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Maryam Monalisa Gharavi

Maryam Monalisa Gharavi is an artist, poet, and theorist whose work explores the interplay between aesthetic and political valences in the public domain. Exhibitions and performances have taken place at: Nottingham Contemporary, UK; Serpentine Cinema, UK; Townhouse Gallery, Egypt; Pioneer Works, U.S.; Sonic Acts, the Netherlands; The Poetry Project, U.S.; Museum of Fine Arts Boston, U.S.; Art Dubai; UC Berkeley Art Museum and Pacific Film Archive, U.S.; and Experimental Media and Performing Arts Center, U.S. Expanded publications have featured in: Triple Canopy, Women and PerformanceIbraaz, The White ReviewArt in America, and The New Inquiry, among others. She has been an artist-in-residence at: Wysing Arts Centre, Cambridgeshire; Industry Lab, Cambridge; Delfina Foundation, London; Darat al Funun, Amman; and Mansion, Beirut. She completed a PhD in Comparative Literature and Film & Visual Studies at Harvard University and an MFA in Film/Video at Milton Avery Graduate School of the Arts at Bard College, and held a Fulbright U.S. Scholar/Visiting Professorship at Birzeit University. She was a lecturer at Harvard University, 2013–2017, and has served as a visiting artist/lecturer at New York University; Valand Academy, Sweden; and Cambridge School of Art – Anglia Ruskin University, among others. Book publications include: a translation of Waly Salomão’s Algaravias: Echo Chamber (nominated for the 2017 PEN Award for Poetry in Translation); the poetry volume The Distancing Effect; the illustrated text Apparent Horizon 2; and the chapbook Alphabet of an Unknown City (Belladonna*). She was editor at The New Inquiry 2012–2017, and is author of the open text South/South.



Maryam Monalisa Gharavi

Bio captures a span of 365 days in which the artist updated the 160-character ‘bio’ section of a profile on Twitter each day. An experiment in erasure, self-deletion, and visibility in the expansive sphere of the internet, Bio anchors itself to the wider lineage of artists’ cancelled texts, but in the age of new media as ‘soft’ power.