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Amir Parsa was born in Tehran in 1968 and moved to the Washington, D.C. suburbs when he was ten. He went to French International schools both in Iran and the U.S., attended Princeton and Columbia universities, and currently lives in New York City with his wife and daughter. An internationally acclaimed writer, poet, translator and newformist, he is the author of seventeen literary works, including Kobolierrot, Feu L’encre/Fable, Drive-by Cannibalism in the Baroque Tradition, Erre, and L’opéra minora, a 440-page multilingual book that is in the MoMA Library Artists’ Books collection and in the Rare Books collection of the Bibliothèque Nationale de France. An uncategorizable body of work, his oeuvre—written directly in English, French, Farsi, Spanish and various hybrids—constitutes a radical polyphonic enterprise that puts into question national, cultural and aesthetic attachments while fashioning innovative genres, discursive endeavors and species of literary artifacts. His writings in both English and French have been anthologized, and he has contributed to a number of print and online publications, including Fiction International, Textpiece, Guernica, Armenian Poetry Project and a mash-up issue of Madhatters’ Review and Bunk Magazine. His translations include Bruno Durocher’s And They Were Writing Their History, and the first two books of Nadia Tueni, which appeared under the title The Blond Texts & The Age of Embers. Since 2007, pieces from Parsa’s ongoing The New Definitely Post/Transnational and Mostly Portable Open Epic as Rendered by the Elastic Circus of the Revolution have been featured at the Bowery Poetry Club, the Uncomun Festival, the Engendered Festival, the Dumbo Arts Festival in New York, and at the Baroquissimo Festival in Puebla, Mexico, among other venues. This literary work is comprised of cantos and fragments constituting an evolving plurilingual epic that unfolds over time on various platforms, in multiple arenas and spaces (private and public), and through various scriptural strategies—from the traditional (handwritten sheets, bound collections) to the new (electronic, web). In June 2010 at the Paris en Toutes Lettres Festival and in conjunction with the publication of his book-length poem Fragment du cirque élastique de la révolution, he put into action The American in Paris is an Iranian in New York, a ten-hour multiplatformal ‘scriptage’ taking place throughout Paris, with texts and images simultaneously projected at the Northern Manhattan Arts Alliance during the Artstroll Festival. The Skizzi Ska ensemble and Ifs & Co—dubbed ALEA for Alternative Literary Experiences and Adventures—constitute single-edition literary compositions and were completed in 2005 and 2007 respectively. Launched in 2015 with Le Chaise (Yes, Le), a newer species is made up of the ‘clandies’, officially classified as Folios for the Clandestine Diffusion (FoCD), works characterized by their clandestine dissemination. Parsa has instigated his unique encantations, readations and bassadigas, and conducted more traditional lectures, workshops and playshops on avant-garde poetics, literary/artistic innovation, critical education praxis and cultural design at museums and organizations across the world, including Norway, Mexico, Italy, France, Brazil, India and Spain. His curatorial interjections, conceptual pieces and interventions, artistic and performative fusions and subversions, along with photographic, participatory and exhibition-based projects have taken place in a host of galleries, public spaces, organizations and environments. As a Lecturer and Educator at The Museum of Modern Art, he directed the landmark Alzheimer’s Project and developed programs, curricula, and learning experiences for a wide range of audiences, including the community partnerships, Wider Angles, Double Exposures and the Singular Educational Experience (SEE) entitled 1913: That Year This Time—a multidisciplinary course that took place over twelve hours in MoMA’s galleries and classrooms. He also conceptualized and created the ongoing PinG (Poets in the Galleries) program at the Queens Museum in 2007, the Rooftop Roars & Riverside Revolutions in uptown Manhattan, and the overall RiDE (Risk/Dare/Experiment) episodes at Pratt Institute in Brooklyn. He is currently at work on several series, including La Pentalogia del Delirio, The Micro-Epic Decalogy and the unfolding¡O What a Revolution!, an 11-piece suite exploring and analyzing the Iranian revolution of 1979 through various mediums, languages, strategies and discourses. He has taught at Columbia, the University of Girona in Spain, and the University of Maccerata in Italy. After serving as Chairperson and Acting Associate Dean, he continues to teach at Pratt Institute, where he is an Associate Professor and directs trans/post/neodisciplinary initiatives.

Revolution