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Modernism in Iran:1958-1978 Colin Browne & Pantea Haghighi
In conversation: Modernism in Iran:1958-1978 Colin Browne & Pantea Haghighi Pantea Haghighi and Colin Browne met on June 20, 2018 to discuss Modernism in Iran: 1958-1978, which ran from January 26 to May 5, 2018 at Griffin Art Projects in North Vancouver, BC. Colin Browne: I’m speaking with Pantea Haghighi, owner and curator of Republic Gallery in Vancouver, BC, about an exhibition she organized recently entitled Modernism in Iran: 1958-1978. Would you be willing to describe it for us, along with your intentions? Pantea Haghighi: Sure. The exhibition featured works by Mohammad Ehsai, Monir Shahroudy Farmanfarmaian, Mansour Ghandriz, Farideh Lashai, Sirak Melkonian, Bahman Mohasses, Faramarz Pilaram, Behjat Sadr, Parviz Tanavoli, Mohsen Vaziri-Moghaddam, and Charles Zenderoudi. These artists played an important role in establishing Modernism in Iran during the cultural renaissance that occurred between 1958 and 1978. In Iran, their work is referred to as Late Modernism. I decided to divide the gallery in half. On one side I placed the work of those artists who were exploring their national artistic identity, returning to old Persian motifs in order to identify with Modernism. On the other side, I placed the work of artists who were heavily influenced by Western art. When you entered the room, you were immediately aware of the two different expressions of Iranian Modernism. CB: I want to ask about the show, but let’s frst talk about what might be called Early Modernism in Iran. PH: Early Modernism dates from around 1940, when the School of Fine Arts at the University of Tehran opened. -
For Immediate Release
FOR IMMEDIATE RELEASE IRANIAN ARTIST GOLNAZ FATHI TURNS CALLIGRAPHIC WRITING INTO ABSTRACT PAINTING, COMBINING ELEMENTS OF EAST AND WEST Exhibition dates: April 11 – May 11, 2013 Opening cocktail reception: Thursday, April 11, 6 - 8 pm Untitled, 2011, acrylic, pen and varnish on canvas, 70.9 x 88.6 inches New York, March 21, 2013—For her debut solo exhibition in New York, Iranian artist Golnaz Fathi—who divides her time between Tehran and Paris—presents recent works on canvas that draw on her long practice of traditional Iranian calligraphy. Fathi works in fine pen, mostly on varnished raw, rectangular, polyptych canvases, in a limited palette of white, black, red and yellow. She layers the surface of the canvas with thousands of minute marks that echo the curvilinear forms of calligraphic letters and words. These intricate lines coalesce into minimalist compositions that can be read in multiple ways—as landscapes, electronic transmissions or atmospheric phenomena. She refrains from titling her works, which allows the viewer free reign to assign his or her own interpretation. (continued) The basis of Fathi’s practice is siah-mashq, a traditional exercise in which the calligrapher writes large, cursive letters across the page in a dense, semi-abstract formation. The letters aren’t meant to form words or convey meaning, but rather strengthen the skill of the scribe. Fathi reinterprets this technique, drawing inspiration from various Western and Eastern sources, including American Abstract Expressionism, as well as the work of Iranian and Middle Eastern modernists who pioneered the use of the written word as a pictorial element in the late 1950s and early 1960s. -
Je Vous Jure, Je Ne Suis Pas Une Peintre Abstraite ! Il Est Dit Que Si Le Coupable Se Repentit, Dieu Pardonne Ses Pêchés Et Il Sera Racheté
Communiqué de presse / Press Release Behjat Sadr Une exposition proposée par / curated by Daniele Balice & Cyrus Goberville Du 5 Avril au 1er Juin / April 5th through June 1st « Je vous jure, je ne suis pas une peintre abstraite ! Il est dit que si le coupable se repentit, Dieu pardonne ses pêchés et il sera racheté. Je reconnais ma faute. Oui, j’étais une peintre abstraite, mais je vous en supplie, pardonnez mes pêchés et acceptez ma repentance. Je ne penserai plus de manière abstraite. Je jure devant Dieu que je peindrai une fleur comme une fleur. Et je mélangerai la boue et l’engrais pour les jeter à votre visage, pour que vos poumons s’ouvrent. Vous, animaux qui reniflez la bouse de vos congénères et léchez leur arrière train dans vos enclos. Vous qui ne connaissez que votre minuscule et sombre monde et ne percevez aucune sensation, mise à part l’odeur de leurs pets. » Behjat Sadr, Lettre non envoyée en réponse à une personnalité du marché de l’art iranien, retrouvée dans le journal intime de l’artiste, 1976 « L’angoisse et la terreur de cette fin de siècle peuvent-t-elles être représentées par une peinture sur toile ? Doit-on les exprimer par les mots ? Doit-on les photographier ? Il faut ... il faut utiliser et prendre tout ce qui peut exprimer les sentiments de notre époque, les arracher des magazines, les coller... et trouver à nouveau d’autres outils. L’expression à travers la peinture est tellement vaste aujourd’hui. (...) Cet homme qui grimace avec un pneu collé sur sa bouche n’exprime-t-il pas la vie de beaucoup aujourd’hui ? » Behjat Sadr, A propos des photocollages, 1995 Behjat Sadr (1924 - 2009) est née à Arak, en Iran. -
Theatre Khsousi En.Indd
IN THE NAME OF GOD Internaonal Seminar Potenal of Independent Sector in Theatre 5 - 7 March 2017 Dramac Arts Center, Iran’s Ministry of Culture and Islamic Guidance Editor-in-Chief: Mehrdad Rayani Makhsous Editor: Saeed Hashemipour Art Director and Graphic Designer: Masoud Nowrouzi Translators: Mehdi Arab and Sahar Ebrahimimehr Editorial Board: Parisa Behpouri, Sahar Ebrahimimehr (with thanks to: Mehnaz Abdbehzad, Saghi Ataei) Photo: Zia Safavian Special Thanks to: Mehdi Hajian, Molouk Kamvar, Ali Ashrafnia, Mousa Ramazani Content Messages 3 Seminar Academic Board 6 Essays 9 Discussions 41 Seminar Timetable 50 Seminar HQ 52 Ali Moradkhani Director of Art Affairs, Iran’s Ministry of Culture and Islamic Guidance Now with the private sector building playhouses here and there, not all roads lead to City Theatre of Tehran any longer. A few years ago, a considerable number of theatre enthusiasts decided to tap into the potenal of non-governmental theatre. Stascs show an increasing number of non-governmental theatres as well as weekly performances in such places over the past few years, which has gradually resulted in a new wave in theatrical producon; today, these theatres host not only student performances but also professional works as well The number of non-governmental theatres, like other non-governmental instuons acve in the theatrical arena, is rising day by day. This means a big revoluon in theatre is just on the way. Today, non-governmental theatres are being established not only in Tehran but also all across the country. Without a doubt, this increasing number will increase the responsibilies of the government and its instuons that have more to do with theatre. -
PR Golnaz Fathi AB43 DE
PRESSETEXT, 28. Juli 2017 «Traces of Yesterday» – Solo-Ausstellung mit GOLNAZ FATHI AB43 CONTEMPORARY, Orangerie, Im Park 2, Thalwil/Zürich Öffentliche Vernissage: Samstag, 2. September 2017, 13.00 – 16.00 Uhr Ausstellungsdauer: 2. September – 7. Oktober 2017 Artist Talk: Samstag, 2. September 2017, 16.00 – 17.00 Uhr im Kulturraum Thalwil (Bahnhofstrasse 24, 8800 Thalwil) Das Gespräch führt Axel Langer, Kurator für die Kunst des Nahen Ostens am Museum Rietberg, Zürich (in englischer Sprache). AB43 CONTEMPORARY freut sich, neue Werke der iranischen Künstlerin GOLNAZ FATHI in einer Solo-Ausstellung zu zeigen. Fathi gilt als eine der erfolgreichsten Künstlerinnen, die Kalligrafie auf sehr moderne, zeitgenössische Art umsetzt – hat weltweite Ausstellungen und Sammler. Kunstwerk von Golnaz Fathi – Untitled, Acrylic on canvas, 2017, 170x142cm GOLNAZ FATHI (1972 in Teheran, Iran) ist eine international gefeierte Künstlerin, die es geschafft hat, die Kluft zwischen traditioneller und zeitgenössischer Kultur sowie zwischen östlichen und westlichen Lebensweisen zu überbrücken. Als ausgebildete Kalligraphin besitzt sie die Fähigkeit, Sprache geschickt in malerische Kompositionen zu verwandeln. Im Park 2 – 6 CH-8800 Thalwil/Zurich Switzerland Phone +41 41 982 08 80 [email protected] www.ab43contemporary.com Während sie Grafik Design an der Azad Universität, Tehran studierte, entdeckte sie die Kalligraphie. Ihr Können vertiefte sie daraufhin über sechs Jahre an der Kalligraphie-Vereinigung Irans. Fathi war die erste Frau, die eine Auszeichnung für Ketabat, einem speziellen Genre der Kalligraphie, gewann. Von den Regeln und Vorschriften dieser Disziplin der Kalligraphie ermattet, schuf sie in ihren Bildern eine neue Form des Ausdrucks: eine imaginäre Sprache, die tief in der persischen Tradition verwurzelt ist und gleichzeitig auf eine soziale Renaissance hindeutet. -
CURATED by AMIRALI GHASEMI Participating Artists Samira Abbassy
CURATED BY AMIRALI GHASEMI Participating Artists Samira Abbassy . Iman Afsarian . AKSbazi Shirin Aliabadi . Samira Alikhanzadeh Afruz Amighi . Mojtaba Amini Nazgol Ansarinia . Kamrooz Aram THE ELEPHANT IN THE DARK Reza Aramesh . Mehraneh Atashi January 25-May 30, 2012 Shoja Azari . Mahmoud Bakhshi Commissioned and Published by Gohar Dashti . Alireza Dayani . Ala Ebtekar Devi Art Foundation, New Delhi, 2012 Shirin Fakhim . Golnaz Fathi Parastou Forouhar . Shadi Ghadirian Assistant Curator Amirali Ghasemi . Bita Ghezelayagh Reha Sodhi Barbad Golshiri . Amirali Golriz Ramin Haerizadeh . Rokni Haerizadeh Catalogue Design Elham Doost Haghighi Neelima Rao, Reha Sodhi Khosrow Hassanzadeh . Ghazaleh Hedayat Peyman Hooshmandzadeh Light Design Shirazeh Houshiary . Katayoun Karami Lyle Lopez Shahram Karimi . Simin Keramati Abbas Kowsari . Farideh Lashai Printed at Amir Mobed . Masoumeh Mozaffari Archana Pendar Nabipour . Timo Nasseri www.archanapress.com Farah Ossouli . Leila Pazooki . Sara Rahbar Mohsen Rastani . Shirin Sabahi Printed on Hamed Sahihi . Zeinab Shahidi Marnani Rendezvous Natural White Behnoush Sharifi . Jinoos Taghizadeh Newsha Tavakolian . Sadegh Tirafkan ISBN and Ali Zanjani 978-81-921393-2-6 Contributors Daria Kirsanova, Amirali Ghasemi © 2012 Devi Art Foundation, Devi Art Foundation extends its thanks to the artists and authors following for assistance with photography: all artists, Aaran Art Gallery, Agastaya Thapa, No part of this publication may be Assar Art Gallery, Azad Art Gallery, Galerie reproduced, stored in a retrieval system or Sfeir-Semler, Gallery Isabelle Van Den Eynde, transmitted by any form or by any means, Green Cardamom, Isak Berbic, Leila Heller electronic, mechanical, photo copying, Gallery, Mah Art Gallery, Reha Sodhi, Rose recording or otherwise without the prior Issa Projects, Shovan Gandhi, Silk Road written permission of the publisher. -
FIFI HURLE DE JOIE DE LA S CAM 2013 Le Chef-D’Oeuvre Inconnu De Bahman Mohassess
CINÉMA DU RÉEL – P RIX – INTERNATIONAL FIFI HURLE DE JOIE DE LA S CAM 2013 Le chef-d’oeuvre inconnu de Bahman Mohassess Un film de Mitra Farahani FIFI HURLE DE JOIE Sortie le 2 octobre 2013 Un film de Mitra Farahani Synopsis Fifi hurle de joie témoigne des deux derniers mois de la vie de Bahman Mohassess, légende de l’art moderne iranien. Ce curieux Diogène contemporain, après un exil volontaire d’une trentaine d’années, s’apprête à réaliser son œuvre ultime. Celle-ci lui est com- mandée par deux admirateurs, artistes eux-mêmes, venus d’Iran. L’intrigue se dirige progressivement vers l’histoire de ce « chef- d’œuvre inconnu ». L’histoire Bahman Mohassess se considérait comme un éminent acteur de l’Histoire mais plus personne n’a entendu parler de lui depuis que l’Histoire l’a englouti. Certains le croyaient en retraite dans sa terre natale de Rasht au sud de la mer Caspienne. D’autres étaient convaincus qu’il était en Italie et avait quitté l’Iran à jamais. Or c’est bien dans une chambre d’hôtel à Rome que nous le retrouvons. Fifi hurle de joie témoigne des deux derniers mois de sa vie, à l’épreuve de sa légende. Lors de son ultime séjour à Téhéran, il dé- truisit presque toutes ses œuvres, n’emportant avec lui qu’un groupe de petites sculptures. La destruction est un sentiment naturel chez celui qui considérait ses œuvres comme des créatures vivantes. Durant ces dernières années romaines, il continuait néanmoins les collages de petits formats, les gardant au secret. -
Sociological Study of " Residence Satisfaction" Among Residents of the New Town of Pardis and Its Typology Bashir Khademlou1 Naser Al-Din Ghorab2 Hosna Rezaei Rami3
Social Studies and Research in Iran, Vol. 9, No. 1, Spring 2020 Sociological Study of " Residence Satisfaction" among Residents of the New Town of Pardis and its Typology Bashir Khademlou1 Naser al-din Ghorab2 Hosna Rezaei Rami3 Received July 14, 2019 Acceptance March 2, 2020 Abstract Introduction: The establishment of the new town of Pardis was approved in 1989 in order to settle a part of the overflow of Tehran's population. So that The “master Plan” estimates 200,000, the Pardis portion of population of Tehran in 2016. According to the plan, climate characteristics, employment attractions and lower housing costs than Tehran will be the main factors to select pardis for habitation. During these years,the failure of many of the Master Plan programs and the extraordinary implementation of some projects such as construction of "Maskan-e- Mehr" projects has caused many of the plan's initial aims to be failed in pardis And habitation's situation will face to serious challenges.so that it has predicted after the full implementation of "Maskan-e- Mehr" projects, The city's population reaches more than 400,000, more than twice its initial capacity. On the other hand, the failure of many employment-related programs to make pardis as "dormitory" town. The reality that has been intensified by the increasing costs of housing in the last one to two decades, especially in Tehran. Also the proximity to Tehran and the fact that the majority of residents ,inevitably or self-willy , coming from Tehran has given rise to complex subjective and attitudinal processes that have shaped various forms of residence satisfaction. -
Matine-Daftary I Bahman Mohassess I Malekeh Nayini I Fereydoon Omidi I Hamed Rashtian I Ali Akbar Sadeghi I Mina Talaee I Parviz Tanavoli
Hessam KHALATBARI & Yassi METGHALCHI ont le plaisir de vous convier au vernissage de l’exposition JEUDI 30 JUIN 2016 À PARTIR DE 18H00 Aydin Aghdashloo I Mehrak Davoudi I Reza Derakhshani I Kambiz Derambakhsh I Mohsen Fouladpour I Sahand Hesamiyan I Ramin Jamshidi Leyly Matine-Daftary I Bahman Mohassess I Malekeh Nayini I Fereydoon Omidi I Hamed Rashtian I Ali Akbar Sadeghi I Mina Talaee I Parviz Tanavoli 216 rue Saint Martin 75003 Paris, France T. +33 1 42 71 87 83 - [email protected] www.galerienicolasflamel.com 2 INTRODUCTION PREFACE A JOURNEY THROUGH TIME I grew up in an Iranian household surrounded by art and literature. Our wooden library was home to a spiraling tower of hundreds of carefully- Galerie Nicolas Flamel is pleased to present TIME MACHINE, an exhibition stacked books, and our dining room walls were peppered with the works of featuring the works of fifteen Iranian artists that illuminates modern and contemporary artists Aghdashloo, Katouzian and Bijani among them. contemporary creativity. Much to my mother’s despair, and despite weekly painting and calligraphy A very symbolic theme inspired by Albert Einstein’s famous theory of relativity lessons, I was a failed artist. As Salvador Dali once said, when it comes to who predicted that “time is relative to the observer”. drawing, “there is no possibility of cheating. It is either good or bad”. And mine He showed that time travel will be possible as well as «premonition» and «deja were bad. I couldn’t draw a straight line, much less put my thoughts on paper. vu» during which an observer experiences the future before it becomes the Nevertheless, art maintained a strong presence in my life. -
Fifi Howls from Happiness a Film by Mitra Farahani
presents Fifi Howls From Happiness a film by Mitra Farahani 2013, Iran, 96 min. Unrated. In Farsi with English subtitles For press materials: http://www.musicboxfilms.com/fifi-press Official site: http://www.musicboxfilms.com/fifi NY & LA Publicity: Sasha Berman Shotwell Media 310.450.5571 [email protected] Music Box Films Marketing/Publicity: Distribution Contact: Brian Andreotti/Rebecca Gordon Andrew Carlin 312-508-5361/312-508-5362 312-508-5360 [email protected] [email protected] [email protected] SYNOPSIS Mitra Farahani’s lyrical documentary explores the enigma of provocative artist Bahman Mohassess, the so-called “Persian Picasso,” whose acclaimed paintings and sculptures dominated pre-revolutionary Iran. Irreverent and uncompromising, a gay man in a hostile world, Mohassess had a conflicted relationship with his homeland—revered by elites in the art scene and praised as a national icon, only to be censored later by an oppressive regime. Known for his iconoclastic art as well as his scathing declarations, Mohasses abandoned the country over 30 years ago for a simple, secluded life in Italy. While the new Iranian government destroyed many of his works, Mohassess himself obliterated even more-- in rage at man’s inhumanity to man, environmental destruction, and the futility of idealism. Ranging from tender to playful to haunting to grotesque, these unforgettable pieces were as mercurial as the man himself, a chain-smoking recluse with the mouth of a sailor and the soul of a poet, touched by a mischievous spark and as likely to lapse into a political rant as a burst of eccentric laughter. Determined to interview Mohassess, fine artist/filmmaker Farahani discovers him living alone in a hotel room in Rome and begins to craft the perfect final biography, in his own words and on his terms. -
Evaluation of Iran Architecture Knowledge on Industrial Complexes in Order to Discover the Challenges and Provide Developmental Strategies
Vol.13/No.41/Nov-Dec 2016 Received 2015/20/06 Accepted 2015/19/12 Evaluation of Iran Architecture Knowledge on Industrial Complexes In Order to Discover the Challenges and Provide Developmental Strategies Javad Goudini* Mohsen Vafamehr** Yousef Gorji Mahlabani*** Nasser Barati**** Abstract The present paper has notified that the evaluation of architecture knowledge for industrial complexes helps identifying its development challenges. Thinking about the components of architecture knowledge development caused the evaluation to be occured in three sections of theoretical knowledge (or theoretical productions), knowledge transition (or training programs), and practical knowledge. Since the nature of the mentioned triad was different, the evaluation method of each was chosen in relation to their substantial features. As a result, evaluation of theoretical areas, due to its written nature, is accompanied by content analysis method. In this section, scientific research-based articles (published in fifteen authentic architecture journals, until winter 2014), 2500 selected books, M. A. theses (conducted from 2001 to 2010 in University of Shahid Beheshti), and Ph. D. dissertations (completed in domestic universities until 2012) were studied to estimate the quantity of production knowledge in terms of the architecture of industrial complexes. It is noteworthy that this evaluation took place compared to six selected functions i.e. landscape, residential, religious, healthcare, educational, and administrative. In transitive knowledge section, the mentioned evaluation was dedicated to the analysis of programs’ contents, orientations, fields of study, and courses, presented in three levels of BA, M. A., and Ph. D.. Furthermore, in order to know about the status of practical knowledge, the orientation of architecture competitions (including periodical competitions and those, taken part from 2007 to 2009) were evaluated. -
The Young Collectors Auction Art from the Middle East
Auction No. 12 The Young Collectors Auction Art from the Middle East Viewing: January 9 - 16, 2012, 10:00 AM to 8:00 PM Auction: Tuesday, January 17, 2012 7:00 PM Auction No. 12 The Young Collectors Auction Art from the Middle East Viewing: January 9 - 16, 2012, 10:00 AM to 8:00 PM Auction: Tuesday, January 17, 2012 7:00 PM Auction No. 12 The Young Collectors Auction Art from the Middle East Viewing: January 9 - 16, 2012, 10:00 AM to 8:00 PM Auction: Tuesday, January 17, 2012 7:00 PM Head of Session & Auctioneer Hisham Samawi For all enquiries please contact our team: Khaled Samawi Dubai + 971 4 323 6242, [email protected] Hisham Samawi Dubai + 971 4 323 6242, [email protected] Fadi Mamlouk Dubai + 971 4 323 6242, [email protected] Myriam Jakiche Dubai + 971 4 323 6242, [email protected] Katia de Rham Dubai + 971 4 323 6242, [email protected] General Information [email protected] ayyam auctions 3rd Interchange, Al Serkal Complex, Al Quoz 1, Street 8, PO Box 283174 Dubai, UAE Phone + 971 4 323 6242, Fax + 971 4 323 6243, [email protected], www.ayyamgallery.com Mohannad ORABI Born 1977 - Lot 001 Signed, Dated 100 X 90 cm. Acrylic on Canvas 2011 Estimate (US$ 6,000 - 7,000) Mohannad Orabi’s whimsical self portraits exemplify what has made Syrian art so successful over the last sixty years. Born in Damascus in 1977, Orabi graduated from the Faculty of Fine Arts in 2000. Noteworthy among his peers he has exhibited in venues across the region, and has participated in collective shows and festivals in North America, Europe and Asia, including Art Palm Beach, Miami International Art Fair, SCOPE Art Fair (Basel).