Hold These Truths

November 13, 2017 - March 14, 2018


Performance: The Tempest in the Teahouse

Saturday, March 10 2012
6:00 pm - 8:00 pm

Sharing and serving beverages to one another is a gesture of social interaction and gathering across cultures. And tea, perhaps, can be seen, as the most universal substance in this regard. The Samovar, an elaborate pot used as centerpiece to heat water and prepare tea, serves as a symbol of this popular social tradition – a nostalgic expression of pre-Information Age enjoyment of lingering conversation and direct contact with friends and family over a protracted time. 

Incorporating the use of Augmented Reality (AR) technology, the artist Amir Baradaran will reproduce the experience of the tea ceremony - a centuries old cultural tradition that ranged from lavish social affairs to intimate hearthside family gatherings - giving participants an opportunity to reflect upon the advantages and deficits of the promises of technology in cultivating human interaction and growth. 

However the tea itself will be an optical effect of the technology and programming. The spectacle and stimulation of high technology will stand in for the actual real experience of consuming a hot beverage in social setting, giving participants an opportunity to reflect upon the advantages and deficits of the promises of technology in cultivating human interaction and growth.  


Curated  by Jovana Stokic, this program is a collaboration between Art Middle East and No Longer Empty and is generously sponsored by Stonehenge Partners. Thank you!



A m i r B a r a d a r a n (b. 1977) Iranian‐Canadian, New York based media and performance artist, works in the field of Augmented Reality (AR). Speculative public experiences exploring the philosophical and social underpinnings of technology, authorship and identity are staged using AR technology and concepts. Under the rubric FutARism, AR is situated as a new installation and performance art medium. Experiential, conceptual and legal shifts are used to explore radical subjectivities, failed utopias, and mysticisms. Installations include Growing Panes performance (The British Museum, Art & Patronage Summit, UK), The Buzzz (Miami Art Basel), Venice Augmented (54th Venice Biennale, Italy), Frenchising Mona Lisa (Louvre Museum, Paris) and Takeoff (MoMA, NY, NY), “Simple as Drinking Water,” winner of 2011 International Symposium on Mixed and Augmented Reality (ISMAR) video competition, Transient (2010), video installations placed in New York City taxis (approx. 1.5 million viewers), and The Other Artist Is Present (2010), a guerrilla performance at MoMA, NY, NY. Published in Art in America, Forbes, ARTNET, ARTINFO, BBC and NPR.  Belgrade‐born, New York based art historian and critic


Jovana Stokic holds a Ph.D from the Institute of Fine Arts at the New York University. Her dissertation, titled “The Body Beautiful: Feminine Self-Representations 1970 – 2007,” analyzes works of several women artists – Marina Abramovic, Martha Rosler, Joan Jonas — since the 1970s, particularly focusing on the notions of self-representation and beauty. Jovana has been writing art criticism for several years, and has curated several thematic exhibitions and performance events in the US, Italy, Spain and Serbia. Jovana was a fellow at the New Museum of Contemporary Art, New York, a researcher at the Whitney Museum of American Art, New York, and the curator of the Kimmel Center Galleries, New York University, and Location One in New York City. She has most recently written an essay for Marina Abramovic’s MoMA exhibition catalogue. 


ART MIDDLE EAST (AME)  is a platform for promoting the dynamic and emerging contemporary art of the Middle East through special curatorial projects, educational programs and cultural initiatives.  Founded in 2010 by Nazy Nazhand, AME provides artistic programming to promoteg Middle Eastern contemporary art through innovative collaborations and ambitious art presentation. Visit www.art‐middle-east.com.




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