1 Good News Bad News No News Curated by Negar Diba
Cover Page is a homage to the Arab Spring. Diba states: “This slogan expresses the suffering DQGVDFUL¿FHRIPDQ\\RXQJSHRSOHLQSXUVXLW of change, progress and idealism. Change is the result, often after the spilling of blood RI\RXQJPDUW\UV 7KHHYHQWVVROLGLI\WRDQHZ status quo and conduct of business as usual.”
3 FOR THE OCCASION OF EXHIBITION BY KAMRAN DIBA DUBAI GALLERY ETEMAD, SPRING OF 2012
About Artist 7 Edited By Hannah Crawforth
Global News 14
Good News, Bad News, No News 17 Front Pages
Good News, Bad News, No News 31 Narratives
Good News, Bad News, No News 43 Video installation
4 5 ABOUT KAMRAN DIBA
In Akbar Tadjvid’s book on “L’Art Moderne en Iran”, SXEOLVKHGE\WKH0LQLVWU\RI&XOWXUHLQ KH ZULWHVRI'LED¶VDEVWUDFWSDLQWLQJV ³+HLVRFFX- SLHGE\WKHSDLQWHGVXUIDFH+HH[FHOVLQWKH expression of rigorous contrasts of an exception- DOULFKQHVV´+HFRQFOXGHVE\VWDWLQJ³,Q the art of Diba, one should see the transposition RISLFWRULDODUWRI,UDQLQDFRQWH[WZKHUHV\PPH- WU\LVUHSODFHGE\H[SDQVLYHG\QDPLFVZLWKRXWGLV- turbing the predominant order on the canvas”.1 In 'LEDSDUWLFLSDWHGLQDJURXSH[KLELWLRQDW WKH&RUFRUDQ$UW*DOOHU\:DVKLQJWRQ'&7KHIRO- ORZLQJ\HDUKHKDGDVRORH[KLELWLRQVKRZLQJKLV DEVWUDFWH[SUHVVLRQLVWZRUNVDWWKH*DOOHU\5p- DOLWHLQWKHVDPHFLW\+HZDVDQDGPLUHURI:LOOHP 'H.RRQLQJ0DUN5RWKNRDQG)UDQ].OLQH+LVHDUO\ mentor Daniel Robbins, an art historian and for- PHU)RJJ0XVHXPGLUHFWRUOLNHQHGVRPHRIKLVHDUO\ SDLQWLQJVWRSUH¿JXUDWLYHZRUNVE\3KLOOLS*XVWRQ
'LED¶VWULSVEHWZHHQWKH US and Tehran as a stu- GHQWLQWKH VV DOORZHGIRUDUHH[SRVXUH to Iranian tradition- DODUWDQGFXOWXUHZKLFK prompted him to search IRUDGLDORJXHZLWKKLV
native culture. He start- Carpet, 1961, Oil on canvas 118 x 182cm, Property - Tehran Museum Of Contemporary Art HGWKLVLQWHUFKDQJHE\ making collages from Persian carpet fragments and EHLQJLQVSLUHGE\ROGPDQXVFULSWV7KHGLVFRYHU\RI ZRUNVE\0DUN7REH\ZDVDUHYHODWLRQWRKLPDQG FRQVHTXHQWO\KHIRFXVHGKLVDWWHQWLRQRQDEVWUDFW
1 6 7UDQVODWHGIURP)UHQFKE\'LEDKLPVHOI 7 FDOOLJUDSK\LQ ,KDGWRSUHSDUHDVKRZ2Our group 'LED¶VZRUNSUHFHGHV KDGDOUHDG\OHIWWKH%RUJKHVH*DO- the decorative abstract OHU\DQGKDGDGRSWHG6H\KRXQ*DO- FDOOLJUDSK\DGRSWHGLQ OHU\´'LEDUHFDOOV ³,GHFLGHGWR =HQGHURXGL¶V¿UVW3DULV GR³$EED]=HEDUGDVW´ D exhibition at Galerie µFOHYHUZDWHUPDQ¶,WZDVDOLWWOH Camille Renault in “Dada”, part performance, part in- VWDOODWLRQ,ZURWHDSRHPRUDGLD- logue in Farsi for Parviz Tanavoli 'LEDZDVDUHVWOHVV WRUHFLWHDFFRPSDQLHGE\DIHPDOH DQGSUROL¿FDUWLVW KH voice. FRQVWDQWO\DEDQGRQHG Body parts, 1964, Oil on collaged paper on illustration board, 51 x 61cm (20”x 24”), Property – Ariana, American collection VW\OHVDQGFKDQJHGDU- WLVWLFGLUHFWLRQV,Q KHZDVLQÀXHQFHGE\ ,UHPHPEHUDVLJQL¿FDQWSDUWRIWKH the slit canvases of Lucio Fontana and collage GLDORJXHWKDWDFFRPSDQLHVE\WKH SDWFKZRUNRI$PHULFDQDUWLVW&RQUDG0DUFD5HOOL$W VRXQGRIZDWHUWUDQVODWHGLQWR WKHWLPHKHZDVPDNLQJUDZFDQYDVFROODJHVRQVOLW (QJOLVKDVIROORZV
SULPHGZKLWHFDQYDV8QIRUWXQDWHO\LWDSSHDUVWKDW Prodigal Waterman, 1966, Oil on canvas, 180 x 75cm, DOOZRUNVRIWKLVSHULRGZHUHORVWZKHQKHPRYHG Tanavoli: I am the clever waterman collection : Grey Art Gallery (New York University) VWXGLRVLQ7HKUDQ,QWKHHDUO\VL[WLHVKHZDVLQ- Woman: Water is dripping WURGXFHGWRWKHSRZHUIXOZRUNRIWZRZRPHQDUWLVWV Tanavoli: One… Two… Three… drops, I am the clever waterman Louise Nevelson and Lee Bontecou. According to Diba Woman: One… drop ³7KH\ZHUHWKHYDQJXDUGVRIHPHUJLQJZRPHQDUWLVWV Where is the under water? DQGWKHVKHHUSK\VLFDOLW\RIWKHLUZRUNZHQWEH\RQG Tanavoli: One… Two… drops, HVWDEOLVKHGJHQGHUOLQHV´7KURXJKWKLVLQÀXHQFH I am the clever waterman FLUFD 'LEDHPEDUNHGRQFUHDWLQJWKUHHGLPHQ- Woman: The water passed over my head VLRQDOZRUNVZKLFKZHUHVHQWWRWKH3DULV%LHQQDOH Tanavoli: The water passed over my head One… Two… Three… drops KRZHYHUWKH,UDQLDQFRPPLVVLRQHU0RKDPPDG7DMGYLGL ZKRZDVWKHH[KLELWLRQFXUDWRUIRXQGWKHQRQ¿JXUD- 'LEDFRQWLQXHV³:HUHFRUGHGWKHHQWLUHGLDORJXH WLYHFRQVWUXFWLRQVRPHKRZVH[XDOO\H[SOLFLWDQGZLWK SUDFWLFLQJPDQ\WLPHVDQGHYHQWXDOO\UDQLWFRQ- WKHFRQVHQWRI'LEDSXOOHGWKHZRUNRXWRIWKHH[- WLQXRXVO\GXULQJWKHVKRZ,PDGHDODUJHER[DQG hibition. SDLQWHGOLIHVL]H¿JXUHVRQWKHIRXUVLGHVIDFLQJ WKHVDPHVL]H¿JXUHVRQWKHZDOO,FKRVHSOXPELQJ 5HWXUQLQJWR,UDQLQ WKHLGHDRIFRQVWUXFWLRQ HTXLSPHQWWREHGLVSOD\HGRQVFXOSWXUHVWDQGV7KH DQGLQVWDOODWLRQVWD\HGZLWK'LEDLQVSLULQJKLV :DWHUPDQZDVDVKDGRZOLNH¿JXUH,PDGHWKH¿JXUH $E%D]H[KLELWLRQDWWKH6H\KRXQ*DOOHU\LQ JHQGHUOHVV ,GLGQRWZDQWWRDWWDFKJHQGHUWRWKH ,Q7DQDYROL¶VERRN'LEDKDVZULWWHQ ³,WZDVVKRZ VKDGRZ7RGD\LWVHHPVWRPHOLNH(7DQH[WUD- WLPH6H\KRXQ*DOOHU\ZDVJOHDPLQJZLWKHQHUJ\DQG
2 %\µRXUJURXS¶'LEDKHUHUHIHUVWR7DQDYROLDQG=HQGHURXGL WKH\ZHUHLQVHSDUDEOHDWWKHWLPHWKHWKUHH PXVTXHWHHUVRIWKH,UDQLDQDUWZRUOGIURPWKHPLGVWRWKHPLGV2WKHUDUWLVWVFORVHWR'LEDDQG7DQD- 8 9 YROLZHUH3LODUDPDQGSKRWRJURSKHU$KPDG$OL WHUUHVWULDO¿JXUH7KH KLVFKRVHQVXEMHFW ³0\PRWKHUZDVYHU\PXFKLQWR entire production of the VKRHVDQGVLWXDWHGQHDURXUKRXVHZDVDQ$UPHQLDQ LQVWDOODWLRQZDVEXLOWLQ VKRHPDNHUZKRVHVKRSZDVORFDWHGDWWKHXSSHU)HU- Parviz Tanavoli’s studio GRZVLDYHQXH0\PRWKHUKDGDJUHDWVHQVHRIPLQLPDO in “Zarrab-khaneh”. VW\OHDQGDOZD\VGHVLJQHG 7KH6H\KRXQ*DOOHU\VKRZ KHURZQVKRHV$VDFKLOG and the audio-visual con- ,IUHTXHQWO\YLVLWHGWKH FHSWHPSOR\HGZDVWKH VKRHPDNHU¶VSODFHZLWK ¿UVWH[KLELWLRQRILWV KHU7KH\RIWHQJRWLQWR Twenty nine, 1966, Oil on canvas, 100 x 150 cm. NLQGLQ7HKUDQDVLWZHQW loud and disturbing argu- EH\RQGSDLQWLQJDQGVFXOSWXUHVKRZVWKDWZHUHWKH ments over design details norm at that time. DQGHVSHFLDOO\RYHUFRS\- 1LN]DG1RXMRXPLDQGVRPHRIKLVIHOORZVWXGHQWVDW LQJP\PRWKHU¶VGHVLJQIRU 7HKUDQ8QLYHUVLW\YLVLWHGWKLVH[KLELWLRQ DFFRUGLQJ RWKHUFOLHQWV7KLVZDVP\ WR1RXMRXPL³$VVWXGHQWUHEHOVZHFDPHWRGLVUXSW ¿UVWFKLOGKRRGH[SRVXUHWRContest , 1976, Photograph, property-Tehran Museum of Contemporary Art WKHVKRZ%XWWKHDYDQWJDUGHQDWXUHRIWKHH[KLEL- VRPHRQHPDNLQJDIXVVRYHUSURSRUWLRQVW\OHDQGGH- WLRQDQG'LED¶VPDQQHULVPVZHUHEH\RQGRXUH[SHF- sign details.” WDWLRQVDQGWRWDOO\GLVDUPHGRXUSUHYLRXVLQWHQ- tions…………”. Due to the lack of serious collecting venues in Iran DWWKLVWLPHPRVWRIWKHZRUNVLQWKHUHVXOWLQJ$E- 'XULQJKLVQLQH\HDUSHULRGLQWKH86'LEDDW- %D]VHULHVDUHPLVVLQJ VRPHRIWKHZRUNVZHUHFRQ- WHQGHGVLJQL¿FDQWDUWHYHQWV KHDOVRYLVLWHG(X- ¿VFDWHGRUSHUKDSVHYHQGHVWUR\HGGXULQJWKH5HYROX- URSHDQGQRWDEO\DWWHQGHGWKH tion. In the absence of institutional collecting in 9HQLFH%LHQQDOH+HZDVDWWKH WKRVHGD\V'LEDWKRXJKWWKHUHZDVQRVHULRXVIXWXUH 9HQLFH%LHQQDOHZKHQ5REHUW IRU,UDQLDQ$UW+HFDPHWREHOLHYHWKDWZLWKRXWD 5DXVFKHQEHUJZRQWKH*ROG/LRQ PXVHXP,UDQLDQDUWZDVGHV- SUL]HLQ 'LEDZDVID- tined to become decorative and PLOLDUZLWKWKHSRSDUWPRYH- RQO\DGRUQWKHKRPHVRIWKH PHQWDQGLWZDVLQNHHSLQJ emerging bourgeoisie. A need ZLWKWKHVSLULWRIWKLVPRYH- for an institution that dared ment that he chose shoes as WRJREH\RQGHDVHOSDLQWLQJLQ the subject of his next live the scope of its collections SHUIRUPDQFHVKRZDWWKH=DQG ZDVHYLGHQW,Q ZLWK $YH *DOOHU\:LWKWKHKHOS the support and participation of his photographer friend Ah- Slow, 1976, Oil paint on canvas, property - Tehran Museum Of Contemporary Art of Farah Diba Pahlavi, the mad Ali, Diba photographed the shoes of audience former queen of Iran, Diba em- PHPEHUVXQGHUWKHXQGHQLDEOHLQÀXHQFHRI%ULWLVK barked on the creation of the artist Allen Jones. Diba explains another reason for Untitled, 10, 2008, Acrylic on canvas 7HKUDQ0XVHXP2I&RQWHPSRUDU\
10 11 $UW,WWRRNKLP \HDUVWRUHDOL]HKLVGUHDP+H designed this institution and served as its founding GLUHFWRURSHQLQJLWVGRRUVWRWKHSXEOLFLQ ZLWKJUHDWIDQIDUHDQGLQWKHSUHVHQFHRIDKRVWRI ,UDQLDQDQGLQWHUQDWLRQDODUWQRWDEOHV7KLVZDVWKH ¿UVWWKFHQWXU\PXVHXPLQWKHZRUOGWREHFDOOHG µ&RQWHPSRUDU\¶ZLWKUHIHUHQFHWRWKH SHULRG
'LEDFUHDWHGPDQ\RXWGRRU VFXOSWXUDOSLHFHVVRPHZLWK the collaboration of Irani- an sculptor Parviz Tanavoli. $OORIWKHVH¿JXUDWLYHSLHF- es formed part of his archi- WHFWXUDOSURMHFWVIRUZKLFK KHZDVLQFUHDVLQJO\UHFRJ- nized.
'LED¶VFDUHHUZDVLQWHUUXSWHG E\WKH ,UDQLDQUHYROX- WLRQ KHOHIW,UDQDQGWRRN (J\SWLDQ1DWLRQDOLW\+LV Public sculptures, 1988, Collaberative work with Tanavoli, Life size bronze, Niavaran cultural center SURIHVVLRQDODFWLYLW\ZDV GLVUXSWHGE\KLVFRQVWDQWFRXQWU\KRSSLQJEHWZHHQ &DLUR/RQGRQ1HZ 12 13 GLOBAL NEWS GLVFDUGHGQHZVSDSHUZLWKDRQH GD\OLIHVSDQLVLPPRUWDOL]HG and gains a visual permanence, ,Q'LEDPRXQWHGDZHOO UHFRUGLQJDVLQJOHGD\³JOREDO received exhibition at Mah HYHQW´+HQFHWKLVYLVXDOO\UH- *DOOHU\FDOOHG³7HKUDQ3UR- FRUGHGQHZVFRXOGLQWLPHFRPHWR MHFW´+HUH+HVKRZHGKLV FU\VWDOOL]HDGH¿QLQJKLVWRULFDO µ)URQW3DJH¶DQGµ1DUUDWLYHV¶ PRPHQW,FRQVLGHUWKHGDLO\QHZV VHULHVDVZHOODVLQWURGXFHG DVWKHJOREDOKHDUWEHDWZLWK- KLVµ*OREDO1HZV¶VHULHVWR out it the indication of life on ,UDQ7KLVQHZVHULHVUHVSRQGV earth ceases to exist.“ to the trends of globaliza- tion and communication. The $GH¿QLQJIHDWXUHRIWKHVHULHV driving idea is an attempt is that the entire front page <:6MÄJPHS3PUR;O\YZKH`4HYJO (JY`SPJVUJHU]HZ WRDGGUHVVDQGJREH\RQGWKH WH[WLVUHGXFHGWRDFRORU¿HOG 162 x 116cm limitations or constraints of 'LEDHODERUDWHV´,KDYHFKRVHQSULPDU\FRORUV \HO- ODQJXDJHDPHGLXPZKLFKLV ORZEOXHDQGUHGWRUHVSHFWLYHO\UHSUHVHQWWRS- SHUFHLYHGE\WKHDUWLVWDVEH- LFVDGGUHVVLQJSROLWLFVHFRQRP\ZDU YLROHQFH LQJRIWHQ³GLYLVLYHDVZHOODV ZKLFKDUHWKHPDLQVWD\RIGDLO\QHZV7KLVLVLQ an instrument of segregation”. Global Newspaper, Octobre 2, 2008, Print on Paper, 70 x 50 cm fact an attempt to create an allusion to Mondrian 'LEDVD\V ´,VWDUWHGWKH*OREDO1HZVSDSHUDLPLQJ on each front page. I do not to create a collage consist- have control over the color LQJRIPXOWLOLQJXLVWLFQHZV- ¿HOGQRUWKHLPDJHV7KHRWK- paper clippings, selected from HUDVSHFWRIWKLVZRUNLVWKH the international press. The EODFNDQGZKLWHUHQGHULQJRI FRQWHQWRIWKHQHZVLQWKHVH images. The result is a dia- ZRUNVLVRISHULSKHUDOLPSRU- OHFWLFEHWZHHQKDUGHGJHGDE- tance. straction and photorealism, ZKLFKLQIDFWEHFRPHVDYLY- 7KHµ)URQW3DJH¶SDLQWLQJV id testament to the polemics ZHUHVWDUWHGLQWKHEHJLQQLQJ RIDEVWUDFWYHUVXV¿JXUDWLYH RI XVLQJWKHVDPHORJR art.” In this series I have gone further and tried to abstract 7KLVERG\RIZRUNZDVLQL- DQGUHGXFWLYHO\V\PEROL]H WLDOO\LQGHEWHGWRZRUNVE\ HDFKQHZVWRSLFE\GLIIHUHQW 2Q.DZDUD'LEDVD\V ³,WZDV WKRXJKH[SOLFLWFRORU¿HOGV´ VHUHQGLSLW\WKDW,GLVFRYHUHG American Town Hall, 10.08.2009, Acrylic on canvas, 164 x 116cm CIA Charm Offensive, Saturday, April 4, 2009, Acrylic on canvas, 162 x 116cm 'LEDH[SODLQV ³LQUHDOLW\WKH DGYHUWLVLQJLPDJHU\RQHDFK 14 15 front page as a testament to the triumph of the com- PHUFLDOZRUOGZKLFKVWDQGV VKRXOGHUWRVKRXOGHUZLWK the most pressing issues of ZRUOGHYHQWV+HQFHWKH ZRUNVLQFRUSRUDWHDQLFRQLF :DUKROLDQJHVWXUH´ ³7KHVPDOOSDLQWLQJµ&RORU is the Message’, is a device ZKLFKLVXVHGWRFRORUFRGH WKHQHZVWRSLFV It is a small independent Good News Bad News No News SDLQWLQJZKLFKFRXOGDFFRP- Front Pages SDQ\)URQW3DJH 'LEDVD\V ³7KLVH[KLELWLRQFRQVLVWVRIWKUHH SDUWV,QWKHµ)URQW3DJH¶VHULHV,DEVWUDFW ,QWKHµ)URQW3DJH¶VHULHV,KDYHWULHGWRGHVLJQ WKHDFWXDOQHZVSDSHUFRORUFRGHWKHWRSLFV DQDSSDUDWXVZKLFKPDNHVWKHYLVXDORXWFRPHWRWDOO\ SDLQWWKHLPDJHVLQEODFNDQGZKLWHDQGGDWH WKHSDJHDFFRUGLQJWRWKHQHZV7KHVHSDLQW- GHSHQGHQWRQWKHWXUQLQJRIWKHZRUOGHYHQWV7KLV LQJVUHSUHVHQWWKHKLVWRU\RIRQHGD\LQWKH SURFHVVLVDOZD\VIDLWKIXODQGVXEVHUYLHQWWRWKH life of mankind, according to the editor of )URQWSDJHOD\RXWRIWKH,QWHUQDWLRQDO+HUDOG7ULE- D PDMRU LQWHUQDWLRQDO QHZVSDSHU &RQFXUUHQW une, and is therefore free from subjective artistic HYHQWV RI RQH GD\ FRXOG EH SLYRWDO GHWHUPL- WHQGHQFLHVDQGLQWHUYHQWLRQVµ*RRG1HZV%DG1HZV QDQWVRIKXPDQGHVWLQ\´ 1R1HZV¶LVDERXWJOREDOQHZVDQGQHZVEURDGFDVW- ing.” 16 17 + = Original Newspaper Color is the Message 7KHVHLPDJHVVKRZWKHFRQFHSWRIDEVWUDFWLQJ QHZVWRSLFVRI)URQW3DJHVLQWRFRORXU 18 Explosion Rocks Kabul, Friday October 9 2009$FU\OLF 19 RQFDQYDV[FP + = Original Newspaper Color is the Message 7KHVHLPDJHVVKRZWKHFRQFHSWRIDEVWUDFWLQJ QHZVWRSLFVRI)URQW3DJHVLQWRFRORXU 20 Obama Taps, Wednesday May 27 2009$FU\OLFRQFDQYDV 21 [FP Bankers Push, Wednesday September 9 2009$FU\OLFRQFDQYDV[FP 22 For Black Americans, Saturday June 6 2009$FU\OLFRQFDQYDV[FP 23 Italian Court, Thursday October 8 2009$FU\OLFRQFDQYDV[FP 24 Many Nations, Wednesday September 16 2009$FU\OLFRQFDQYDV[FP 25 Munching Toward, Friday October 23 2009$FU\OLFRQFDQYDV[FP 26 Obama Begins, Thursday June 4 2009, $FU\OLFRQFDQYDV[FP 27 Rumor, Wedenesday November 18 2009$FU\OLFRQFDQYDV[FP 28 Subversion)ULGD\1RYHPEHU $FU\OLFRQFDQYDV[FP 29 Good News Bad News No News Narratives µ1DUUDWLYHV¶ FRQVLVW RI D SDJH PDGH XS RI D series of hand painted images organized to FRQYH\DQLGHDDQGSURPRWHSHUVRQDOLQWHUSUH- WDWLRQ7KLVVHULHVDGGUHVVWKHZRUOGRIFLQ- HPDFULPHDUWVSRUWSKRWRJUDSK\DQGRWKHU subjects of interest. In this series I darken DQGVXEMXJDWHWKHZULWWHQZRUGVWRLPDJHVEXW GRQRWWRWDOO\REVFXUHWKHZULWLQJ7KHSLF- tures are painted in color in contrast to the EODFNDQGZKLWHLPDJHVRI)URQW3DJH´ Taliban Hands,Friday September 11 2009$FU\OLFRQFDQYDV[FP 30 31 Lost$FU\OLFRQFDQYDV[FP 32 Cinema I$FU\OLFRQFDQYDV[ FP 33 Grace$FU\OLFRQFDQYDV[FP 34 Hard hitter$FU\OLFRQFDQYDV[FP 35 Kisser$FU\OLFRQFDQYDV[FP 36 On the Edge$FU\OLFRQFDQYDV[FP 37 Ball Breakers$FU\OLFRQFDQYDV[FP 38 On the line$FU\OLFRQFDQYDV[FP 39 Tunisia$FU\OLFRQFDQYDV[ FP 40 Watch the ball$FU\OLFRQFDQYDV[FP 41 Good News Bad News No News Video installation µ1HZV%URDGFDVW¶LVDIRXUFKDQQHOYLGHRSUR- MHFWLRQ RQ IRXU ZDOOV RI D VTXDUH FXELFDO URRP'LEDZULWHV ³7KHXQEHDUDEOHZHLJKWRI GDLO\QHZVFDVFDGHVDQGLQWUXGHVLQWRRXUVRO- LWDU\ DQG VRPHWLPHV PRGHVW GDLO\ H[LVWHQFH In spite of economic globalization and the DSSDUHQWGLVDSSHDULQJQDWLRQDOVRYHUHLJQW\RU ERXQGDULHVWKHIURQWLHUVFUHDWHGE\ODQJXDJH DQGFXOWXUHSHUVLVWDQGWKHVHVRFLRSV\FKR- logical territories render global communica- tion unattainable.” ,QWKHVHZRUNVWUHDWPHQWRIODQJXDJHWKHZULW- WHQZRUGVDQGUHGXFWLRQRIWH[WWRDEVWUDFWLRQ VHUYHWRHPSKDVL]HWKHSULPDF\RILPDJHRYHU text. Young ones$FU\OLFRQFDQYDV[FP 42 43 Good news, Bad news, No news, Broadcast 1 – Good news, Bad news, No news, Broadcast 1 – Good news, Bad news, No news, Broadcast 2 – Good news, Bad news, No news, Broadcast 2 – Part 1, 2012, Video Part 2, 2012, Video Part 1, 2012, Video Part 2, 2012, Video 44 45 Good news, Bad news, No news, Broadcast 3 – Good news, Bad news, No news, Broadcast 3 – Good news, Bad news, No news, Broadcast 4 – Good news, Bad news, No news, Broadcast 4 – Part 1, 2012, Video Part 2, 2012, Video Part 1, 2012, Video Part 2, 2012, Video 46 47 KAMRAN DIBA IS AN IRANIAN EGYPTIAN ARTIST, HE IS A PERMANENT RESIDENT OF SPAIN WWW.KAMRANDIBA.COM 48 Back Cover: Goodbye$FU\OLFRQFDQYDV[FP 49 50