"In the Fields of Empty Days" at LACMA
There is what amounts to a mini-retrospective of Iranian animation. Dating from the 1970s to the 2010s, the cartoons encapsulate the strategies of the more strictly high-brow artists. The past is a coded language for talking about how the present sucks. Shown is Ali Akbar Sadeghi's Flower Storm (1972), appropriating manuscript illuminations of previous centuries.
Shoja Azari's The Day of the Last Judgment (Coffee House Painting), 2009, is a large animated video installation based on the pre-cinematic paintings used by Shi'i storytellers in coffee houses. It incorporates, at upper right, the notorious image of a tortured Abu Ghraib prisoner in a black robe.
There is a room with iPads offering a concise, accessible introduction to each artwork. I wish they had printed those introductions on the object labels. Having an iPad available, somewhere else, isn't the same as having information next to the object. (The iPad room also has copies of the catalog.)