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{{Short description|Canadian artist}}
{{Infobox artist
{{Infobox artist
| name = Matilda Aslizadeh
| name = Matilda Aslizadeh
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| notable_works =
| notable_works =
| movement =
| movement =
| training = University of British Columbia (Bachelor of Fine Arts), University of California, San Diego (Master of Fine Arts)
| training = [[University of British Columbia]] (BFA), [[University of California, San Diego]] (MFA)
| known_for = video, photography, installation
| known_for = video, photography, installation
| death_place =
| death_place =
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| death_date =
| death_date =
| birth_place = Iran
| birth_place = Iran
| birth_date = 1976
| birth_date = {{birth year and age|1976}}
| birth_name =
| birth_name =
| caption =
| caption =
| alt =
| alt =
| image_size =
| image_size =
| website = https://www.parinadimigallery.com/matilda-aslizadeh
}}
}}
'''Matilda Aslizadeh''' is a practicing [[visual artist]] and educator. She was born in [[Iran]] and moved to [[Greece]] after the [[Iranian Revolution]] in 1979. A few years later, her family settled in [[Vancouver]], [[British Columbia]], Canada, where Matilda still lives on the unceded [[Musqueam Indian Band|Musqueam]], [[Squamish people|Squamish]], and [[Tsleil-Waututh First Nation|Tsleil-Waututh]] territories.
'''Matilda Aslizadeh''' (born 1976) is an Iranian-born Canadian visual artist and educator. She was born in [[Iran]] and moved to [[Greece]] after the [[Iranian Revolution]] in 1979. A few years later, her family settled in [[Vancouver]], [[British Columbia]].


Aslizadeh utilizes video, photography and installation to rethink narrative structures such as the "classic fall and redemption narrative."<ref>{{Cite book |last=Cachia |first=Amanda |title=Diabolique |publisher=Dunlop Art Gallery |year=2009 |isbn=978-1894882347 |location=Regina, SK |pages=27 |language=English}}</ref> She has also artistically and pedagogically explored expanding [[Media archaeology|media archeology]] into non-western practices "that incorporate old and new immersive technologies to understand how they enable engagement with other cosmologies that continue to co-exist and co-evolve in our global context of accelerated capitalism."<ref>{{Cite journal |last=Sepulveda |first=Gabriela Aceves |date=September 2018 |title=Alternative Beginnings Towards other Histories of Immersive Arts and Technologies |url=http://dx.doi.org/10.21900/j.median.v14i1.57 |journal=Media-N: The Journal of the New Media Caucus |volume=14 |pages=1–10 |doi=10.21900/j.median.v14i1.57 |s2cid=226891600 |via=ResearchGate}}</ref>
Aslizadeh utilizes video, photography, and installation to rethink narrative structures such as the "classic fall and redemption narrative."<ref>{{Cite book |last=Cachia |first=Amanda |title=Diabolique |publisher=Dunlop Art Gallery |year=2009 |isbn=978-1894882347 |location=Regina, SK |pages=27 |language=English}}</ref> She has also artistically and pedagogically explored the expansion of [[Media archaeology|media archeology]] into non-Western practices "that incorporate old and new immersive technologies to understand how they enable engagement with other cosmologies that continue to co-exist and co-evolve in our global context of accelerated capitalism."<ref>{{Cite journal |last=Sepulveda |first=Gabriela Aceves |date=September 2018 |title=Alternative Beginnings Towards other Histories of Immersive Arts and Technologies |url=http://dx.doi.org/10.21900/j.median.v14i1.57 |journal=Media-N: The Journal of the New Media Caucus |volume=14 |pages=1–10 |doi=10.21900/j.median.v14i1.57 |s2cid=226891600 |via=ResearchGate|hdl=2142/112878 |hdl-access=free }}</ref>


== Select work ==
== Exhibitions ==


=== In a dark wood ===
=== Solo exhibitions ===
Aslizadeh's 2009 work, ''In a dark wood'', features an animated roulette-spin of B.C. trees, spaced as if they were Greek pillars.<ref name=":0">{{Cite news |last=Dault |first=Gary Michael |date=November 21, 2009 |title=A cabinetmaker/joiner/artist in top form |work=The Globe and Mail |url=https://www.theglobeandmail.com/arts/a-cabinetmakerjoinerartist-in-top-form/article4293253/ |access-date=March 24, 2022}}</ref> It is influenced by the turmoil of her youth, and the artifacts of different ancient and living cultures can be seen in her practice,<ref>{{Cite web |last=Edinger |first=Carrie Ida |date=December 2, 2018 |title=Spotlight |url=https://www.newmediacaucus.org/member-spotlight-matilda-aslizadeh/ |access-date=March 24, 2022 |website=New Media Caucus}}</ref> including this work. The two-channel work layers footage into a sorting, "with short bursts of archival, black-and-white film footage culled from British Columbia's history"<ref name=":0" /> intertwining geographical locations.


* 2020: ''NEXT: Matilda Aslizadeh: Moly and Kassandra'', at the [[Vancouver Art Gallery]], in Vancouver, British Columbia
⚫
=== Moly and Kassandra ===
* 2018: ''Matilda Aslizadeh: Moly and Kassandra'', at the Pari Nadimi Gallery, in Toronto, Ontario
Curated by Grant Arnold and part of Capture's Selected Exhibition Program, Aslizadeh exhibited ''Moly and Kassandra,'' 2018 at the Vancouver Art Gallery in 2020.<ref>{{Cite journal |date=March 2020 |title=NEXT Matilda Aslizadeh: Moly and Kassandra |url=https://canadianart.ca/?agenda=next-matilda-aslizadeh-moly-and-kassandra/ |journal=Canadian Art}}</ref> The installation features three operatic performances by individual female figures in front of open pit mines, mimicking an amphitheatre. Arnold describes the work as building a "correlation between the terms in which abstract economic systems are represented and the physical extraction of raw materials by precisely interweaving statistical charts, images of monumental excavations into the surface of the earth and scenes of operatic divination."<ref>{{Cite web |last=Arnold |first=Grant |date=March 2020 |title=NEXT Matilda Aslizadeh: Moly and Kassandra |url=https://www.vanartgallery.bc.ca/exhibitions/matilda-aslizadeh-moly-and-kassandra |access-date=March 24, 2022 |website=Vancouver Art Gallery}}</ref> Using references from 1979 fashion and history connects to the shift from Keynesian to neoliberal economic policies, the work reflects on the consequences economy in late-capitalism.<ref>{{Cite web |last=Mander-Wionzek |first=Allison |date=March 2020 |title=Molybdenum, Kassandra and Forecasting in Times of Uncertainty: An Interview with Matilda Aslizadeh |url=https://capturephotofest.com/texts/interview-with-matilda-aslizadeh/ |access-date=March 24, 2022 |website=Capture Photo Fest}}</ref> Helena Wadsley rereads the work again in the year it was being shown and developing a relationship to COVID-19's emptiness.<ref>{{Cite web |last=Wadsley |first=Helena |date=August 10, 2020 |title=Video installation welds economy and culture in its critique of neoliberalism. |url=https://www.gallerieswest.ca/magazine/stories/matilda-aslizadeh/ |access-date=March 24, 2022 |website=Galleries West}}</ref>
* 2017: ''Resort'', at the Foreman Art Gallery of Bishop’s University, in Sherbrooke, Quebec <ref>{{Cite web |title=Resort September 20 – December 9, 2017 |url=https://foreman.ubishops.ca/resort/ |access-date=2024-03-12 |website=Foreman Art Gallery of Bishop’s University}}</ref>
* 2015: ''Matilda Aslizadeh: Trophy'', at the Pari Nadimi Gallery, in Toronto, Ontario
* 2008: ''MATILDA ASLIZADEH'', at the Pari Nadimi Gallery, in Toronto, Ontario


=== Art Mamas ===
=== Group exhibitions ===
⚫
Aslizadeh is a founding member of the artist collective A.M. (Art Mamas). The Vancouver-based group is made up of nine artists at different stages of both motherhood and their careers; they have been meeting regularly since the spring of 2016.<ref>{{Cite web |last=Mushet |first=Mark |date=January 26, 2019 |title=A Vancouver collective for artists who juggle parenting helps counter the art world's tendency to sideline young mothers. |url=https://www.gallerieswest.ca/magazine/stories/art-mamas/ |access-date=March 24, 2022 |website=Galleries West}}</ref> The collective finds ways to facilitate a support system for artist caregivers while critically exploring the place of motherhood and care work within the dominant culture of art production. As part of [https://accessgallery.ca/programming/art-mamas Art Mamas’ 2021 residency at Access Gallery PLOT], (with Gabriela Aceves-Sepúlveda, Robyn Laba, Natasha McHardy, Maria Anna Parolin, Heather Passmore, Sarah Shamash, prOphecy sun and Damla Tamer) the gallery space was activated as a laboratory and included other creative producers who are mothers/parents from the local community and beyond. Conversations and screenings featured artists [[Margaret Dragu]], [[Jin-me Yoon]], and [[Elizabeth MacKenzie]].<ref>{{Cite news |last=Mushet |first=Mark |date=May 10, 2019 |title=Art Mamas: Meet the Vancouver collective that creates community for mothers in the arts |work=CBC Exhibitionists |url=https://www.cbc.ca/arts/exhibitionists/art-mamas-meet-the-vancouver-collective-that-creates-community-for-mothers-in-the-arts-1.5129578 |access-date=March 22, 2022}}</ref>


* 2018-2019: ''Believe'', at the [[Museum of Contemporary Art Toronto Canada|Museum of Contemporary Art]] (MOCA) in Toronto, Ontario<ref>{{Cite web |title=BELIEVE 2018 |url=https://moca.ca/exhibitions/believe-2018/ |access-date=2024-03-12 |website=Museum of Contemporary Art Toronto |language=en-CA}}</ref>
⚫
== References ==
* 2012: ''Waiting For'', at [[Centre A]] in Vancouver, British Columbia, curated by [[Makiko Hara (curator)|Makiko Hara]]<ref>{{Cite web |title=waiting for {{!}} Centre A |url=https://centrea.org/2012/01/waiting-for/ |access-date=2024-03-12 |language=en-CA}}</ref>
{{reflist}}
* 2009-2010: ''Diabolique / Diabolic'', at the [[Dunlop Art Gallery]] in Regina, Saskatchewan; [[:fr:Galerie_de_l'UQAM|Galerie de l'UQAM]] in Montreal, Quebec; and the Military Museums in Calgary, Alberta<ref>{{Cite web |title={{!}} Regina Public Library |url=https://www.reginalibrary.ca/dunlop-art-gallery/past/2009 |access-date=2024-03-12 |website=www.reginalibrary.ca}}</ref><ref>{{Cite web |title=Diabolique |url=https://galerie.uqam.ca/expositions/diabolique/ |access-date=2024-03-12 |website=Galerie de l'UQAM |language=fr-FR}}</ref><ref>{{Cite book |last=Averns |first=Dick |title=Diabolique |publisher=Dunlop Art Gallery ; Galerie de l'UQAM ; Military Museums |year=2009 |isbn=9781894882347 |location=Regina, SK ; Montreal, QC ; Calgary, AB}}</ref>
* 2010: ''The Stalking of Absence (vis-á-vis Iran)'', at Tokyo Gallery in Tokyo, Japan,<ref>{{Cite web |title=The Stalking of Absence (vis-á-vis Iran) {{!}} EXHIBITIONS {{!}} 東京画廊 + BTAP TOKYO GALLERY + BEIJING TOKYO ART PROJECTS |url=https://www.tokyo-gallery.com/en/exhibitions/1317.html |access-date=2024-03-12 |website=www.tokyo-gallery.com |language=ja}}</ref> curated by [[Shaheen Merali]]


== Installations ==

=== ''In a dark wood'' (2009) ===
''In a dark wood'', 2009, features an animated roulette-spin of B.C. trees, spaced as if they were Greek pillars. It is influenced by the turmoil of her youth and represents the artifacts of different ancient and living cultures that can be seen throughout her artistic practice. The two-channel work layers footage, "with short bursts of archival, black-and-white film footage culled from British Columbia's history"<ref name=":0">{{Cite news |last=Dault |first=Gary Michael |date=November 21, 2009 |title=A cabinetmaker/joiner/artist in top form |work=The Globe and Mail |url=https://www.theglobeandmail.com/arts/a-cabinetmakerjoinerartist-in-top-form/article4293253/ |access-date=March 24, 2022}}</ref> intertwining geographical locations.

⚫
=== ''Moly and Kassandra'' (2018) ===
''Moly and Kassandra, 2018'' was curated by Grant Arnold and exhibited at the Vancouver Art Gallery as part of the 2020 Capture Photography Festival's Selected Exhibition Program.<ref>{{Cite web |title=NEXT: Matilda Aslizadeh — Moly and Kassandra |url=https://www.vanartgallery.bc.ca/exhibitions/matilda-aslizadeh-moly-and-kassandra |access-date=2024-03-12 |website=www.vanartgallery.bc.ca}}</ref><ref>{{Cite web |date=2020-03-06 |title=NEXT Matilda Aslizadeh: Moly and Kassandra - Capture Photography Festival |url=https://capturephotofest.com/exhibitions/next-matilda-aslizadeh-moly-and-kassandra/,%20https://capturephotofest.com/exhibitions/next-matilda-aslizadeh-moly-and-kassandra/ |access-date=2024-03-12 |language=en-CA}}</ref> The installation features three operatic performances by individual female figures in front of open pit mines, mimicking an amphitheater. Arnold describes the work as building a "correlation between the terms in which abstract economic systems are represented and the physical extraction of raw materials by precisely interweaving statistical charts, images of monumental excavations into the surface of the earth and scenes of operatic divination." Using references from 1979 fashion and history, the work reflects on the shift from Keynesian to neoliberal economic policies, and the consequences of economy in [[late capitalism]]. The year that it was shown at Capture, artist and writer Helena Wadsley reread the work as having ties to a developing association with COVID-19's emptiness.

== Award ==
2023 - Griffin Art Projects' 2023 North Shore Studio Art Residency Award Winner<ref>{{Cite web |title=Matilda Aslizadeh |url=https://www.griffinartprojects.ca/residencies/matilda-aslizadeh |access-date=2024-04-13 |website=Griffin Art Projects |language=en-US}}</ref>

== Artist collective ==
⚫
Aslizadeh is a founding member, along with several others, of the artist collective, ''Art Mamas''. The Vancouver-based collective is made up of nine artists at different stages of both motherhood and their careers. It has met regularly since 2016 and seeks to facilitate a support system for artist caregivers while critically exploring the place of motherhood and care work within the dominant culture of art production.<ref>{{Cite web |last=Mushet |first=Mark |date=January 26, 2019 |title=A Vancouver collective for artists who juggle parenting helps counter the art world's tendency to sideline young mothers. |url=https://www.gallerieswest.ca/magazine/stories/art-mamas/ |access-date=March 24, 2022 |website=Galleries West}}</ref> This includes a 2021 residency at Access Gallery, in which the gallery space was activated as a laboratory and included other creative producers who are mothers/parents from the local community and beyond. Conversations and screenings featured artists [[Margaret Dragu]], [[Jin-me Yoon]], and [[Elizabeth MacKenzie]].<ref>{{Cite news |last=Mushet |first=Mark |date=May 10, 2019 |title=Art Mamas: Meet the Vancouver collective that creates community for mothers in the arts |url=https://www.cbc.ca/arts/exhibitionists/art-mamas-meet-the-vancouver-collective-that-creates-community-for-mothers-in-the-arts-1.5129578 |access-date=March 22, 2022 |work=CBC Exhibitionists}}</ref> The collective has also produced a 2023 publication titled ''art/mamas: Intermedial Conversations on Art, Motherhood and Caregiving''.<ref>{{Cite web |title=art/mamas |url=https://accessgallery.ca/programming/artmamas |access-date=2024-03-12 |website=accessgallery.ca |language=en}}</ref><ref>{{Cite book |last=Belcher |first=Katie |title=Art/mamas : intermedial conversations on art, motherhood and caregiving |publisher=art/mamas |year=2023 |isbn=9781777492212 |location=Vancouver, BC}}</ref>

⚫
== References ==
<references />
{{DEFAULTSORT:Aslizadeh, Matilda}}
{{DEFAULTSORT:Aslizadeh, Matilda}}
[[Category:1976 births]]
[[Category:1976 births]]
[[Category:Living people]]
[[Category:Living people]]
⚫
[[Category:Iranian emigrants to Canada]]
[[Category:Artists from Vancouver]]
[[Category:Artists from Vancouver]]
[[Category:Canadian art educators]]
[[Category:Canadian art educators]]
[[Category:Canadian women educators]]
[[Category:Canadian women educators]]
⚫
[[Category:Iranian emigrants to Canada]]
[[Category:Iranian installation artists]]
[[Category:Iranian photographers]]
[[Category:Iranian video artists]]
[[Category:Iranian women artists]]
[[Category:University of British Columbia alumni]]
[[Category:University of British Columbia alumni]]
[[Category:University of California, San Diego alumni]]
[[Category:University of California, San Diego alumni]]

Latest revision as of 22:17, 30 April 2024

Matilda Aslizadeh
Born1976 (age 48–49)
Iran
NationalityCanadian
EducationUniversity of British Columbia (BFA), University of California, San Diego (MFA)
Known forvideo, photography, installation

Matilda Aslizadeh (born 1976) is an Iranian-born Canadian visual artist and educator. She was born in Iran and moved to Greece after the Iranian Revolution in 1979. A few years later, her family settled in Vancouver, British Columbia.

Aslizadeh utilizes video, photography, and installation to rethink narrative structures such as the "classic fall and redemption narrative."[1] She has also artistically and pedagogically explored the expansion of media archeology into non-Western practices "that incorporate old and new immersive technologies to understand how they enable engagement with other cosmologies that continue to co-exist and co-evolve in our global context of accelerated capitalism."[2]

Exhibitions

[edit]

Solo exhibitions

[edit]
  • 2020: NEXT: Matilda Aslizadeh: Moly and Kassandra, at the Vancouver Art Gallery, in Vancouver, British Columbia
  • 2018: Matilda Aslizadeh: Moly and Kassandra, at the Pari Nadimi Gallery, in Toronto, Ontario
  • 2017: Resort, at the Foreman Art Gallery of Bishop’s University, in Sherbrooke, Quebec [3]
  • 2015: Matilda Aslizadeh: Trophy, at the Pari Nadimi Gallery, in Toronto, Ontario
  • 2008: MATILDA ASLIZADEH, at the Pari Nadimi Gallery, in Toronto, Ontario

Group exhibitions

[edit]

Installations

[edit]

In a dark wood (2009)

[edit]

In a dark wood, 2009, features an animated roulette-spin of B.C. trees, spaced as if they were Greek pillars. It is influenced by the turmoil of her youth and represents the artifacts of different ancient and living cultures that can be seen throughout her artistic practice. The two-channel work layers footage, "with short bursts of archival, black-and-white film footage culled from British Columbia's history"[10] intertwining geographical locations.

Moly and Kassandra (2018)

[edit]

Moly and Kassandra, 2018 was curated by Grant Arnold and exhibited at the Vancouver Art Gallery as part of the 2020 Capture Photography Festival's Selected Exhibition Program.[11][12] The installation features three operatic performances by individual female figures in front of open pit mines, mimicking an amphitheater. Arnold describes the work as building a "correlation between the terms in which abstract economic systems are represented and the physical extraction of raw materials by precisely interweaving statistical charts, images of monumental excavations into the surface of the earth and scenes of operatic divination." Using references from 1979 fashion and history, the work reflects on the shift from Keynesian to neoliberal economic policies, and the consequences of economy in late capitalism. The year that it was shown at Capture, artist and writer Helena Wadsley reread the work as having ties to a developing association with COVID-19's emptiness.

Award

[edit]

2023 - Griffin Art Projects' 2023 North Shore Studio Art Residency Award Winner[13]

Artist collective

[edit]

Aslizadeh is a founding member, along with several others, of the artist collective, Art Mamas. The Vancouver-based collective is made up of nine artists at different stages of both motherhood and their careers. It has met regularly since 2016 and seeks to facilitate a support system for artist caregivers while critically exploring the place of motherhood and care work within the dominant culture of art production.[14] This includes a 2021 residency at Access Gallery, in which the gallery space was activated as a laboratory and included other creative producers who are mothers/parents from the local community and beyond. Conversations and screenings featured artists Margaret Dragu, Jin-me Yoon, and Elizabeth MacKenzie.[15] The collective has also produced a 2023 publication titled art/mamas: Intermedial Conversations on Art, Motherhood and Caregiving.[16][17]

References

[edit]
  1. ^ Cachia, Amanda (2009). Diabolique. Regina, SK: Dunlop Art Gallery. p. 27. ISBN 978-1894882347.
  2. ^ Sepulveda, Gabriela Aceves (September 2018). "Alternative Beginnings Towards other Histories of Immersive Arts and Technologies". Media-N: The Journal of the New Media Caucus. 14: 1–10. doi:10.21900/j.median.v14i1.57. hdl:2142/112878. S2CID 226891600 – via ResearchGate.
  3. ^ "Resort September 20 – December 9, 2017". Foreman Art Gallery of Bishop’s University. Retrieved 2024-03-12.
  4. ^ "BELIEVE 2018". Museum of Contemporary Art Toronto. Retrieved 2024-03-12.
  5. ^ "waiting for | Centre A". Retrieved 2024-03-12.
  6. ^ "| Regina Public Library". www.reginalibrary.ca. Retrieved 2024-03-12.
  7. ^ "Diabolique". Galerie de l'UQAM (in French). Retrieved 2024-03-12.
  8. ^ Averns, Dick (2009). Diabolique. Regina, SK ; Montreal, QC ; Calgary, AB: Dunlop Art Gallery ; Galerie de l'UQAM ; Military Museums. ISBN 9781894882347.
  9. ^ "The Stalking of Absence (vis-á-vis Iran) | EXHIBITIONS | 東京画廊 + BTAP TOKYO GALLERY + BEIJING TOKYO ART PROJECTS". www.tokyo-gallery.com (in Japanese). Retrieved 2024-03-12.
  10. ^ Dault, Gary Michael (November 21, 2009). "A cabinetmaker/joiner/artist in top form". The Globe and Mail. Retrieved March 24, 2022.
  11. ^ "NEXT: Matilda Aslizadeh — Moly and Kassandra". www.vanartgallery.bc.ca. Retrieved 2024-03-12.
  12. ^ "NEXT Matilda Aslizadeh: Moly and Kassandra - Capture Photography Festival". 2020-03-06. Retrieved 2024-03-12.
  13. ^ "Matilda Aslizadeh". Griffin Art Projects. Retrieved 2024-04-13.
  14. ^ Mushet, Mark (January 26, 2019). "A Vancouver collective for artists who juggle parenting helps counter the art world's tendency to sideline young mothers". Galleries West. Retrieved March 24, 2022.
  15. ^ Mushet, Mark (May 10, 2019). "Art Mamas: Meet the Vancouver collective that creates community for mothers in the arts". CBC Exhibitionists. Retrieved March 22, 2022.
  16. ^ "art/mamas". accessgallery.ca. Retrieved 2024-03-12.
  17. ^ Belcher, Katie (2023). Art/mamas : intermedial conversations on art, motherhood and caregiving. Vancouver, BC: art/mamas. ISBN 9781777492212.
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