Morehshin Allahyari is an artist, activist, writer, and educator. She was born and raised in Iran and moved to the United States in 2007. Her work deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects and as a poetic means to document our personal and collective lives and struggles in the 21st century. Morehshin is the co-author of The 3D Additivist Cookbook in collaboration with writer/artist Daniel Rourke.

Morehshin has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Archittectura, New Museum, The Whitney Museum of American Art, Pompidou Center, Museum of Contemporary Art in Montreal, Tate Modern, Queens Museum, Pori Museum, Powerhouse Museum, Dallas Museum of Art, and Museum für Angewandte Kunst. She has been an artist in residence at BANFF Centre (2013), Carnegie Mellon University’s STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), the Vilém Flusser Residency Program for Artistic Research in association with Transmediale, Berlin (2016), Eyebeam’s one year Research Residency (2016-2017) in NYC, Pioneer Works (2018), and Harvest Works (2018). Her work has been featured in The New York Times, BBC, Huffington Post, Wired, National Public Radio, Parkett Art Magazine, Frieze, Rhizome, Hyperallergic, and Al Jazeera, among others.

She is the recipient of The United States Artist Fellowship (2021), The Joan Mitchell Foundation Painters & Sculptors Grant (2019), The Sundance Institute New Frontier International Fellowship, and the Leading Global Thinkers of 2016 award by Foreign Policy magazine. Her 3D Additivist Manifesto video is in the collection of San Francisco Museum of Modern Art, and recently she has been awarded major commissions by The Shed, Rhizome, New Museum, Whitney Museum of American Art, Liverpool Biennale, and FACT.

Majlis al-Jinn, Installation View
Majlis al-Jinn, 2021, Installation View
She Who Sees The Unknown: Kabous Installation, Manual Override Exhibition, The Shed, 2019
She Who Sees The Unknown: Kabous Installation, Manual Override Exhibition, The Shed, 2019
Aisha Qandisha, 2018 (left). Material Speculation, Venus, 2015-2016 (right)
OctoUrinal Mascot, 2015
The 3D Additivist Manifesto (collaboration with Daniel Rourke), 2015



The University of North Texas, Master of Fine Arts in New Media Art
The University of Denver, Master of Arts in Digital Media Studies
The University of Tehran, Bachelor of Arts, in Social Science and Media Studies



Majlis al-Jinn, Fragment gallery, New York, USA
She Who Sees The Unknown: Kabous, Olivier francois galerie, Dallas, USA

Horizontal Vertigo: Films by Morehshin Allahyari, Cinema of the JSC Düsseldorf, Julia Stoschek Collection, Germany 

She Who Sees the Unknown, MacKenzie Art Gallery, Regina, Canada
Dead Drops, College of Fine Arts building, Carnegie Mellon University, Pittsburgh, USA

She Who Sees the Unknown, The Armory Show (FOCUS), presented by Upfor, New York, USA
Futurisms, Kampnagel - K4, Hamburg, Germany
She Who Sees The Unknown: Huma, Museum of Ulm, Stuttgart, Germany

Downtown Gallery, University of Tennessee, Knoxville, USA
She Who Sees The Unknown, Upfor, Portland, USA
Solid State Mythologies, Mahoney Gallery, University of Massachusetts, Lowell, USA
On the Far Side of the Marchlands, Ernst Schering Foundation, Berlin, Germany 

She Who Sees The Unknown, Transfer Gallery, New York, USA
Everything in Between, Verge Center for the Arts
Material Speculation, Trinity Square Video, Toronto, Canada

Material Speculation:ISIS/Download Series (King Uthal), Rhizome (commission)
Dark Matter (c. Kimmo Modig and Jesse Jussi Koitela), Such Gallery, Helsinki, Finland
The 3D Additivist Manifesto, World Premiere, Transfer Gallery, New York, USA



Mindbombs, Kunsthalle Mannheim, Mannheim, Germany
Tech/Know/Future: From Slang to Structure, George Segal Gallery, Montclair State University, Montclair, NJ
Present Continuous Pasts, Museum of Contemporary Art Pino Pascali, Bari, Italy
Oh, Museum, Cement Fondu, Paddington, Australia
Data Fiction, Cairotronica Festival, Cairo Egypt
Spatial Affairs, Ludwig Museum, Budapest, Hungary
Unquiet Objects, Disjecta Contemporary Art Center, Portland, USA
Resist! The Art of Resistance, Rautenstrauch-Joest-Museum, Cologne, Germany
Social Distancing – Virtual Bonding, CIVA Festival, Vienna, Austria

She Who Is Watching, Wei-Ling Contemporary, Kuala Lumpur, Malaysia
Afterglow, Yokohama Triennale 2020, Yokohama, Japan
24 of 84, Hartware MedienKunstVerein, Dortmund, Germany
Rhizomatic Spell (c. Eva Skopalová), Kvalitar Gallery, Prague, Czech Republic
Never Spoken Again: Rogue Stories of Science and Collections, MSU Broad Museum
Where Do You Want Ghosts to Reside?, Southern Exposure Gallery, San Francisco, USA

Manual Override (c. Nora Khan), The Shed, New York, USA
Beyond Geographies: Contemporary Art and Muslim Experience, Gallery at BRIC House, New York, USA
Utopian Imagination, The Ford Foundation Gallery, New York, USA
The Art Happens Here: Net Art’s Archival Poetics, Peeler Art Center, Depauw University, Greencastle, USA
What Remains, Imperial War Museum, London, UK
Computer Grrls, MU, Eindhoven, Netherlands
Quid est Veritas?, Annka Kultys Gallery, London, UK
Apocalypse, Schneider Museum of Art, Ashland, USA
Tomorrows, Festival Cinémas Différents et Expérimentaux de Paris, Paris, France
Memory and Place, Gould Gallery, University of Washington, Seattle, USA
Computer Grrls, La Gaîté Lyrique, Paris, France
Refiguring Binaries, Pioneer Works, New York, NY
Refiguring the Future, REFRESH, presented by Eyebeam, 205 Hudson Gallery, New York, USA
Speculative Cultures: A Virtual Reality Exhibition, The New School, New York, USA
The Art Happens Here: Net Art’s Archival Poetics, New Museum, New York, USA
Re-Figure-Ground (c. Kelani Nichole), arebyte, London City Island, UK
Translation of Complexity, sound:frame at Aa Collections, Vienna, Austria 

Computer Grrls, Hartware MedienKunstVerein, Dortmund, Germany
A World Without Us, Impakt Center for Media Culture, Utrecht, The Netherlands
Agency (c. James Bridle), Nome Gallery, Berlin, Germany
En Fuyant, Ils Cherchent une Arme 3/3, Maison Populaire, Montreuil, France
Plastic Entanglements, Jordan Schnitzer Museum of Art, Eugene, USA
Beautiful World Where Are You?, Liverpool Biennial 2018, FACT, Liverpool, UK
Colleagues Wanted I, Alpha Nova Galerie Futura, Berlin, Germany
Refiguring the Future Performance Series: Breaching Towards Other Futures, The Rubin Museum of Art, New York, USA
DiMoDA 3.0: Talismans (74L15M4N5) + Mind Body Dualism (MND//BDY), 3LD, New York, USA
La technologia somos nosotrxs, Contemporary Art Center of Quito, Ecuador
This Site is Under Revolution, Moscow International Biennale For Young Art, MMOMA, Moscow, Russia 
Do you Want to Quit? Intimacy, Site, Self, University of California, Irvine, USA
Statues Also Die, Fondazione Sandretto Re Rebaudengo, Turin, Italy

Open Codes: Living in Digital Worlds, ZKM | Center for Art and Media, Karlsruhe, Germany
Archeonauts, Galerie Charlot, Tel Aviv, Israel
Neotopia: Data and Humanity, Art Center Nabi, Seoul, South Korea
NEoN Digital Arts Festival, Dundee, Scotland
Contemporary Ruins, KAI 10 | Arthena Foundation, C. Julia Höner and Ludwig Seyfarth,  Düsseldorf, Germany 
Non-Compliant Futures, Sight & Sound 2017, Eastern Bloc, Montreal
Haunted Machines and Wicked Problems, Impakt Festival, Utrecht, Netherlands
Materializing the Internet, MU artspace, Eindhoven, Netherlands
Futureproof, Hurford Center at Haverford College, Haverford, USA
Designing Desire, FACT Gallery, Liverpool, UK
Forever Fornever, Edward Mitchell Bannister Gallery, Rhode Island College, Providence, USA
Digital Design Weekend, Victoria and Albert Museum, London, England
Alien Matter, Haus der Kulturen der Welt + Transmediale Festival, Berlin, Germany 
Suspended Territories, Marta Herford, Herford, Germany
The World Without Us, Galerija Vžigalica, Ljubljana, Slovenia
Mutations-Créations: Imprimer le monde, Centre Pompidou, Paris, France
Tomorrows: Urban fictions for possible futures, Diplareios School, Onassis Cultural Centre, Greece
Archeonauts, Galerie Charlot, Paris, France
How much of this is fiction., FACT Gallery, Liverpool, UK
How much of this is fiction., Haus der elektronischen Künste Basel, Switzerland
Iconoclastic, Cooley Gallery, Reed College, Portland, USA
As if. The media artist as trickster, Framer Framed, Amsterdam, Netherlands
Hacking / Modding / Remixing as feminist protest, Miller Gallery, Carnegie Mellon University, USA

Missed Connection, Julia Stoschek Collection, Düsseldorf, Germany
A World of Fragile Parts, Venice Biennale, 15th International Architecture Exhibition, Venice, Italy
Hybrids, Ars Electronica Linz, Onassis Cultural Centre, Athens, Greece
For Play, MU, Eindhoven, The Netherlands
Out of Hand; Materializing the Digital, Museum of Applied Arts & Sciences, Sydney, Australia
Dance with flARmingos, Queens International, Queens Museum, New York, USA
The Missing: Rebuilding the Past, The Anya and Andrew Shiva Gallery, New York, USA
Archive Fever: Future Imaginings of Things Past, B4bel4b Gallery, Oakland, USA
2015 X+1, Museum of Contemporary Art, Montréal, Québec
Nietzsche was a Man, Pori Art Museum, Pori, Finland
Material Girl, Dunlop Art Gallery, Regina, Saskatchewan

Sympathy for the Devil, Hello Project Gallery + Semigloss Magazine, Houston, USA
CIPHER: REFRACTION (c. Giselle Zatonyl), CultureHub, New York, USA
Click Click Click, Whitebox Gallery, New York, USA
Theory of Survival, Southern Exposure Gallery, San Francisco, USA
Bitrates, Daralhokoomeh Project, Shiraz Art House, Shiraz, Iran
Dark Matter, Material Art Fair, Mexico City, Mexico



United States Artists Fellowship Award, Media category

Digital Rapid Response Fellowship, Eyebeam, New York, USA

Denniston Hill Residency, Catskill, New York, USA
The Joan Mitchell Foundation Painters & Sculptors Grant
The Sundance Institute New Frontier International Fellowship, Sundance Film Festival
Commission for Kabous from The Shed, Manual Override exhibition curated by Nora Khan

Commission for The Laughing Snake from The Whitney Museum of American Art, Liverpool Biennial and FACT Liverpool
Rhizome Commission for Physical Tactics for Digital Colonialism, New Museum, New York, USA
Commission for The 3D Additivist Manifesto, SFMOMA Collection 
Visual Arts Residency, Harvest Works, New York, USA
Art and Technology Residency, Pioneer Works, New York, USA

FACT (Foundation for Art and Creative Technology), Liverpool, UK
Sculpture Award, Institute of Digital Art, Germany
Visiting Scholar Grant, The LaGuardia Studio, New York University         

The Download, Rhizome Commission, Rhizome Foreign Policy’s 2016 Global Thinkers award, Washington DC 
Research Residency, Eyebeam, New York, NY
Vilém Flusser Residency for Artistic Research, Berlin, Germany
#Additivism Artist Residency, Co:Lab, Auckland University of Technology, USA

The Frank-Ratchye Studio for Creative Inquiry, Carnegie Mellon University
Pier9 Art Program (3D printing + sculpture), AUTODESK
Special Award, Florence Biennale, Florence, Italy

Awesome Without Borders Grant, The Harnisch Foundation
Gray Area Art and Technology, San Francisco, USA
3D Software and Printing Residency, SculptCad, Dallas, TX

Film and Media Residency, Banff Centre, Alberta, Canada
The Arch and Anne Giles Kimbrough award, Dallas Museum of Art



San Francisco Museum of Modern Art


Morehshin Allahyari’s “Medusa Head” acquired by Kunsthalle Mannheim
May 11, 2022
A new series of screenings is opening this Friday at both Moscow and New York locations
January 28, 2022
Now open: Fragment New York
October 11, 2021
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