Every Building in Baghdad

Every Building in Baghdad The Rifat Chadirji Archives at the Arab Image Foundation Jan 7– Feb 17, 2018

This exhibition examines the work of Iraqi architect Rifat Chadirji through the collection of his original photographs and building documents held at the Arab Image Foundation in Beirut. With the work of his architectural office, Iraq Consult, and in his other professional and intellectual roles, Chadirji became a pivotal cultural figure in Baghdad during the period of its postwar modernization from the 1950s through the 1970s. As an architect, planning consultant, and Director of Buildings for various government agencies, Chadirji was central to the organization of Baghdad and to the consolidation of its postwar image. With nearly one hundred buildings Chadirji helped foster the emergence of the factories, colleges, monopoly headquarters, communication structures, and other new building types that appear in Baghdad following Iraq’s 1958 revolution.

Despite the long historical continuity evoked by his regionally inflected modernism, Chadirji was all too aware of the transformative effects of Iraq’s growing oil economy.

His work as a photographer was informed by his exposure to Iraq’s political and cultural precariousness, while it foresaw greater disruption ahead. Over a span of more than twenty years, Chadirji recorded the street life, social practices, and spaces that he believed were threatened by the development driving Iraq’s postwar evolution. Over the same period, he meticulously photographed his own architectural work in an attempt to produce documents that could survive the damage, alteration, and potential destruction of his buildings.

The threat that lurks within the Chadirji archives reverberates with the current instability in Iraq and its region and with the continuing specter of building destruction and cultural violence. The texture of precarity within Chadirji’s photographs also underscores the institutional project of the Arab Image Foundation and its attempt to assemble, secure, and preserve the photographic history of the Arab World. In this sense, Chadirji’s photographs and building documents exhibit at least three identities: they are an informational system describing every building within his architectural oeuvre; they are a device to preserve the image of Iraq’s experience of modernization; and they are the charged signifiers of collateral damage and the historical and cultural vulnerability that marks the archives of the Arab Image Foundation.

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Architectural Documentation Chadirji’s comprehensive architectural folio of photography sheets and paste-ups, records and analyzes the development of his building practice. Coded and organized by construction year, building type and archive reference number, the documents sampled here show the range of projects that engaged Chadirji in Bagdhad after his return from studies in England in 1952, to his departure from Iraq in the early 1980s.

As a theorist and author of more than ten books on architecture and on the challenges faced by architects in Iraq and in the Middle East, Chadirji has been critical of both a naïve engagement with local building craft and with the importation of a bland international mode of construction. He characterizes the dominant approach to building in Iraq from the 1950s to the early 1980s as indifferent to the particular social and technical demands of the region and as a “labyrinth of social prejudices, unrealistic fantasies, imported technologies and defective, half digested or misinterpreted imported symbols and fashions.”

The documents on display illustrate that by the middle of the 1960s Chadirji’s practice had departed from a design approach he thought too closely associated with European functionalism. As Director of Buildings for Baghdad’s Waqaf Organization in the late 1950s Chadirji was responsible for the care and preservation of ancient mosques and other structures, a role that impacted his relationship to Iraq’s historical legacy. Through an analytical terminology that described architecture’s “repose and recipiency,” and “cybernetic interaction,” Chadirji attempted to reconcile new, locally specific building technologies with historical forms and architectural antecedents drawn from Mesopotamia and from Iraq’s long cultural history.

With commissions for a variety of new institutional and governmental buildings, and through his reflection on historical forms and contemporary technologies, Chadirji became a critical participant in cultural debates that emerged in postwar Iraq, that developed during the 1958 revolution, and that shifted through early Baath party policy. At issue was the role of architecture and other

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artistic practices in Iraq, their articulation of regional histories and identities, and the distance they might take from more general, Pan-Arabist policies and cultural strategies.

Within the gallery original photograph paste-ups from Chadirji’s building documentation are displayed with his ethnographic and urban photography. The exhibition includes 60 photographic paste-ups documenting Chadirji’s own buildings, as well as hundreds of his photographs shot in the streets of Baghdad from the 1960s to the early 1980s. A folio of etchings Chadirji printed in 1984 after fleeing Baghdad features a selection of his significant built and unbuilt projects. This folio is presented on the walls surrounding Chadirji's other documents.

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A01↑ IRQ/331/026: E. Abboud Building, Baghdad, 1955.

A14↓ IRQ/812/130: Albert Hanna Residence, Baghdad, 1965.

A01↓ IRQ/818/030: Shanshal Housing, Baghdad, 1958.

A15↑ IRQ/812/131 [G]: N. Chadirji Residence, Baghdad, 1962.

A02↑ IRQ/812/050: Mme. Abboud Residence, Baghdad, 1959.

A15↓ IRQ/812/131: Mahmoud Othman Residence, Baghdad, 1965.

A02↓ IRQ/818/088: Rashad City Project, Rashad, 1959.

A16,A17 IRQ/338/151: Administration Offices, National Insurance Company, Mosul, 1969.

A03↑ IRQ/812/090: Muhsin Shanshal Residence, Baghdad, 1960.

A18 IRQ/314/153: Administration Offices, Federation of Industries, Baghdad, 1966.

A03↓ IRQ/818/011: Hamed Building, Baghdad, 1954.

A19,A20↑ IRQ/314/154: Offices and stores, Tobacco Monopoly Administration, Baghdad, 1966.

A04,A05 IRQ/720/103: Veterinary College, Baghdad University, Baghdad, 1965.

A20↓ IRQ/338/170: Al-Mansour Branch office, Rafidain Bank, Baghdad, 1968.

A06,A07,A08 IRQ/731/104: Administration offices, Iraq Scientific Academy, Baghdad, 1965.

A21,A22 IRQ/314/179: Administration and Training Institute, Ministry of Social Affairs, Baghdad, 1969.

A09 IRQ/858/109: Cement Factory Housing, Baghdad, 1967.

A23↑ IRQ/732/180: Chemical Laboratories, Ministry of Agriculture, Baghdad, 1967.

A10 IRQ/812/110: Farouk Al Alousi Residence, Baghdad, 1961.

A23↓ IRQ/984/182: Monument for Worker's Training Campus in Waziriyah (designed

by Maath Alousi), Baghdad, 1969.

A11↑ IRQ/314/107: Administration offices, Tobacco Monopoly, Baghdad, 1961.

A24,A25 IRQ/315/186: Offices, Central Post, Telegraph and Telephone Administration, Baghdad, 1970 – 1975.

A11↓ IRQ/812/116: A. H. Azzawi Residence, Baghdad, 1962.

A26↑ IRQ/277/187: Kufa Cement Building, Kufa, 1970 – 71.

A12, A13, A14↑ IRQ/332/127: Iraq Consult Bureau (IQC), Baghdad, 1965.

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A26↓ IRQ/984/188: Monument in Housing Scheme in Fudailiyah, Ministry of Social Affairs, Baghdad, 1969.

A27 IRQ/331/195: Commercial building, Directorate-General of the Waqaf Administration in Alwiyah, Baghdad, 1969.

A28↑ IRQ/812/218: Mustapha Shanshal Residence, Baghdad, 1963.

A28↓, A29↑ IRQ/812/221: Ayad Hamood Residence, Baghdad, 1970.

A29↓ IRQ/812/263: Bahir Faiq Residence, Baghdad, 1973.

A30↑ IRQ/314/223: Labour Trade Union Building (designed with Maath Alousi), Baghdad, 1971 – 1973.

A30↓ IRQ/313/302: Administration complex, Council of Ministers, Government of Iraq, Baghdad, 1975.

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E01 Federation of Industries, 1966, Baghdad, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP.

E12 London Central Mosque, 1969, London, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP.

EO2 Regional Command Council Administration Building, 1975, Baghdad, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP. E03 Central Post Telephone and Telegraph Building, 1971, Baghdad, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP. EO4 Medical Auxiliary Training Centre, 1966, Baghdad, 1984, etching, 20.5" x 21.75".

Edition of 100, 10 AP. E05 Waqaf Building, 1965, Baghdad, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP. E06 National Bank of Abu Dhabi, 1970, Abu Dhabi, 1984, etching, 20.5" x 21.75".

Edition of 100, 10 AP. E07 Rafidain Bank, 1971, Baghdad, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP. E08 Tobacco Monopoly Offices and Stores, 1967, Baghdad, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP. E09 Ministry of Municipal and Rural Affairs, 1965, Baghdad, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP. E10 Ministry of Municipal and Rural Affairs, 1965, Baghdad, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP. E11 Villa Al Hamad, 1967, Kuwait, 1984, etching, 20.5" x 21.75". Edition of 100, 10 AP.

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Photography Chadirji shared his attention to Iraq’s long history with his interest in its more immediate past and to the altered physical and social landscape of Iraq’s postwar modernity.

The decades of Chadirji’s architectural practice were marked by vastly increased oil revenues, political regime changes, and other instabilities. Through regular photographic expeditions into the streets of Baghdad, to its outskirts, and to Northern Iraq, Chardiji compiled an expansive collection of photographs of the sites of Iraq’s transformation, and of the customs and conditions that he believed were most imperiled.

During this period the local status of photography was subject to its own alteration. Although amateur photography was far from ubiquitous in Iraq’s postwar, it was perceived with relative indifference. During later years, Chadirji has explained, the figure of the man on the street with a camera, documenting social life, was viewed with suspicion and hostility and was assumed to be an agent of state surveillance. One result is that the informality and speed of Chadirji’s photographs became exaggerated. They are not well-composed tableaux, so much as they are covert attempts to capture images of vulnerable locations and populations.

Many of the photographs from the late 1970s and 1980s document the demolition along Rasheed and Haifa streets, the main axes of Baghdad’s urban development. This zone suffered a form of urban renewal during Saddam Hussein’s early years of power as Iraq prepared for the 1982 summit of nonaligned nations. Although the summit was eventually canceled due to Iraq’s war with Iran, Baghdad’s “cement mixer ambience,” as described by the Chicago Tribune, persisted through the early 1980s, and was documented by Chadirji until his departure from Iraq.

Chadirji’s archives also contain a selection of images shot by other photographers.The categories “Churches, Cementeries, Mosques, Buildings,” “Marshes, Portraits, Social Life, Bridges, Domes,” and “North of Iraq,” were taken by photographers associated with the Iraq Petroleum Company.

Their presence in the archive attests to Chadirji’s study of the ethnographic photography that appeared through the publications of oil corporations and other state agencies during the 1950s and 1960s.

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P05↓ 9-78-85-30, 9-78-85-35: Shoppers in an open market, Baghdad, 1978.

296 Yazidi P01↑ 7-77-49-16: Yazidi temple and cemetery, 1977.

670 Production

7-77-55-32, 7-77-55-17: Yazidi temple, Sinjar, Mosul, 1977.

P06↑ 2-74-42-12, 2-78-43-30: Souq el Safafeer, cooper market, Baghdad, 1978.

P01↓ 7-77-65-24: Yazidi festivities near Mosul, 1977.

P06↓ 9-78-88-22A, 9-78-88-5A: Production of bricks, factories, 1978.

7-77-58-02, 7-77-55-02: Yazidi Funeral, Sinjar, Mosul, 1977.

9-78-88-34A: Production of pottery, factories, 1978.

330 Shopping P02↑ 1-54-5-8: Not captioned

741 Signs and Advertisements P07↑ 3-76-11-14, 3-76-12-3: Not captioned

1-54-5-12: Selling boiled turnips on the streets of Baghdad, 1954.

P07↓ 5-76-14-36: Political advertisement on the Ministry of Health, 1976.

P02↓ 1-54-5-17, 1-54-5-26, 1-54-5-31: Not captioned

3-76-14-12: Not captioned

P03↑ 3-75-82-25, 3-75-82-37: Exhibition of cars, outskirts of Baghdad, 1975.

P08↑ 5-76-11-23A: Political advertisement in the street, 1976.

P03↓ 3-75-84-58, 3-75-81-13, 3-75-82-35: Not captioned

5-76-12-4: Political advertisement on an official building, 1976.

P04↑ 4-75-187-20, 4-75-187-22: Selling cooked turnips on the streets of Baghdad, 1975.

5-76-12-14: Political advertisement in the street, 1976.

P08↓ 5-76-12-21: Political advertisement in the street, 1976.

4-75-187-25: Selling chickpeas on the streets of Baghdad, 1975.

P04↓ 5-76-51-1, 5-76-51-9, 5-76-51-13A: Shopping watermelon, 1976.

5-76-12-34: Political advertisement on a school, 1976.

P09↑ 9-78-77-5: The signs of small hotels in Baghdad, 1978.

P05↑ 9-78-85-25, 9-78-85-26A: Shopping motorcycles, 1978.

10-78-143-11: Decoration for Tammuz month (July) celebrating the revolution and the birth of the Baath party, 1978.

9-78-85-29: Shoppers in an open market, Baghdad, 1978.

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P13↓ 14-81-191-5: Political poster in Baghdad, 1981.

9-78-77-8: The signs of a doctor's clinic in Baghdad, 1978.

P09↓ 10-78-143-8, 10-78-143-9: Decoration for Tammuz month (July) celebrating the revolution and the birth of the Baath party, 1978.

14-81-205-23: Political advertisement, posters for the occasion of Tammuz anniversary, 1981.

P14↑ 13-81-150-7A: Advertisement, graffiti, 1981.

P10↑ 10-78-144-18: Political advertisement, Tammuz anniversary, 1978.

14-81-205-22: Political advertisement, signs for Tammuz anniversary, 1981.

10-78-144-34: Decoration for Tammuz month (July) celebrating the revolution and the birth of the Baath party, 1978.

P14↓ 15-82-44-9: Political advertisement, 1982.

P10↓ 10-78-154-30, 10-78-144-5: Political advertisement, Tammuz anniversary, 1978.

15-82-48-22: Graffiti on wall which reads ‘pissing for donkeys only,’ 1982.

10-78-161-27: Political advertisement at the Institute of Applied Arts for Tammuz celebrations, 1978.

15-82-64-28: Poster of Saddam and his younger daughter, Hala, 1982.

P11↑ 10-78-161-4, 10-78-163-26: Decoration for Tammuz month (July) celebrating the revolution and the birth of the Baath party, 1978.

760 Architecture P15↑ 2-74-30-14: Traditional Residential Houses in Baghdad, 1974.

P11↓ 10-78-163-35: Political advertisement, Tammuz celebration, 1978.

2-74-34-26: Traditional Governmental Houses in Baghdad, 1974.

2-74-34-33: Traditional Houses in Ashar, 1974.

10-78-164-13: Decoration for Tammuz month (July) celebrating the revolution and the birth of the Baath party, 1978.

P15↓ 3-75-25-20: Demolition, 1975.

P12↑ 12-81-13-35, 12-81-13-37, 12-81-14-12: Political advertisements, 1981.

3-75-25-23: Kitsch, 1975.

P12↓ 12-81-47-8, 12-81-47-11: Political advertisement, governmental signs, 1981.

3-75-25-29: Traditional, 1975.

12-81-69-28: Political advertisement, Saddam's posters, 1981.

P16↑ 4-75-192-3A, 4-75-193-6: Traditional mixed architecture of the Rasheed Street, Baghdad, 1975.

P13↑ 13-81-149-10, 13-81-149-20, 13-81-149-37: Doctors’ titlesigns, Baghdad, 1981.

P16↓ 7-77-75-3, 7-77-75-8, 7-77-75-10: Traditional Residential Houses in Adhamiya, Baghdad, 1977.

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P17↑ 9-78-45-15: Mixed architecture of the Rasheed Street, Baghdad, 1978.

P21↑ 15-82-39-24A: Mixed architecture, commercial building, 1982.

9-78-77-30: Rasheed Street, Baghdad, 1978.

15-82-45-29: Residential architecture, Namali House by Mohamed Makiya, 1982.

9-78-77-31: Mixed Traditional Architecture, Rasheed Street, Baghdad, 1978.

P21↓ 15-82-45-28: Modern residential architecture, Rawi house, 1982.

P17↓ 9-78-46-7, 9-78-46-28: Traditional mixed architecture, Baghdad, 1978.

16-82-96-11: Residential architecture, 1982.

9-78-65-1: Mixed architecture, Baghdad, 1978.

763 Architecture P22↑ 12-81-58-3, 12-81-58-22: Demolishing Haifa Street, Baghdad, 1981.

P18↑ 13-81-116-1, 13-81-117-4, 13-81-117-6: Traditional residential architecture, 1981.

P22↓ 12-81-58-29, 12-81-60-5: Demolishing Haifa Street, Baghdad, 1981.

P18↓ 13-81-119-35, 13-81-119-36, 13-81-119-33: Baghdad Wall, 1981.

P23↑ 12-81-60-30, 12-81-60-34: Demolishing Haifa Street, Baghdad, 1981.

P19↑ 12-81-38-31, 14-81-166-20: Traditional residential architecture, 1981.

12-81-63-5: Not captioned

P19↓ 14-81-166-25: Residential architecture, new and old, 1981.

P23↓ 12-81-63-10, 12-81-63-26: Demolishing Haifa Street, Baghdad, 1981.

14-81-174-2: Traditional residential architecture, 1981.

12-81-66-33: Mixed architecture, demolition, 1981.

P20↑ 14-81-166-30: Not captioned

P24↑ 12-81-69-7: Residential architecture, demolition, 1981.

13-81-150-3A: Governmental architecture, Museum, 1981.

12-81-70-3, 12-81-71-1: Mixed architecture, demolition, 1981.

P24↓ 13-81-115-22, 13-81-115-25: Demolition of Haifa Street, 1981.

P20↓ 12-81-55-36: Traditional Houses, Baghdad, 1981.

P25↑ 13-81-122-7, 13-81-118-33A: Mixed architecture, demolition, 1981.

14-81-166-7: Modern residential architecture, 1981.

14-81-200-2: Mixed urban architecture, Rasheed street, Baghdad, 1981.

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P25↓ 13-81-121-31, 13-81-122-13: Mixed architecture, demolition, 1981.

C-KGH.6: Looking down on old Turkish Bridge, Kirkuk Old Town, May 1953. Taken by: J.V.Y.

P26↑ 14-81-195-33: Residential architecture: demolition, 1981.

P29↓ C-ZIE.56: Samawa old bridge of boats, Baghdad, March 1958. Taken by: B.P.U.

14-81-204-29: Mixed architecture: demolition, 1981.

ZGS.249: The “Iron” Bridge, road and rail. Baghdad from the River II, September 1957. Taken by: B.P.U.

P26↓ 13-81-122-9, 13-81-122-11,

North of Iraq

13-81-138-13A: Mixed architecture, demolition, 1981.

P30↑ C-XGS.101: The town of Rowanduz, North of Iraq, 1956. Taken by: B.P.U.

P27↑ 15-82-39-1, 15-82-12-37: Modern building in Saddam city, Baghdad, 1982.

XIM.5: The small town of Aqra.

Population about 7,000. October 1953.

Taken by: J.L.S.

P27↓ 15-82-20-20A: Residential architecture, demolition, Baghdad, 1982.

P30↓ AGS-28: Footbridge at Erbil, Ain Zalah, 1954. Taken by: Fox

15-82-22-22A: Mixed architecture, demolition, Haifa Street, 1982.

C-AGH-5: Erbil Liwa 600' – 1000'. The ancient town of Erbil, reputed to be one of the oldest towns in the world.

Top right the road to Mosul. Taken by: B.P.U.

Churches, Cemeteries, Mosques, Buildings P28↑ ZGS.233: New Offices at Southgate, Baghdad, October 1957. Taken by: B.P.U.

ZGS.268: The Arab Bank Building, Baghdad, October 1957. Taken by: B.P.U. P28↓ ZGS.272: Modern Houses in Diwaniyah, Baghdad, January 1958. Taken by: B.P.U.

C-ZGH.65: Aerial 400', Al-Kadhimiya Mosque, Baghdad, November 1955. Taken by: B.P.U. Marshes, Portraits, Social Life, Bridges, Domes P29↑ ALS.6: Fair Street Scene, Mosul, May 1952. Taken by: A.J.P.

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Latif Al Ani Photographs Latif Al Ani trained as a photographer in the 1950s working for the Iraq Petroleum Company magazines, “People of Oil” and “IPC.” By 1960 he had founded the department of photography at the Iraqi Ministry of Information, where, for the magazine “New Iraq,” he was tasked with documenting the agriculture, industry, and working life of the country after its 1958 revolution. Recognized early as an important photographer in Iraq, he was also visible internationally, with exhibitions in the United States in 1963, and in East Berlin in 1965.

Although the majority of Al Ani’s work archives were destroyed or dismantled in 2003 when the Ministry of Culture was looted, some of his personal photography collection has survived.

The photographs on view are printed from negatives held by the Arab Image Foundation. These photographs document Baghdad’s urban transformation during the same period that Chadirji was active. Chadirji’s Monument of the of 14th of July Revolution, Monument for the Unknown Soldier, Abboud Building on Rasheed Street, and Federation of Industries Building appear as the subjects, or as the background extras, within Al Ani’s aerial and street level surveys of Baghdad’s modernization.

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01,02,03↑ Tahrir Square, Baghdad, c.1962.

[Monument of the 14th of July Revolution

by Rifat Chadirji]

11↑ Shoada bridge in the back of Al-Karkh, Baghdad, 1961.

11↓ Al Khulani Square, Baghdad, undated.

[Federation of Industries building by Rifat Chadirji on the right side]

03↓ Abu Hanifa Mosque, Baghdad, 1960.

04↑ Tower clock in Adhamiya district as seen from a plane, Abu Hanifa Mosque, Baghdad, 1960.

12↑ Fire in Kalani Oil Containers in July, Baghdad, undated.

04↓,05 Mosque Imam Musa al-Kadhim, Baghdad, undated.

12↓ Musayib, Floating Bridge, c. 1959.

13↑ View of Tigris River, Baghdad, undated.

06↑ Malwiya Minaret, The Great Mosque of Samarra, undated.

13↓,14↑ The Rafidain Bank, Rasheed Street, Baghdad, undated.

06↓ Hospital Medinat Saddam, Baghdad, 1960.

14↓ Haydar-Khana Mosque, Rasheed Street, Baghdad, undated.

07↑ Malwiya Minaret, The Great Mosque of Samarra, undated.

07↓ Hospital Medinat Saddam, Baghdad, 1960.

15↑ Rasheed Street, Baghdad, 1960. [Abboud building by Rifat Chadirji]

08↑ Ziggurat at Agargouf as seen from a plane, 30 km West of Baghdad, 1960.

15↓ Merjan Mosque, Rasheed Street, Baghdad, 1959.

08↓ Firdos Square, c.1960. [Unknown Soldier Monument by Rifat Chadirji]

16↑ Merjan Mosque and a business center, Rasheed Street, Baghdad, 1959.

09↑ Taq Kisra, the Arch of Ctesiphon as seen from a plane, 35 km South of Baghdad, 1960.

16↓, 17↑ The Rafidain Bank, Rasheed Street, Baghdad, undated.

17↓,18↑ Shorja Street, Baghdad, 1960.

09↓ Firdos Square, c.1960. [Unknown Soldier Monument by Rifat Chadirji]

18↓ Al Buniyah Mosque, Baghdad, 1950.

10↑ National Museum of Iraq, undated.

19 Street in Baghdad, undated.

10↓ Ministry of Trade, Al Khulani Square, Baghdad, undated.

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20↑ General view of the Central Train Station, Baghdad, 1961.

20↓ Central Train Station, Baghdad, 1959.

21↑ Parliament of Iraq by plane, Baghdad, 1960.

21↓ Housing project, Mamoun district, Baghdad, 1962.

22↑ Roundabout in Baghdad, 1960.

22↓ Picnic with family 40 km North of Baghdad, 1969.

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“Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation” originated at the Arthur Ross Architecture Gallery at Columbia University’s Graduate School of Architecture, Planning, and Preservation.

A second version of the exhibition was presented at the Graham Foundation in Chicago in Fall 2016, and was organized by the curators with Ellen Alderman, Ava Barrett, and Sarah Herda.

The LAXART presentation is organized by the curators with Makayla Bailey, Catherine Taft, and Hamza Walker.

LAXART would like to acknowledge the contributions of the Arthur Ross Architecture Gallery student workers including M.Arch and CCCP Assistants: Becca Book, Grete Grubelich, and Tania Tovar Torres; the M.Arch Exhibitions Crew: Valentina Flora Angelucci, Cameron Dean Cortez, Jiangyu Chen, Andrea Ayleen Chiney, Charles Hajj, Eugene Sen Chun Ong, Edward Joseph Palka, Angelina Andriani Putri, Miranda Shugars, Ilijana Soldan, Zachary Ross White, Haochang Yu, Evelyn Zhang; and the CCCP Exhibitions Crew: Maite Borjabad, Pedro Ceñal Murga, Rosana Elkhatib, Ruishi Ge, Joachim Hackl, Robin Hartanto, Chi-Chia Hou, Sara McGillivray, Iara Pimenta, as well as the GSAPP Fabrication Lab crew.

All documents and photographs appear courtesy of Rifat Chadirji, Latif Al Ani, the Graham Foundation for Advanced Studies in the Fine Arts, and the Aga Khan Documentation Center at MIT. Generous support provided by the Graham Foundation for Advanced Studies in the Fine Arts.

Curators: Florencia Alvarez, Adam Bandler, and Mark Wasiuta Exhibition Design: Adam Bandler and Mark Wasiuta Graphic Design: MTWTF

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Hollywood, CA 90038 Gallery Hours: Tuesday-Saturday, 11am-6pm www.laxart.org