Emphatic Tension
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Rokni Haerizadeh in Conversation with Sohrab Mohebbi
gather his followers and they would all read Rokni Haerizadeh poetry and drink and dance. When there were in conversation with electricity cuts, it would all happen by Sohrab Mohebbi candlelight. Those houses were part of an interior life that was so different from life outside. Sohrab: I feel like we shouldn’t talk about Tehran. Do you think we can talk about Tehran S: Yeah, your house represented that kind of today? interior life. It was more than just a place to party. Rokni: No, I don’t really think so. R: Right, it gave you relative freedom as S: We can’t, right? an artsy kid, in the way art can. It gave you the option to not be a player and to be R: I mean, what’s the point of talking about a little different. We were working toward it? It makes us sound like delusional old building something new, confronting and men.... It’s been so long since the two of us responding to society, being rebels, anar- have had a conversation in the first place. chists.... It also allowed us to exist We’ve both spent so much time trying to break uniquely as a group. There was this inside away from what we once were. What can those joke between us. Imagine you’re at a gather- memories do for us now? What good are they ing, and all of a sudden you go up to someone other than being very personal? Maybe what and whisper in his ear, “You see that guy we can talk about is the fact that we lived over there? He’s not my brother. -
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. -
Frieze NYC 2018 Press Release
! Dastan is pleased to announce its participation in Frieze Art Fair New York 2018 with a presentation of works by Ardeshir Mohassess. The presentation will consist of a number of Mohassess’ drawings from the 1970s. Dastan has recently compiled and published a bilingual (Farsi/English) book incorporating the results of 3 years of research into the life and works of the artist, which will also be included in the presentation. Coming ten years after the Ardeshir Mohassess Retrospective in Asia Society Museum curated by Shirin Neshat and Nicky Nodjoumi, the presentation will seek to approach the artist’s work through the lens of New Historicism, while exploring it in relation to the power structure and society of different periods and reveal their evolutions. Traces of the artist's practice can still be found in the works of Iranian artists inside and outside Iran. The works in the presentation are selected from two of the artist’s series, “Vaqaye Etefaqie” (lit. ‘Current Events’) and “Shenasnameh” (lit. ‘Identity Card’). Ardeshir’s “Vaqaye Etefaqie” (1970-1971) uses states-people and aristocrats as subject matter and portrays them in their lavish lifestyles and pointless accomplishments. On the other hand, “Shenasnameh” (1972) presents a world of Ardeshir’s frail figures, broken and tortured under cruelty and oppression. When viewed together, these two series depict a picture of the era’s socio-political landscape —a turmoil that arguably reached its boiling point in the form of the 1979 revolution. In the words of the late Iranian poet, writer and journalist, Ahmad Shamlu (1925-2000), “Ardeshir’s typical human beings, i.e. -
Art Abstrait & Contemporain
Art abstrait & contemporain - Drouot - Richelieu, salle 4, mercredi 11 juin 2014 Index des ArtIstes Dino ABIDINE 182 à 187 Gérard GASIOROWSKI 301 John NAPPER 96 Valentin AFANASSIEV 203 Jacques GERMAIN 65 Devrim NEJAD 163 à 166 Angel ALONSO 123 et 124 Léon GISCHIA 47 Leopoldo NOVOA 105 Antonio-Henrique AMARAL 110 Raymonde GODIN 97 et 98 Miguel OCAMPO 112 à 116 Willy ANTHOONS 136 Henri GOETZ 50 à 52 et 69 à 71 Ebrahim OLFAT 242 et 243 Farid AOUAD 244 et 245 GROUPE IRWIN 227 à 229 ORAZI 130 et 131 Avni ARBAS 188 Raymond HAINS 288 et 289 Carlos PAEZ-VILARO 106 et 107 ARMAN 291 à 293 Etienne HAJDU 224 Véra PAGAVA 204 Nasser ASSAR 237 Jean HéLION 49 Tseng-Ying PANG 262 Ragheb AYAD 235 Robert HELMAN 89 Max PAPART 76 André BEAUDIN 1 à 20 Charlotte HENSCHEL 133 Carl-Henning PEDERSEN 138 Abdallaha BENANTEUR 233 et 234 Daniel HUMAIR 303 Dario PEREZ-FLORES 108 Antonio BERNI 111 Ferit ISCAN 167 à 179 Henri Ernst PFEIFFER 134 Roger BEZOMBES 279 et 280 Zeki Faik IZER 192 Jean PIAUBERT 85 à 87 Roger BISSIèRE 57 Jean JANSEM 277 Alkis PIERRAKOS 150 à 156 Albert BITRAN 68 Dahai JIANG 261 Edgard PILLET 67 Francisco BORES 118 à 122 Ömer KALESI 180 Mario PRASSINOS 157 Bahman BOROJENI 240 et 241 Paul KALLOS 221 à 223 Bernard QUENTIN 63 Christine BOUMEESTER 60 Ida KARSKAYA 202 REINHOUD 137 Huguette CALAND 247 Théo KERG 143 Suzanne ROGER 21 à 45 Manuel CARGALEIRO 125 Eugène de KERMADEC 46 Behjat SADR 238 et 239 Moshé CASTEL 253 Ladislas KIJNO 64 Jean-Joseph SANFOURCHE 268 à 276 César Baldiccini dit CéSAR 290 Sigismond KOLOS-VARY 225 Maurice-Elie SARTHOU 77 et -
Art Collector: 53 Works, a Century of Middle Eastern Art Part II, with Subtitles 7/4/17, 1:37 PM
Art Collector: 53 Works, A Century of Middle Eastern Art Part II, with subtitles 7/4/17, 1:37 PM 4 اﻟﻣزﯾد اﻟﻣدوﻧﺔ اﻹﻟﻛﺗروﻧﯾﺔ اﻟﺗﺎﻟﯾﺔ» إﻧﺷﺎء ﻣدوﻧﺔ إﻟﻛﺗروﻧﯾﺔ ﺗﺳﺟﯾل اﻟدﺧول Art Collector http://www.zaidan.ca Posts Comments Wednesday, November 25, 2015 Total Pageviews 53 Works, A Century of Middle Eastern Art Part II, with subtitles 163,283 A Century of Iraqi Art Part I & Modern & Contemporary Middle Eastern Art Search This Blog Nja mahdaoui jafr - The alchemy of signs Follow by Email Email address... VIEW OF THE TIGRIS Abdul Qadir Al Rassam, (1882 - 1952) 13.78 X 20.87 in (35 X 53 cm) oil on canvas Creation Date: 1934 Signed Abdul Qadir Al Rassam, (1882 - 1952), was born in Baghdad, Iraq. He was the first well-known painter in modern Iraq and the leader of realism school in Iraq. He studied military science and art at the Military College, Istanbul, Turkey, (then the capital of the Ottoman Empire) from 1904. He studied art and painting in the European traditional style and became a landscape painter, he painted many landscapes of Iraq in the realism style, using shading and composition to suggest time periods. He was a major figure among the first generation of modern Iraqi artists and was a member of the Art Friends Society (AFS, Jami’yat Asdiqa’ al- Fen). A collection of his work is hung in The Pioneers Museum, Baghdad. A prolific painter of oils, the majority of his works are now in private hands. More Nja mahdaoui jafr - The alchemy of signs Popular Posts 38 Artists Embedded of Arc's Military Campaign, (c. -
Kunsthalle Zürich Limmatstrasse 270 CH–8005 Zürich Ramin
Ramin Haerizadeh / Rokni Haerizadeh / Hesam Rahmanian Slice A Slanted Arc Into Dry Paper Sky** 21.02.–17.05.2015 Al Barsha Street in Dubai is where the three Iranian artists Ramin Haerizadeh (*1975), Rokni Haerizadeh (*1978) and Hesam Rahmanian (*1980) currently live. It is an extraordinary villa full of things, a studio, a stage, a film set and movie theatre; it is a cabinet of curiosity, a test site-cum-monastery, an academy-cum-pleasure dome. The house informs their art as it results from both collective and individual endeavor—something that becomes immediately palpable when one steps into their exhibition at Kunsthalle Zürich. Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian work both individually and in collaboration, but do not form a collective. Their art translates into multiple forms — films, installations, artworks and exhibitions—and often evolves around friends, other artists or people they meet by chance. This includes Iranian artist Niyaz Azadikhah and her sister, a DJ, Nesa Azadikhah, Iranian sculptor Bita Fayyazi, polyglot writer Nazli Ghassemi, American artist Lonnie Holley, gallery manager Minnie McIntyre, Iranian graphic designer and artist Iman Raad, Maaziar Sadr, who works for a telecommunications company in the Emirates, Tamil friends Edward St and Indrani Sirisena. Sometimes these people occupy central roles, sometimes they are marginal, but in either case they bring with them a reality that interrupts the trio’s universe and language, and channels their—and our—attention in unexpected territories. Another important strategy in their practice is the inclusion of various artistic worlds that are as respectfully acknowledged as they are shamelessly appropriated and adapted. -
Master's Degree in Economics and Management of Arts and Cultural
Master’s Degree in Economics and Management of Arts and Cultural Activities Final Thesis Contemporary Iranian Art: Emerging Interest in Iranian Art in the International Art Markets and the Reception, Production and Assessment of Iranian Contemporary Art in the International Sphere Supervisor Prof. Cristina Tonghini Graduand Darya Shojai Kaveh 870809 Academic Year 2018 / 2019 Table of Contents Introduction i Acknowledgements vii Chapter One | Historical and political background of Iran from the 20th Century to the 21st Century 1 Introduction 1 1.1 | The Reza Shah Era (1921-2941) 4 1.2 | The Mohammed Reza Shah Era (1941-1979) 12 1.3 | The Islamic Republic of Iran (1979-now) 27 Chapter Two | Tracing the evolution of Iranian art through the 20th and 21st Centuries 35 2.1 | From Kamal ol-Molk to Reza Shah Pahlavi (1880-1940): The beginning of Modern Iranian Art 35 2.2 | Art under Reza Shah Pahlavi (1921-1941) 40 2.3 | Modernisation and Westernisation under Mohammad Reza Shah Pahlavi (1941-1979) 44 2.4 | Art under the Islamic Revolution and the New Millennium (1979-now) 52 Chapter Three | The Art Market for Contemporary Art and the Role of Iran in the Middle East 60 3.1 | Definition of the market for fine arts 60 3.2 | 1980s - 1990s: Emerging countries in the art market and the value of art 60 3.3 | Methodology 66 3.4 | Analysis of the art market: a comparison of Christie’s, Sotheby’s and Tehran Auction 69 3.4.1 | The art market in 2009 and 2010 71 3.4.2 | The art market in 2011 and 2012 77 3.4.3 | The art market in 2013 and 2014 85 3.4.4 | The art market in 2015 and 2016 92 3.4.5 | The art market in 2017 and 2018 98 3.4.6 | The art market in 2019 106 Conclusions 110 Bibliography 116 List of Images 126 Introduction In the last decade, the global fine arts market has grown with unprecedented speed, swiftly recovering from the 2008 financial crisis that enveloped the world’s economy. -
How Can Visual Satire Contribute to the Discourse on Displacement?
How Can Visual Satire Contribute to the Discourse on Displacement? Author Fetrati, Hesam Published 2017 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/1934 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366105 Griffith Research Online https://research-repository.griffith.edu.au How Can Visual Satire Contribute to the Discourse on Displacement? Hesam Fetrati MVA Honours S2781626 Queensland College of Art, Arts, Education and Law Griffith University Submitted in partial fulfilment of the requirements of the Degree of Doctor of Visual Art August 2016 Statement of Originality: This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Hesam Fetrati 19 August 2016 ——————————————— ———————— Student’s Name Date i Abstract The permanent displacement of millions of people across the globe represents a humanitarian crisis on a scale that the world has not encountered before. Dealing with mass migration is also a challenge for the governments of host countries and communities. Nations in the New World have shifted from welcoming and accommodating immigrants to adopting policy positions that are openly hostile. The theoretical frameworks developed to understand migration and to develop policy responses are breaking down under the acceleration of mass migration. This exegesis explores the shortcomings of these frameworks in accounting for the lived experience of migrants and refugees and discusses my artwork, which attempts to respond to this issue. -
Visual Art in Iran Inhalt!Content 9
#108 D/E INTERNATIONAL BJØRN MELHUS LaUREN Moffatt MAGAZINE FOR PHOTOGRAPHY BERNHaRd kLEBER aNgELika kRiNziNgER AND MEDIA ART tERESa MaRgoLLES iN focUS: ViSUaL aRt iN iRaN Inhalt!Content 9 EIKON gehört mit mehr als 50 anderen Initiativen, 7 Editorial 7 Editorial Portfolio Portfolio Agenturen, Vereinen 10 Teresa Margolles!Pia Draskovits 10 Teresa Margolles!Pia Draskovits 16 Bernhard Kleber!Martin Prinzhorn 16 Bernhard Kleber!Martin Prinzhorn 24 Bjørn Melhus!Carla Susanne Erdmann 24 Bjørn Melhus!Carla Susanne Erdmann und Redak tionen aus 34 Angelika Krinzinger!Veronika Rudorfer 34 Angelika Krinzinger!Veronika Rudorfer 42 Lauren Mofat!Margit Emesz 42 Lauren Mofat!Margit Emesz COVER dem Kunst- und Kultur- BJØRN MELHUS Projects Projects Weit Weit Weg, 1995 16mm-Film / 48 Manuel Gorkiewicz. Kabuf!Tina Schelle 16mm film 48 Manuel Gorkiewicz: Kabuf!Tina Schelle bereich zum kreativen Dauer / duration: 39′ 50 Misha Stroj. An einem Körper!Patricia Grzonka 50 Misha Stroj: Of a Body!Patricia Grzonka Arts & Studies Arts & Studies 52 Simon Hanzer. Shh Houses!Ada Karlbauer 52 Simon Hanzer: Shh Houses!Ada Karlbauer Schaffensraum Q21. 54 Edition Angewandte: Neuerscheinungen 54 Edition Angewandte: New Releases Im Fokus: Bildende Kunst im Iran In Focus: Visual Art in Iran Entdecke sie alle auf 57 Versuch einer Orientierung !Bernd Fechner 57 Atempt at Orientation! Bernd Fechner @Q21vienna @Q21_vienna 72 Forum 72 Forum www.Q21.at 76 Ausstellungen 76 Exhibitions Parner des Q21 Arist-in-Residence-Programms im MuseumsQuarier: 88 Termine 88 Dates (German only) Mit -
13921 Sunday APRIL 18, 2021 Farvardin 29, 1400 Ramadan 5, 1442
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.13921 Sunday APRIL 18, 2021 Farvardin 29, 1400 Ramadan 5, 1442 Leader asks Iran’s Taremi Five new 65% of nursing home the Army to enhance wins UCL Goal commercial attachés residents vaccinated readiness Page 2 of the Week Page 3 appointed Page 4 against COVID-19 Page 7 Iran releases photo and name of Natanz saboteur Another Vietnam, this TEHRAN — The Ministry of Intelligence Multiple Israeli media outlets have on Saturday revealed the identity of the quoted unnamed intelligence sources as saboteur at the Natanz nuclear plant along saying Mossad spy service carried out the with his photo. The name of the saboteur sabotage operation at the Natanz complex. See page 3 is Reza Karimi. He fled Iran before the Israel - widely believed to be the only West sabotage, the ministry said. Asian country with a nuclear arsenal - has The ministry said it is taking legal not formally commented on the incident. time in Afghanistan actions to arrest him. A power outage at Israeli Foreign Minister Gabi Ashkenazi said the Natanz nuclear site occurred on April on April 16 that Israel will do “whatever it 11. Iranian officials believe that Mossad takes” to ensure that Iran does not acquire U.S. leaves Afghanistan is behind this act of nuclear terrorism. what he called “nuclear weapons”. empty-handed after two decades Industry Ministry’s indigenization plan realized by 110% TEHRAN – Head of the Domestic Produc- inces was on the agenda, however, more tion Center of Iran’s Ministry of Industry, than $3.565 billion worth of such products Mining and Trade said the program for were indigenized, Mohammad-Mehdi indigenizing the knowledge for the pro- Hadavi told IRNA on Saturday. -
Iranian Modern Art During the Pahlavi Dynasty (1925-1979)
Iranian Modern Art during the Pahlavi Dynasty (1925-1979) DISSERTATION to Obtain the degree of Doctor of Art History at the Institute of Art History, University of Regensburg 2021 Presented by Solmaz Keshavarzi First appraiser: Prof. Dr. Christoph Wagner Contents Preface ............................................................................................................................ 10 Abstract ........................................................................................................................... 11 Introduction .................................................................................................................... 12 Methodology ................................................................................................................... 13 1 Modernity .................................................................................................................. 1 1.1 The beginning of modernity in Iran ....................................................................... 2 1.2 Modernity in Iran under Pahlavi rule .................................................................... 5 1.3 Chronology ............................................................................................................ 8 1.3.1 1911-1942 ................................................................................................... 8 1.3.2 1942-1958 ................................................................................................... 8 1.3.3 1958-1979 .................................................................................................. -
THE ART of LEBANON Wednesday 27 April 2016
THE ART OF LEBANON Wednesday 27 April 2016 THE ART OF LEBANON Wednesday 27 April 2016, at 14.00 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Sunday 24 April 2016 +44 (0) 20 7447 7447 Nima Sagharchi Monday to Friday 08:30 to 18:00 11:00 - 15:00 +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8342 +44 (0) 20 7447 7447 Monday 25 April 2016 To bid via the internet please [email protected] 9:00 - 16:30 visit bonhams.com As a courtesy to intending Tuesday 26 April 2016 Ralph Taylor bidders, Bonhams will provide a 9:00 - 16:30 Please note that bids should be +44 (0) 20 7447 7403 written Indication of the physical Wednesday 27 April 2016 submitted no later than 16:00 [email protected] condition of lots in this sale if a 9:00 - 12:00 on the day prior to the sale. request is received up to 24 New bidders must also provide Patrick Meade hours before the auction starts. SALE NUMBER proof of identity when submitting Group Vice Chairman This written Indication is issued bids. Failure to do this may result +44 (0) 20 7447 7447 subject to Clause 3 of the Notice 23623 in your bid not being processed. [email protected] to Bidders. CATALOGUE Telephone bidding can only be ILLUSTRATIONS PRESS ENQUIRIES £30.00 accepted on lots with a Front cover: lot 34 low-estimate in excess of £1000. [email protected] Back cover: lot 119 Inside front cover: lot 35 Live online bidding is available Inside back cover: lot 116 for this sale Please email [email protected] IMPORTANT INFORMATION with ‘live bidding’ in the subject The United States Government line 48 hours before the auction has banned the import of ivory to register for this service into the USA.