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Parviz Tanavoli Poet in Love
1970s-2011 Works from the Artist ’s Collection Parviz Tanavoli Poet in Love Austin / Desmond Fine Art Pied Bull Yard 68/69 Great Russell St Bloomsbury London WC1B 3BN Telephone: + 44 (0)20 7242 4443 Email: gallery @austindesmond .com Web : ww w.austindesmond .com 1 The Global Vision of Parviz Tanavoli Dr David Galloway Thirty-five years have passed since my first encounter with Parviz Tanavoli in Iran: years of creation and achievement, of revolution and heartache, of exile and return. More than a friend, he was also a mentor who taught me to decipher (and cherish) some of the rich visual codes of Persian culture. Furthermore, he did so not by leading me pedantically through museums and archeological sites but simply by welcoming me to his atelier, where the language of the past was being transmuted into a vivid contemporary idiom. This vital synthesis is, without doubt, the greatest achievement of the greatest sculptor to emerge from the modern Islamic world. For decades, gifted artists from Iran or Iraq, Egypt or Morocco had studied in famous Western art centers and returned home to shoulder the burden of a seemingly irresolvable dilemma. Either they could apply their skills to the traditional arts or propagate the styles and techniques acquired in their journeyman years – at the risk of being labeled epigones. It was, of course, not merely Islamic artists who faced such a dilemma, but more generally those whose vision had initially been fostered by a powerful traditional aesthetic and were subsequently exposed to a contemporary Western form language. (The extraordinarily rich visual heritage of Iran, on the other hand, lent the choice particular urgency.) Tanavoli resolved the dilemma by embracing the arts and handicrafts of his own culture but also by literally reinventing them, passing them through the filter of his own exposure to Western movements. -
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. -
1970S P Rints
PARVIZ 1970s Prints TANAVOLI PARVIZ TANAVOLI 1970s Prints 26 APRIL – 8 MAY 2021 “It’s like a family when they’re all together. They look good together.” Parviz Tanavoli, Tate Shots, 2015 All works in the exhibition are different editions to those mentioned in the provenance. The sizes stated are for the entire sheet. Grosvenor Gallery . 35 Bury Street, London, SW1Y 6AU . +44(0)20 7484 7979 . [email protected] as they liked. They were free to choose the wear most colourful dresses. They were always CONVERSATION WITH colours and change the proportions. Most happy to take my imageries, in fact it was like of the weavers followed the model pretty a challenge to them. We should not forget that PARVIZ TANAVOLI close, but some changed the proportions. The their own rugs and gabbehs are among the attached lion rugs are a good example of the most colourful ones. second group (IV, V, VI). Tribal weavers do not CM: Have you done other collaborative work in your Charles Moore, April 2021 work with cartoons. They often use an older career? rug as a model, but change the colours and motifs accordingly. PT: Yes, I have worked with various craftsmen, CM: To the outsider your print work seems a great among them coppersmiths, potters, jewellers CM: Where were the prints produced? CM: How did they react to the imagery? It must have departure from your sculptural work. How did the and carpenters. Iranian craftsmen are humble PT: The prints were made in the heating room been familiar yet totally alien to them? series of prints come about? and working with them not only was a (the basement of our house). -
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. -
Parviz Tanavoli
> Asian Art & Cultures Asian Art > Iran Parviz Tanavoli: Sculpted Poetry The recent retrospective exhibition of one of Iran’s most famous sculptors has helped to broaden the scope of contemporary entire ensemble appears as a shy little Iranian art for art historians around the world. In exploring the work of Parviz Tanavoli, I hope to illuminate his sculptural creature, looking out into the world intersections of Persian tradition with contemporary form. with sad eyes, as it huddles into the chair. By Nina Cichocki ily feature, except for a generic faucet taneously revealing and obscuring Another literary convention exem- on the front (symbolizing the freedom emerges not only in poetry, but also in plified in Heech and Chair II is that of n 26 January 2003, the contem- that water in an arid country like Iran other dimensions of Persian culture, the metaphor. If viewed in the most Oporary Iranian art world was affords), and is, therefore, devoid of most notably in the architecture of the superficial manner, the sculpture is a enriched by a long-awaited event in the emotional gesture. ubiquitous shrines, the grilles of which charming image of a cat sitting on a Tehran Museum of Modern Art: the Lyric Persian poetry, and particularly obstruct view and access, but simulta- chair. In the same vein, a poem about opening of a retrospective exhibition of the form of the ghazal (a short poem neously render the grave inside visible. the beauty of a beloved can be reduced Parviz Tanavoli, modern Iran’s leading with a monorhyme, seven to twelve Both the shrine’s grille and the poem to the evocation of a charming image, sculptor. -
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. -
Tough Talks Expected As Nuclear Negotiators Gather in Vienna
WWW.TEHRANTIMES.COM I N T E R N A T I O N A L D A I L Y 8 Pages Price 50,000 Rials 1.00 EURO 4.00 AED 42nd year No.13929 Tuesday APRIL 27, 2021 Ordibehesht 7, 1400 Ramadan 14, 1442 IRGC chief: Recent VNL a preparatory Graham slams Biden Iranian students win 27 incidents against Zionists competition for as ‘a very destabilizing medals in international may be repeated Page 2 Olympics: Alekno Page 3 president’Page 5 Olympiads Page 7 Lifting sanctions should not be used as Tough talks expected as nuclear pretext for political disputes: Raeisi TEHRAN— A lifting of all sanctions and members of the UN Security Council – their verification are a “national demand” Russia, China, France, Britain - and Ger- and this demand should not be used as many are holding talks in Vienna with the a pretext for political disputes at home, hope of reviving the 2015 nuclear deal, negotiators gather in Vienna Judiciary Chief Ebrahim Raeisi said on officially called the Joint Comprehensive See page 3 Monday. Plan of Action. The negotiations are led Speaking at the meeting of the Su- by the European Union. preme Council of the Judiciary, Raeisi The United States is also involved also suggested, “Those who seek to fulfill in the talks in Vienna through inter- this promise to the Iranian nation should mediaries. Iran has said it will not talk not allow the other side to waste time.” directly to the U.S. side until all sanc- Iran and P4+1 (the four permanent tions are lifted. -
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.