, MN 1991 Green, Max Protetch Gallery, New York, NY 20th-Century Art, Museum für Moderne Kunst, Frankfurt, Germany Open Mind: The LeWitt Collection, Wadsworth Atheneum, Hartford, CT Enclosures and Encounters: Architectural Aspects of Recent Sculpture, Storm King Art Center, Mountainville, NY Height x Width x Length: Contemporary Sculpture from the Weatherspoon, Weatherspoon Art Museum, Greensboro, NC Eight McKnight Artists, Minneapolis College of Art and Design, Minneapolis, MN 1990 Culture and Commentary: An Eighties Perspective, Hirshhorn Museum and Sculpture Garden, Washington, D.C Sculpture Inside Outside, curated by Martin Friedman, Walker Art Center, Minneapolis, MN Carnegie International, Carnegie Museum of Art, Pittsburgh, PA View Points: Post-War Painting and Sculpture, Solomon R. Guggenheim Museum, New York, NY Thomas Struth and Siah Armajani, Portikus, Frankfurt am Main, Germany New York s New Riverfront: The Many Parks of Battery Park City and Beyond, 1 World Financial Center, New York, NY 1987 Avant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles, CA Emerging Artists : Selections From the Exxon Series, Solomon R. Guggenheim Museum, New York, NY Skulptur Projekte Münster 1987, Westfälische Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany Documenta 8, curated by Manfred Schneckenburger, Kassel, Germany Computers and Art, Everson Museum, Syracuse, NY; Contemporary Arts Center, Cincinnati, OH; IBM Gallery, New York, NY 1986 An American Renaissance: Painting and Sculpture since 1940, NSU Art Museum, Fort Lauderdale, FL Bridges, Multicultural Arts Center, Cambridge, MA Sonsbeek 86, Arnhem, The Netherlands Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, IN Second Sight: Biennial IV, San Francisco Museum of Modern Art, San Francisco, CA The Window in 20th-Century Art, curated by Suzanne Delehanty, Neuberger Museum of Art, Purchase, NY Recent Acquisitions: , Hirshhorn Museum and Sculpture Garden, Washington, D.C. The Artist as Social Designer: Aspects of Public Urban Life Today, Los Angeles County Museum of Art, Los Angeles, CA 1984 Content: A Contemporary Focus, , Hirshhorn Museum and Sculpture Garden, Washington, D.C. Furniture, Furnishings: Subject and Object, Museum of Art, Rhode Island School of Design, Providence, RI; Wesleyan University, Middletown, CT; Munson-Williams-Proctor Arts Institute, Utica, New York; Berkshire Museum, Pittsfield, MA; Vassar College, Poughkeepsie, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Maryland Institute College of Art, Baltimore, MD An International Survey of Recent Painting and Sculpture, Museum of Modern Art, New York, NY 1983 Beyond the Monument, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, MA; Mandeville Art Gallery, University of California at San Diego, San Diego, CA Connections: Bridges / Ladders / Ramps / Staircases / Tunnels, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA Group Show, Max Protetch Gallery, New York, NY Directions 1983, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Habitats, curated by Robert Littman, Clocktower Gallery, New York, NY; Klein Gallery, Chicago, IL New Art, Tate Gallery, London, UK Objects, Structures, Artifice: American Sculpture , University of South Florida at Tampa, Tampa, FL Major Modern Sculpture, Protetch McNeil Gallery, New York, NY 1982 Beyond Measurement, De Cordova Museum, Lincoln Park, MA 74th Annual American Exhibition, Art Institute of Chicago, Chicago, IL Documenta 7, curated by Rudi Fuchs, Kassel, Germany Form and Function: Proposals for Public Art in Philadelphia, Pennsylvania Academy of Fine Arts, Philadelphia, PA

38 74 75 PUBLIC COLLECTIONS PUBLIC ARTWORK Postminimalism, Aldrich Contemporary Art Museum, Ridgefield, CT Art Across the Park, curated by Gylbert Coker, Horace Brockington and Jennifer Manfredi, New York, NY 74th Annual American Exhibition, Art Institute of Chicago, Chicago, IL 1981 Artists' Gardens and Parks: Plans, Drawings and Photographs, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, MA; Museum of Contemporary Art, Chicago, IL Whitney Biennial, Whitney Museum of American Art, New York, NY Body Language: Figurative Aspects of Recent Art, Haden Gallery, Massachusetts Institute of Technology, Cambridge, MA; Fort Worth Art Museum, Fort Worth, TX; University of South Florida at Tampa, Tampa, FL; Contemporary Arts Center, Cincinnati, OH Metaphor: New Projects by Contemporary Sculptors, curated by Howard Fox, Hirshhorn Museum and Sculpture Garden, Washington, D.C Architectural Sculpture, Institute of Contemporary Art, Los Angeles, CA Drawings: The Pluralist Decade, 39th Venice Biennale, United States Pavilion, Venice, Italy; Henie-Onstad Museum, Oslo, Norway; Biblioteca Nacional, Madrid, Spain; Gulbenkian Museum, Lisbon, Portugal; Kunstforeningen museum, Copenhagen, Denmark; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; Museum of Contemporary Art, Chicago, IL Invitational Show, Artpark, Lewiston, NY 1979 Art and Architecture: Space and Structure, Protetch-McIntosh, Washington, D.C. The Artist s View, Wave Hill, The Bronx, NY Art at the Olympics, Lake Placid, NY 1978 Architectural Analogues, Whitney Museum of American Art, Downtown Branch, New York, NY Indoor-Outdoor Sculpture, MoMA PS1, Queens, NY Exxon Nationals, curated by Linda Shearer, Solomon R. Guggenheim Museum, New York, NY Dwellings, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA 1977 Scale and Environment: 10 Sculptors, Walker Art Center, Minneapolis, MN Thomas Jefferson s House; East Wing, Night House, 16 Projects/4 Artists, Wright State University, Dayton, OH; Courthouse Square, Dayton, OH; Moore College of Art and Design, Philadelphia, PA; University of Kentucky, Lexington, KY; California State University, Long Beach, CA 1976 Commissioned Video Works, University Art Museum, University of California at Berkeley, Berkeley, CA 1975 Sculpture for a New Era, Federal Center, Chicago, IL 1974 Discussions: Works/Words, The Institute for Contemporary Art, The Clocktower, New York, NY 1972 Documenta V, curated by Harald Szeemann, Kassel, Germany Operation Vesuvius, Henry Gallery, University of Washington at Seattle, Seattle, WA Galleria d Arte, Il Centro, Naples, Italy 1971 The Boardwalk Show, Convention Hall, Atlantic City, NJ Works for New Spaces, Walker Art Center, Minneapolis, MN 1970 Art in the Mind, Allen Art Museum, Oberlin College, Oberlin, OH Information, Museum of Modern Art, New York, NY 9 Artists / 9 Spaces, Walker Art Center, Minneapolis, MN 1969 Art by Telephone, Museum of Contemporary Art, Chicago, IL Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, IN Towers, Museum of Contemporary Art, Chicago IL; Finch College Museum of Art, New York, NY; Cranbrook Academy of Art, Bloomfield Hills, MI Addison Gallery of American Art, Andover, MA Allen Memorial Art Museum, Oberlin, OH Art Institute of Chicago, Chicago, IL Artium de Alava, Vitoria-Gasteiz, Spain The British Museum, London The Carnegie Museum of Art, Pittsburgh, PA CDAN Centro de Arte y Naturaleza, Huesca, Spain The Chase Manhattan Bank, New York, NY Dallas Museum of Art, Dallas, TX Dayton Art Institute, Dayton, OH Des Moines Art Center, Des Moines, IA Fundacion César Manrique, Lanzarote, Canary Islands Grey Art Gallery, New York University Art Collection, New York, NY Guggenheim Museum, New York, NY Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Emanuel Hoffmann Stiftung Collection, Basel, Switzerland The Kemper Museum of Contemporary Art, Kansas City, MO Menil Collection, Houston, TX Minneapolis Institute of Art, Minneapolis, MN MAMCO Musée d'art moderne et contemporain, Geneva, Switzerland Musée d'art moderne et contemporain, Strasbourg, France Museum für Moderne Kunst, Frankfurt, Germany Museum Ludwig, Cologne, Germany Museum of Contemporary Art, Chicago, IL Museum of Contemporary Art, Los Angeles, CA The Metropolitan Museum of Art, New York, NY The Museum of Modern Art, New York, NY Nationalgalerie, Berlin, Germany National Gallery of Art, Washington, D.C. Nelson-Atkins Museum of Art, Kansas City, MO Neuberger Museum, College at Purchase, State University of New York, Purchase, NY Ohio University, Bentley Hall and Annex, Athens, OH Pennsylvania Academy of Fine Arts, Philadelphia, PA Philadelphia Museum of Art, Philadelphia, PA Pratt Institute Sculpture Park, Brooklyn, NY Speed Art Museum, Louisville, KY Stedelijk Museum, Amsterdam, Netherlands Storm King Art Center, Mountainville, NY University of Iowa Museum of Art, Iowa City, IA University of Minnesota, Hubert Humphrey Garden, HHH Institute, Minneapolis, MN Villa Arson, Centre national d art contemporain, Nice, France Walker Art Center, Minneapolis, MN Weatherspoon Art Museum, University of North Carolina, Greensboro, NC Westfälisches Landesmuseum, Munster, Germany Wexner Center for the Arts, Ohio State University, Columbus, OH 2007 Room for Dictionary for Building, MAMCO, Geneva, Switzerland 2006 The Chess Garden, Des Moines, IA 2005 Floating Poetry Room, Ijburg, Amsterdam, The Netherlands 2003 Bentley Plaza, Ohio University, Athens, OH Glass Bridge, Cheekwood Botanical Garden and Museum of Art, Nashville, TN Georg Simmel Footbridge, River Ill, Strasbourg, France 2001 Mural, The Sosland Foundation, Kansas City, MI 2000 Gazebo with Picnic Table, Elsau Tram Stop, Strasbourg, France Bridge for Iowa City, University of Iowa, Iowa City, IA Picnic Table for Huesca, Centro de Arte y Naturaleza/Fundación Beulas, Huesca, Spain 1999 Lannan Poetry Garden #2, Beloit College, Beloit, WI 1997 Sacco and Vanzetti Reading Room No. 4, Musée d art moderne et contemporain, Strasbourg, France Bow-Front Balustrade for Washington, D.C. Washington, D.C. National Airport, Arlington, VA Three Skyway Bridges for City of Leipzig, Leipzig, Germany The Beloit Fishing Bridge, Rock River, Beloit, WI Garden Part III, Villa Arson Museum, Nice, France New Orleans Museum of Art, New Orleans, LA

39 76 77 AWARDS AND GRANTS 1996 Bridge, Tower, and Cauldron, Olympic Stadium, 1996 Centennial Olympics, Atlanta, GA The Lighthouse and Bridge, North Shore Esplanade Extension, Staten Island, New York Post Office Pocket Park, Wayzata, MN 1995 Garden Part II, Villa Arson Museum, Nice, France 1994 Garden, Villa Arson Museum, Nice, France Bridge/Ramp, City Center-Sudwest LB Lautenschlagerstrasse, Stuttgart, Germany 1993 Gazebo for Two Anarchists: Gabriella Antolini and Arberto Antolini, Storm King Art Center, Mountainville, New York, NY Gazebo for One Anarchist: Emma Goldman, Beloit College, Beloit, WI Gazebo for the Irene Hixon Whitney Bridge, Loring Park, Minneapolis, MN 1992 Poetry Garden, Lannan Foundation, Los Angeles, CA 1991 Sacco and Vanzetti Reading Room No. 3, Museum fur Moderne Kunst, Frankfurt, Germany Bandstand, Hitchcock Park, Mitchell, SD Humphrey Garden, Hubert H. Humphrey Institute of Public Affairs, University of Minnesota, Minneapolis, MN Sky Bridge #1, collaboration with Cesar Pelli, Norwest Center, Minneapolis, MN 1987 Munster Garden, Garden of the Geologisches Museum, Pferdegasse 3, Münster, Germany 1985 Garden, University of Maryland, College Park, MD 1983 NOAA Bridges, National Oceanic and Atmospheric Administration, Seattle, WA 1982 The Louis Kahn Lecture Room, Samuel S. Fleisher Art Memorial, Philadelphia, PA 1980 Reading Garden No. 1, Roanoke College, Roanoke, VA 1979 Reading Room No. 2, Ohio State University, Columbus, OH Reading House, Lake Placid, NY 2010 Chevalier de L Ordre des Arts et des Lettres McKnight Distinguished Artist Award National Fellowship 1994 Honorary Doctor of Fine Art, Atlanta College of Art 1992 First Prize, Public Art, International Competition, Barcelona, Spain 1991 Skowhegan School of Painting and Sculpture Annual Award 1987 Massachusetts Council on the Arts and Humanities New Works Program 1990 Covered Walkway, General Mills, Inc., Minneapolis, MN 1989 Battery Park City, collaboration with Scott Burton, Cesar Pelli and Paul Friedberg, New York, NY Sky Bridge #2, Minneapolis, MN 1988 The Irene Hixon Whitney Bridge, Minneapolis, MN

40 78 79 About the Gallery Rossi & Rossi Represents Rossi & Rossi was established in 1986 in London by Anna Maria Rossi, who was later joined by her son, Fabio. Operating from Hong Kong and London, the gallery today is amongst the leading representatives of contemporary artists from the Asia-Pacific region. From remote areas of Kazakhstan and Cambodia to the urban epicentres of Hong Kong and Singapore, Rossi & Rossi s artists produce work as diverse as their countries of origin. Yet they remain engaged in the exploration of the visual language of art that comments upon our world and the artist, the individual and wider society. Rossi & Rossi's clients include distinguished private collectors and major museums worldwide, amongst them the Metropolitan Museum of Art, New York; M+, Hong Kong; the Art Institute of Chicago; the Los Angeles County Museum of Art; the Museum of Fine Arts, Houston; the Rubin Museum of Art, New York; the Cleveland Museum of Art; the Ashmolean Museum, Oxford; the Tokyo National Museum; the Louvre Abu Dhabi; the Art Gallery of New South Wales, Sydney; and the Queensland Art Gallery, Brisbane. Anna Maria Rossi, Owner/Founder Fabio Rossi, Owner/Principal Staff London Mauro Ribero, Director Kim-Ling Humphrey, Gallery Manager Hong Kong Corey Andrew Barr, Director Ashley Shen, Gallery Associate Luk Chun Wang, Registrar Rasheed Araeen Fereydoun Ave Konstantin Bessmertny Faiza Butt Heman Chong Ma Desheng Christopher Doyle Gade Naiza H. Khan Abbas Kiarostami Kesang Lamdark Lee Mingwei Erbossyn Meldibekov Nortse Tenzing Rigdol Leang Seckon Tsherin Sherpa Palden Weinreb Nicole Wong Rossi & Rossi is a member of SLAD (the Society of London Art Dealers), Asian Art in London (AAL), the Hong Kong Art Gallery Association (HKAGA) and the South Island Cultural District (SICD). Rossi & Rossi participates in pre-eminent regional and international art fairs, including Art Basel Hong Kong and TEFAF Maastricht.