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Taraneh Fazeli is a curator and educator from New York. Her curatorial practice, emerging from institutional critique and radical pedagogy, engages art as a site to constitute publics and cultural rituals, interrogate the techniques of representation, and dream alternative systems together. This can be witnessed in her past work in the New Museum of Contemporary Art’s education department (2102-15), as a Contributing Editor to Triple Canopy (2011-12) or as the Managing Director of e-flux (2008-11), where she oversaw publications such as art-agenda and organized exhibitions with artists including Raqs Media Collective, Martha Rosler, Allan Sekula, and Mladen Stilinović. She teaches at the City College of New York and has been a visiting critic and guest lecturer at numerous schools and arts residencies.

Fazeli has most recently worked as a freelance curator out of various residency programs: she was the 2018 curator-in-residence at the Bemis Center for Contemporary Arts (Omaha, Nebraska) and, since she is also a curator-in-residence at the Jan van Eyck Academie (Maastricht, NL), will be splitting her time between Detroit and the Netherlands in 2019.

Fazeli’s current exhibition “I let them in. Conditional Hospitality and The Stranger” features videos by Kader Attia and Candice Breitz that, amidst the current “migration crisis,” address the aesthetic codes and systems that shape understandings of how we see ourselves in relation to the communal. Through the framing lens of hospitality, the show examines how white benevolence operates around the figure of the refugee and what repair around the conditions that cause migration might require.

Her ongoing curatorial project “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” deals with the politics of health and care by showcasing the work of artists and community groups who examine the temporalities of illness and disability, the effect of life/work balances on wellbeing, and alternative structures of support via radical kinship and forms of care. (Note: “crip” is a political reclaiming of the derogatory label cripple.) It has taken place at arts organizations including Bemis Center (Omaha, Nebraska), EFA Project Space (New York), Lawndale Art Center and Project Row Houses (Houston, Texas), The Luminary (St. Louis, MO), as well as numerous social service organizations.

Considering Fazeli’s history working to foster dialogue and an exchange of resources between contexts—geographic, institutional, social, disciplinary—we look forward to seeing how her programs will add to the Greater Detroit area, in the arts and beyond.