MOJDEH REZAEIPOUR

ARtist-in-residence / SPRING 2020

Mojdeh Rezaeipour is an Iranian-born transdisciplinary artist and writer. Mojdeh’s archive-based, iterative practice bridges over a decade of their varied backgrounds as an architect, storyteller, and community organizer. Their solo and collaborative projects have been exhibited nationally and internationally in a wide range of venues, from DIY project spaces to larger institutions and platforms. In 2024, Mojdeh was an artist in residence at The Luminary (St Louis), debuted her solo exhibition Notebooks at Henry Luce III Center for the Arts and Religion (Washington, DC), and shared an inaugural iteration of Classroom Solidarities at the student run Herman Maril Gallery at University of Maryland (College Park, MD). Produced by Washington Project for the Arts and hosted by The Corcoran School of Art and Design at GW, Rezaeipour’s most recent project 93 Fragments brought together the creative practices and methodologies of sixteen artists, writers, and thinkers from all over the world who are in direct conversation with materials of cultural heritage in counter-institutional ways.

Learn more about Mojdeh’s work at www.mojdeh.art

watching time watching god

Mojdeh Rezaeipour started watching time watching god during their residency at The Nicholson Project in April 2020, just as COVID was deepening in its severity here in the US. This nine-minute single-channel iteration of watching time watching god debuted as part of Inside Outside, Upside Down at The Phillips Collection in July 2021.

“While I had proposed to do a community-based project for my on-site activation, the pandemic called for me to reshape this proposal to fit within the context of our new circumstances. I spent many of my first weeks there in lockdown behind the lens of my camera, bearing witness to time through watching the light move across the wall, the moon move across the sky, etc. I then projected hours and hours of this collected footage onto various surfaces in the space, capturing a layered imprint as part of a silent conversation with the house itself. Meanwhile, the ambulance sirens shrieked, the birds chirped, the helicopters flew past, and I managed, in this liminal moment, to make a handful of dear friends in the neighborhood with whom I continue to be in relationship. To me, this work is as much about what is visible as what is not at the intersection of bearing witness, being in relationship, and surrender.”

Interested in becoming our next artist-in-residence?