This led to the creation of a series I informally call Forbidden Photography, focusing on locations and subjects where photography is typically restricted, creating a friction between public and personal space through the picture. PISTON: The project aimed to explore the idea of some spark of truth hidden in plain sight. Could you discuss this process and how you chose to approach capturing these moments? MALIK: Expanding on the idea of love and desire, I noticed you also juxtapose spaces that prohibit photography with intimate portraits, a spark of defiance through closeness. These elements also introduce themes of desire and photography as gateways to time portals. It features cruising mazes in medieval ruins, time-lapses of nudist beaches, and the ancient Paros marble quarries, believed to be the source of the Venus Di Milo and Hermes sculptures. The exhibition touches on modern travel as a form of curiosity, leisure, love, and grief.

I selected photographs from the Montjuic Gardens at the 1929 World's Fair site in Spain and a sensuous George Kolbe bronze figurative from the Barcelona Pavilion, a pivotal example of modernist architecture, to create a portal from 1929 Villa Madrid into exploring themes of belonging in unfamiliar spaces and the fleeting nature of memories. This shift in perspective informed the first installation in the show. It was unexpected to imagine him creating an entire body of work of Mediterranean-style Los Angeles buildings and go unnoticed. While looking into the history of my building, Villa Madrid, I found a 1986 photo that peered up into my bedroom window by the photographer Julius Schulman, an architecture photographer who documented midcentury modernist homes. That’s how we came up with the title of the show. My neighbor Joshua Nixon has a beautiful antique collection that lends itself to a kind of furniture voyeurism. The exhibition takes place in my building, a 1929 Spanish Colonial Revival apartment complex, in Los Angeles. Coinciding with that journey, I was reading Langston Hughes’ I Wonder as I Wander, an autobiography exploring not only a deep wanderlust, but an artist travel diary interweaving intimate moments with cultural and social differences while traveling. This came out of a time where I was experiencing grief, which led to an interest in exploring the subconscious mind in relation to the waking dream.

JOB PISTON: So, for the last year I’ve been going under hypnosis and documenting my sleeping dreams. Talk to me a little bit about how this project originated while you were on your travels. You set out to photograph moments and spaces that are very hard to capture through photography. MUNA MALIK: So, right now we're capturing this moment as best as we can with our iPhones, which is actually a really good segue into talking about your art project. It is a fitting setting for a conversation around photography and metamorphosis, as they discuss the artist and curator Job Piston’s latest Los Angeles solo project Estate Sale. Apollo is often associated with sun and light, representing the illuminations of truth and knowledge. An oversized wind spinner with the melancholic face of the Greek god Apollo by Jeff Koons peers down over them. They are in Hydra on a bench in the shadow of the Deste Project Space, not far from where they met for the first time to participate in the art and curatorial residency with ARC Athens. The two artists are gazing upon the Aegean Sea stretching out in front of them. Muna Malik and Job Piston arrive on a Greek island sprinkled with sunflowers, daisies, and the sight of a tossed olive oil can.

Art of noise moments in love bpm