English – وب سایت هنرهای تجسمی تندیس http://tandismag.com مجله خبری و پژوهشی هنر تجسمی Visual Art Biweekly Magazine Wed, 16 Aug 2017 19:57:18 +0000 fa-IR hourly 1 https://wordpress.org/?v=4.8.1 http://tandismag.com/fa/wp-content/uploads/2015/10/cropped-Logo512-32x32.pngEnglish – وب سایت هنرهای تجسمی تندیسhttp://tandismag.com 32 32 The City of Slab; the city of loss - An overview of photographs taken by the award winner Iranian photographer; Hossein Fatemi, of Slab City; the last free place in Americahttp://tandismag.com/38793/the-city-of-slab-the-city-of-loss.html http://tandismag.com/38793/the-city-of-slab-the-city-of-loss.html#respond Tue, 20 Jun 2017 06:14:20 +0000 http://tandismag.com/?p=38793 The City of Slab; the city of loss An overview of photographs taken by the award winner Iranian photographer; Hossein Fatemi, of Slab City; the last free place in America Text by Atia Shafee Heading south, past the Salton Sea where farmland turns to dusty towns, following the tyre tracks of trailers and camper vans ...   در وب سایت ببینید

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The City of Slab; the city of loss
An overview of photographs taken by the award winner Iranian photographer; Hossein Fatemi, of Slab City; the last free place in America

Text by Atia Shafee

Heading south, past the Salton Sea where farmland turns to dusty towns, following the tyre tracks of trailers and camper vans deep into the parched desert, a landscape of shabby vehicles that have taken root in the ground emerges. For years, a diverse group of people have been drawn to the former US marine base of Camp Dunlap, now known as ‘Slab City’ after the concrete slabs left by the US Army when it withdrew in the early 1950s. Today ‘The Slabs’ is a free campsite and alternative living community located near an active bombing range in the Sonoran Desert of Imperial County, California.hossein fatemi slab city 1

The population fluctuates between a few hundred to a few thousand people, depending on the season of the year. During the winter months, the abandoned navy base becomes an off-grid living community for as many as several thousand campers. These seasonal, temporary residents, known as “snow-birds”, mostly live in their RVs or squat in vacant structures. The permanent dwellers, known as “Slabbers” live here year-round. In the summer months, temperatures can reach almost 50C.hossein fatemi slab city 2

Many Slabbers come here to live rent-free due to poverty and unemployment. Others, however, come in search of the freedom that comes with living completely off-grid in a wide open desert environment. Without any sources of fresh water, electricity or sewage treatment, residents rely on solar panels and bathe in one communal hot spring.hossein fatemi slab city 20

The Slabs is mainly known an alternative community that features a community library, social clubs, cafes and a sculpture garden. Yet, with no rules or laws enforcement, some squabbles have resulted in shootouts over the years.hossein fatemi slab city 18

In many of the makeshift dwellings of the permanent Slabbers, people exchange stories about their previous lives; tales of social and economic exclusion, of missed opportunities and of deprivation. The wealth and glitter of corporate America and industrial infrastructure underpinning it couldn’t be further away from the scorched plains of the Sonora desert where the Slabbers have retreated to create a reality all of their own.hossein fatemi slab city 19

As America continues to promote a vision of muscular nationalism and economic prowess, hardship has pushed large numbers of Americans into further to the margins; from people fleeing their foreclosed homes to dejected U.S. war veterans, the Land of Opportunity seems to offer little consolation or encouragement. The inhabitants in Slab City have formed a tight community of like-minded people who have all, for their separate reasons, decided to escape the burdens of modern life and move in an entirely different direction to their fellow citizens.

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You can read the original text at panous

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Copy / Paste exhibition Curated by Shahram Entekhabi | Azad art gallery - group exhibitionhttp://tandismag.com/34341/curated-by-shahram-entekhabi.html http://tandismag.com/34341/curated-by-shahram-entekhabi.html#respond Tue, 02 May 2017 10:14:50 +0000 http://tandismag.com/?p=34341 exhibition will be continue until 9 may 2017   در وب سایت ببینید

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Copy / Paste exhibition
Conception and Curator: Shahram Entekhabi
Curatorial Assistant: Asiyeh Salimiyan
Azad art gallery

۲۸ April- 9 may 2017

Visiting HRS 4-8 pm

Add: No5, Salmas Sq, Golha Sq, Fatemi Sq, Tehran, Iran
Tel: +9821 88 00 86 76

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Statement:

The exhibition Copy / Paste intends to review the phenomenon of reproduction, replication and transcription in art. Although it is familiar it is still not well researched and the phenomenon is defined differently around the world. As far as it has to do with the Middle East, Copy / Paste, like a mirage, lacks a tangible cultural truth and is not translated completely or pragmatically. On the other hand, deliberation into the phenomenon of copying or duplication has been deeply discussed in European art circles in the context of the concept of ‘aura’. Also, from what we read into Islamic art, traditionalists believe duplication is a process in the transcribing of text. It plays a powerful role and has an artistic and philosophic character reflecting the world views of each school of thought.

Copy/Paste is a cultural and artistic attempt to introduce a collection of art meeting current world standards to the local Iranian art scene. Shahram Entekhabi, active artist and curator in both Europe and Iran, has created this project and brought it to fruition. All of the participating artists live in Berlin, and without exception are active on a global scope. Emphasis on artists living in Berlin, is not only because Entekhabi himself lives in Berlin, but that contemporary Berlin is a hub for international artists.

Included are representatives of the national pavilion at the Venice Biennale; Candice Breitz (2005 and 2017), Egill Saerbjornson (2017), Vadim Zakharov (2013), Monica Bonvicini (1999, 2001, 2005, ،۲۰۱۱, ۲۰۱۵), Christin Lahr (2015), Christian Jankowski (1999, 2013) and Anatoly Shuravlev(2009). Egill Sæbjörnsson has been selected to represent Iceland at the Fifty-Seventh Venice Biennale in 2017 and Candice Breitz and Mohau Modisakeng will present a major, two-person exhibition in the South African Pavilion, running from 13 May to 26 November 2017 in Venice, Italy. Candice Breitz, Birgit Brenner, Mathilde ter Heijne, Christian Jankowski, Christin Lahr and Karin Sander are professors in European universities and academies. Christian Jankowski was the curator of the “Manifesta 10” in Zurich. Helmut and Johanna Kandl, He Xiangyu, Karin Sander and Kai Schiemenz have all had art work and/or projects in international biennales and major museum around the world.

Photos by: Mohadese Shadmehr

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Book launch The Art of Altruism: Koorosh Shishegaran - by Dr Hamid Keshmirshekanhttp://tandismag.com/33291/koorosh-shishegaran.html http://tandismag.com/33291/koorosh-shishegaran.html#respond Sat, 15 Apr 2017 09:43:47 +0000 http://tandismag.com/?p=33291 by Dr Hamid Keshmirshekan   در وب سایت ببینید

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Book launch The Art of Altruism: Koorosh Shishegaran 
This ceremony is held by Iran Heritage Foundation on ۲۶th April at 18.30.
With a brief presentation by Dr Hamid Keshmirshekan about his latest book, which looks at the works of renowned Iranian artist Koorosh Shishegaran, followed by a short film on Shishegaran’s oeuvre.
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Koorosh Shishegaran
Born in 1944 in Qazvin, Iran, Koorosh Shishegaran is considered one of the most expressive and emotive artists of the contemporary Iranian art movement. In a career spanning six decades, he has established himself as an artist of great discipline, social awareness and manual skill, working in a wide array of different media, from graphic design to painting, photography and furniture design. Drawing inspiration from Iranian visual culture, Shishegaran is best known for his scribble line abstract paintings (Khatkhatis). These dynamic colourful lines, depicting the contemporary human condition, enabled the artist to find a style and language expressive of the modern era. With contributions from leading experts in the field and featuring over 300 colour plates, Koorosh Shishegaran: The Art of Altruism brings together the life and works of the artist for the first time, showcasing his various artistic phases and outlining his progressive approach to art-making and distribution.
Hamid Keshmirshekan
Hamid Keshmirshekan is an art historian, critic and Research Associate at LMEI, SOAS and Senior Lecturer at the Advanced Research Institute of Art (ARIA), Iranian Academy of Arts. He was the Academic Fellow in the History of Art Department, Oxford University, and editor-in-chief of the bilingual quarterly, Art Tomorrow. From 2004 to 2012, he was the Associate Fellow at the KRC, Faculty of Oriental Studies at Oxford University. He received his PhD in history of art from SOAS, and was awarded post-doctoral fellowships by the Barakat Trust in 2004–۰۵ and the British Academy, AHRC and ESRC in 2008-09 – both at Oxford University. Dr Keshmirshekan has organised several international conferences and events on aspects of modern and contemporary Iranian and Middle Eastern art, and has contributed extensively to various publications.
Venue : Asia House, 63 New Cavendish Street, London W1G 7LP
Tickets & Info
Tickets are free, booking essential – contact the office to save your space:
Email: astrid@iranheritage.org, Tel: 020 3651 2121
The event will start promptly at ۶٫۳۰pm so please ensure you arrive on time.
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Mana Contemporary gallery | Contemporary Iranian Art - In Betweenhttp://tandismag.com/32884/contemporary-iranian-art-2.html http://tandismag.com/32884/contemporary-iranian-art-2.html#respond Sat, 08 Apr 2017 13:32:29 +0000 http://tandismag.com/?p=32884 In Between Part one of a two-part exhibition series of contemporary Iranian art   در وب سایت ببینید

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Contemporary Iranian Art (Part 1)
Mana Contemporary gallery
Title: In Between

Part one of a two-part exhibition series of contemporary Iranian art

Curated by Shahram Karimi

April 30 – August 26, 2017
۵th Floor Gallery

Artists in the exhibition include David Abir, Afruz Amighi, Shoja Azari, Reza Derakshani, Fereidoun Ghaffari, Hadi Hazavei, Sarah Issakharian, Y.Z. Kami, Tala Madani, Shirin Neshat, Nicky Nodjoumi, Raha Raissnia, Farshid Shafiey, and Manoucher Yektai.

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Over a two-part series of exhibitions, the first show, In Between, includes works by established Iranian artists living in the U.S. who reflect on their host culture. When it comes to art, individuality rises above nationality. The show aims to stimulate conversation, inspire creativity, and foster understanding of contemporary art in the context of today’s society between the two countries.mana gallery 2

This selection includes work where each artist’s personal approach is evident—where the work illuminates clues to the artist’s essence. While varied in form and content, both the ideas of authenticity and unique gestures unite the works. Each artist renders an exceptional sense of spontaneity, freedom, and resolve, which suggest the character of the maker—exploring issues of culture and society within larger historical and contemporary contexts.mana gallery 3

for more information click here.

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Oliviero Rainaldi Italian sculptor and painter in DIFC Dubai - DUBAI INTERNATIONAL FINANCIAL CENTRE AND D3http://tandismag.com/32143/oliviero-rainaldi.html http://tandismag.com/32143/oliviero-rainaldi.html#respond Wed, 15 Mar 2017 17:38:19 +0000 http://tandismag.com/?p=32143 DUBAI INTERNATIONAL FINANCIAL CENTRE (DIFC) AND D3   در وب سایت ببینید

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OLIVIERO RAINALDI ART EXHIBITIONS AT
DUBAI INTERNATIONAL FINANCIAL CENTRE AND D3

The first solo Exhibitions in the UAE by word-renowned Italian sculptor and painter Oliviero Rainaldi. His sculptures will be on display for six months in DIFC and his paintings and drawings will be showcased from 14 -30 March in d3 at Sconci Art Gallery.
Rainaldi’s exhibitions in Dubai have been organized by Sabrina Menichetti and Laura Garzia in partnership with Studio Arte 15 – an Art
Consulting firm specialized in art advisory and curatorial services.

Oliviero Rainaldi
The first public exhibition in the UAE by world-renowned Italian sculptor and painter Oliviero Rainaldi is hosted by Dubai International Financial Centre (DIFC), the leading international financial hub and destination for lifestyle, arts and culture. The exhibition will see a display of four elegant masterpieces by Rainaldi on the area encircling the iconic Gate Building.

Rainaldi’s sculptures will be on display for six months, as part of the DIFC’s newly launched Art Integration Programme, which seamlessly weaves art into the fabric of the community, while connecting people through creative outdoor living. The Art Integration Programme will also showcase the artworks of British artist, and one of the world’s most distinguished sculptors, Sir Tony Cragg.

Raja Al Mazrouei, Senior Vice President – Marketing and Corporate Communications at DIFC Authority, said: “We are looking forward to bringing the works of renowned artists Oliviero Rainaldi and Tony Cragg to our community of over 21,600 professionals. Exquisite pieces from both artists will add value to the DIFC’s art scene, enhancing the cultural experience for those living and working in the district.”

Rainaldi’s exhibition, The nature of things, features four works created from bronze: Human Baptisms (2003), Human Baptisms II (2009), Argonaut (2010) and Fallen (2013). Two of these pieces will be featured at DIFC Art Nights, where the exhibition will be launched, on 13 March 2017 and will be displayed for a week in the Gate Village. Rainaldi’s exhibition at DIFC is sponsored by Maserati and takes place under the auspices of the Consulate General of Italy in Dubai.

Alongside the outdoor exhibition hosted by DIFC, 30 of Rainaldi’s paintings and drawings are showcased from 14 – ۳۰ March 2017 in d3 @ Sconci Art Gallery, the first Italian contemporary gallery in Dubai. The exhibition Examples is a journey through Rainaldi’s artistic growth since 1989 and to date and it is held under the auspices of the Consulate General of Italy in Dubai.

Rainaldi’s exhibitions in Dubai have been organized by Sabrina Menichetti and Laura Garzia in partnership with Studio Arte 15 – an Art Consulting firm specialized in art advisory and curatorial services.

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Title: The Nature of Things
Location: Dubai International Financial Centre
Dates of exhibition: 13 March – ۱۳ September 2017
Opening: 13 March 2017, 7:00 pm
Sponsored by: Maserati
Under the auspices of: Consulate General of Italy in Dubai
Organized by: Sabrina Menichetti and Laura Garzia in partnership with Studio Arte 15

more informations: studioarte15.com

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Title: Examples
Location: Sconci Art Gallery, d3 – Dubai Design District, building 8, 1st floor, 107-108
Dates of exhibition: 15 -30 March 2017
Opening: 14 March 2017, 7:00 pm
Under the auspices of: Consulate General of Italy in Dubai
Organized by: Sabrina Menichetti and Laura Garzia in partnership with Studio Arte 15
Info: info@sconcigallery.com

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Shirin Art Gallery Art Dubai 2017 | Booth M11 - Hadi Hazaveihttp://tandismag.com/32102/shirin-art-gallery-art-dubai.html http://tandismag.com/32102/shirin-art-gallery-art-dubai.html#respond Wed, 15 Mar 2017 10:40:58 +0000 http://tandismag.com/?p=32102 Hadi Hazavei   در وب سایت ببینید

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Shirin Art Gallery in Art Dubai 2017 | Booth M11
Hadi Hazavei
A Selected Works from 1960’s

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Shirin Art Gallery is once again proud to be part of the fourth consecutive year of Art Dubai Modern.
Please join us at booth M11 to view a selection of works by Hadi Hazavei, from the 1960’s at Mina A’salam, Madinat Jumeirah.
For more information click http://www.artdubai.ae

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Collectors & Patrons Preview: 14 March | 3 – 9.30 PM
Ladies Preview: 15 March | 1 – 4 PM
VIP Opening (Invitation only): 15 March | 4 – 9.30 PM
Public Days: 16 March | 4 – 9.30 PM
۱۷ March | 2 – 9.30 PM
۱۸ March | 12 – 6.30 PM
SATURDAY MARCH 18: 10:30 – ۱۱:۳۰ AM – MANAGING ESTATES: A GALLERY STORY
Panelist include: Shirin Partovi Tavakolian, Founder, Shirin Gallery, Tehran / New York

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Hadi Hazavei (born 1939, Iran) is known for his highly active career as an artist, scientist, educator, and scholar, extending across many decades, countries, and cultural contexts. His artistic practice has engaged a number of different media and aesthetic traditions, from Persian calligraphy, carpet-weaving, and folk art to the neo-traditionalism of Iran’s Saqqakhaneh school and Euro-American Abstract Expressionism.
Hazavei left Iran after nearly a decade of teaching to travel, spending time in Europe, South America, and the United States. He continued to make art throughout his travels, incorporating elements of diverse art historical conventions and cultural motifs into his innovative practice. A dedicated arts educator and scholar, he completed a PhD in Art Education at Columbia University in 1975, before serving as the Head of Art Education at Tehran’s Negarestan Museum between 1977–۷۸٫ Hazavei has since settled in New York City, where he conducted post-doctoral research in Museum Studies at
New York University until 1989. He has authored numerous books on art and education; exhibited work and organized dozens of exhibitions internationally; and produced murals for towns throughout the United States and in his early home in Aradan.

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Shirin Gallery is a contemporary art gallery and platform for curatorial and educational activities, which seeks to foster international cultural exchange. Originally established in Tehran in 2005, the gallery opened a second space in Chelsea, New York in 2013. Through the presentation of works from emerging and established Iranian artists, Shirin Gallery is committed to the exhibition of works that push the boundaries of contemporary art, as well as international perceptions of the Middle East.

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Arte Laguna Prize - Opening and awarding Ceremonyhttp://tandismag.com/32025/arte-laguna-prize.html http://tandismag.com/32025/arte-laguna-prize.html#respond Tue, 14 Mar 2017 10:09:04 +0000 http://tandismag.com/?p=32025 Arte Laguna Prize is glad to invite you on Saturday 25th March at 6 pm to the opening ceremony of the finalist artists of the 11th edition at the Nappe of the Arsenale in Venice.   در وب سایت ببینید

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Opening and awarding Ceremony
Arte Laguna Prize is glad to invite you on Saturday 25th March at 6 pm to the opening ceremony of the finalist artists of the 11th edition at the Nappe of the Arsenale in Venice.

The evening will feature the awarding ceremony of the artists and the finalist performances will be staged live.
Cocktail to follow.

EXHIBITIONS DETAILS
Nappe Arsenale: painting, sculpture, photography, video art and performance, land art.
TIM Future Centre: virtual art and digital graphics.
From March 26th to April 9th every day 10am – 6pm.
Free entranc

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The guided tours
Guided tours on Sunday March 26that 11am at the main exhibition in the Nappe of the Arsenale and at 3pm at TIM Future Centre. Guided tours can be booked on other days calling +39 0415937242.
The finalist artists
They are 125 and come from 41 Countries.
The exhibitions showcase works of painting, photography, sculpture and installation, video art, land art projects, performances, virtual art and digital graphics.

art laguna 1 for more information visit artelaguna prize

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The Impact of Tangency | Nastaran Safaei & Farnaz Rabieijah - Mine Galleryhttp://tandismag.com/31727/the-impact-of-tangency.html http://tandismag.com/31727/the-impact-of-tangency.html#respond Wed, 08 Mar 2017 08:56:53 +0000 http://tandismag.com/?p=31727 Mine Gallery   در وب سایت ببینید

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The Impact of Tangency  Nastaran Safaei & Farnaz Rabieijah
Opening: MARCH 9, 2017
MARCH 9 – APRIL 25 | 7:00PM – ۱۰:۰۰PM
Mine Gallery

The Mine is pleased to present The Impact of Tangency, a two-person show by Iranian artists Nastaran Safaei and Farnaz Rabieijah. A tangent is like a glancing blow. Perhaps you barely feel it. Perhaps the actual point of contact is so small so as to be nearly imperceptible, but it still leaves its mark all the same. A bruise spreading across a cheekbone; ink blooming across paper. We talk about tangents—that point when an object, any object, touches a curve—as distractions, as a kind of veering off course. At the same time, there’s a certain honest immediacy in following a tangent, and perhaps a certain vulnerability too.

Safaei and Rabieijah are best known for their large installations that translate contemporary gendered and societal concerns, often at a monumental scale. Here, the artists translate themselves. The longtime friends found themselves standing at similar junctures in their lives, as artists and as women both. In these new bodies of work, they trade in their usual medium of sculpture, which involves extended tactile contact and a very manual engagement with the materiality of the object, for a series of experimental approaches to print. What emerges, unfurling luxuriously onto paper like a long-dormant shoot, is a feminized interiority and a sense of connection, both to nature and to the outside world.

In her Body Impressions series, Safaei uses her own body to make marks on textiles. Unlike the full-body prints of Jasper Johns or David Hammons, however, the body is not depicted but only intimated here, with smears and swooshes that might be a shoulder or perhaps a knee; it is unclear. Spidery skeins of dots connect body parts to each other, sometimes trailing off over the page with a tentativeness that directly contrasts with the assertive intensity of these body prints. In Rabieijah’s Spinning Plate series, meanwhile, plants are pressed into paper to leave beautiful deboss-like indentations. Unlike pressed and preserved plants, the botanic matter is then remove and discarded, leaving only the void behind, like a trail of perfume after someone has forever walked away.

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About Nastaran Safaei

Sculptor Nastaran Safaei (b. 1984, Tehran) works in multiple mediums including pottery, clay, fiberglass, papier-Mache and various metals. Drawing from Jungian archetypes and ancient Iranian myths, she imbues mundane, objects with her experiences to explore notions of femininity, time, the subconscious, and psychological healing. Her work has been widely exhibited both in Iran and around the world, including shows at the Tehran Museum of Contemporary Art (Iran), Kunstverein Konstanz (Germany), Seokdang Museum of Dong-A (South Korea), and Kunst Zeug Haus (Switzerland).

About Farnaz Rabieijah

Born in 1981 in Tehran, Farnaz Rabieijah studied Biology at Tehran Azad University and graduated with an MSc in Plant Biology from Tehran Payam e Noor University in 2007. These organic, vegetal forms would later find resonance in her sculptural practice, the two main strands of which deal with hearts, figures and letterforms. She has exhibited widely in the region and in Europe, including participations in the 10th Iranian contemporary Ceramics Biennial (2011), Iranian Contemporary Sculpture Biennial (2011). Rabieijah won the “Best Guest” prize of the British Art Medal Society in 2012, and in 2015 was shortlisted for the Magic of Persia art prize.

The Mine Gallery: Opening hours: 10:00AM – ۷:۰۰PM| Saturday – Thursday

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Bita Vakili | A Critic on Bita Vakili’s exhibition | Should pass - By Javid Ramezanihttp://tandismag.com/30987/bita-vakili-exhibition.html http://tandismag.com/30987/bita-vakili-exhibition.html#respond Sat, 25 Feb 2017 10:50:38 +0000 http://tandismag.com/?p=30987 By javid Ramezani Translated by Behrad Sharifi   در وب سایت ببینید

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Translated by Behrad Sharifi

The presence of objects on painting canvas is called collage; this presence is because of artist’s needs to outside world and parallelism of objects and forms with what artist is trying to say. Object is real in nature and is not an image, thus artist treats it with care and precision. Records of object’s presence on canvas is going back to the time of conceptual artists in Iran such as Marcos Grigorian and Saghakhaneh’s artists. But today, many artists in artistic media crisis have turned towards this trick such as famous artist Bita Vaikili who is a well-known artist in international auctions. She has presented fifteen large-scale painting with mixed media techniques in E1 gallery.bita vakili 4

This series in continuation of Vakili’s past works are landscapes from a distance using collage of objects and thick colors. In these works artist has turned towards using realistic forms such as bridges, roads and tracks. Dual dominance of static forms and curves, which had formed Vakili’s previous years image tone, remains to be seen in this series.bita vakili 7

In her statement she points out the dual status of inside and outside, east and west, now and future.

From her point of view metal structures and modern urban forms with static forms and cell towers and repetitive square cells are the symbol of the west, and the presence of twisted clouds and embryos inside human body is a symbol of the east. From the perspective of the artist this is the eternal conversation that in contemporary historical circumstances we have to go through.bita vakili 18

There are emotional and expressional behaviors in Vakili’s works that we can see in the sophisticated use of colors, which are symbols for earth and sea’s texture; as we have seen in her other works, on the other hand she controls her behavior in visual area, in a way that at the beginning of creating a collage it has a predefined creative process and it’s ending can be predicted. Maybe Vakili can be called as a conceptual and expressional artist, because painter’s passion for collecting abstract visual information such as texture, color and material and on the other hand meaningful and specific references to the subject of her exhibition, all affirms this claim.bita vakili 6

The notable point in these works is that contemporary art is less tolerate towards uniformity and repetition. Although Vakili is trying to have more realistic tone, but she has done nothing to escape her formed logic of her previous works. Artist’s technique and material doesn’t involve a search, as it is representation of its style. Her works have sophisticated forms and compositions are artful, but search is nature of painting is considered essential for an established artist who has a personal style and audience also wants it.bita vakili 8

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Light-Statues by Su Studio| e1 art gallery - Thursday Feb 16th, and Friday Feb 17th 2017http://tandismag.com/30266/su-studio-e1-art-gallery.html http://tandismag.com/30266/su-studio-e1-art-gallery.html#respond Tue, 14 Feb 2017 07:18:54 +0000 http://tandismag.com/?p=30266 Thursday Feb 16th, and Friday Feb 17th 2017   در وب سایت ببینید

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Light-Statues by Su Studio
Artist: Shahryar Hatami- Navid Salajegheh
e1 art gallery

Thursday Feb 16th, and Friday Feb 17th 2017 / Visiting Hrs: 4-8 pm
We kindly ask you not to be accompanied by children under 10 years old

Address: ۱, Hamid Alley, Lessani st, Jebheh st, Mahdiyeh st, Elahiyeh
Tel.: 22607126 & 22612142-3

“SU” is a collaborative design project between Shahryar Hatami (artist-designer) and Navid Salajegheh (artist-architect), through which they gather the industrial aesthetics into their formalism studies. In SU’s first generation products which are about how to work with metal, the focus is on the shape and its shadows through the light. Each product of this collection is a light-statue which studies a specific approach on the material and the translation of its shape into the shadows

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Aaran Projects | Homa Emami - Solo exhibition of paintings and installationhttp://tandismag.com/30201/aaran-projects-homa-emami.html http://tandismag.com/30201/aaran-projects-homa-emami.html#respond Mon, 13 Feb 2017 08:46:54 +0000 http://tandismag.com/?p=30201 Solo exhibition of paintings and installation   در وب سایت ببینید

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Homa Emami
Title: The Life of the Garden
Solo exhibition of paintings and installation
Opening at Aaran Projects on 17.02.2017, on view until 06.03.2017
Aaran Projects
Neauphle Le Chateau, Lolagar st. No 5.
Tel +98 21 66702233
For Opening day: 4-8
And everyday visiting hours, 1-7
 
 
AAran Art Gallery. Tehran.
No 12 dey street. North Kheradmand ave.
Tel +9821 88829086- 9
www.aarangallery.com

Excerpts from article written by Masoud Sadedin:

Homa Emami is a conceptual artist that restrains her emotions, but stretches her senses, observes them sensitively, and translates these feelings and experiences into form. The works are diverse, sometimes complex, sometimes minimalistic, in execution usually simple, even coarse and yet with a sense for the aesthetics of the inconspicuous. Although in the classical sense she is a good draftsman and sculptor, she does not use her superb skills and craftsmanship in her objects and installations, so that the essentials can be noticed.homa emami

Emami’s work is characterized by the ambivalent relationship between modern approaches of reduction to basic elements of art, to her own observation and experience from living life. The works are deeply rooted in the existential themes of our time and related memories. In every work you can feel a discreet, restrained energy which can only be observed in those artists who create art from an inner urge and necessity. Her work is associative, and evokes the experiences and memories that every viewer has experienced; A way of appealing to common sensations, an archetypical long term memory. As a rule, many of the installations and structures are based on this archetypical schema, for example when you apply a tree leaf to a thin rod and write “garden” and put it in a lump of clay. It is the sensual experience of the leaf that hides the memory of nature in itself and the concept of garden, which associates each viewer with their own history. A minimal deformation that triggers a cosmos of memories and experiences in each other; A leaf, a concept, a rod as a tribe and the earth. Modest, but effective.
Homa Emami collects and archives, an intuition that makes sense of the interpretation of the collected or shaped elements. Collecting and archiving is a primal property of mankind, presumably because man consciously perceives the finitude and longs for the permanence and the eternal: the realization of his own fingerprint and the shaping of his own unique legacy.
Emami’s work is comparable to that of an archaeologist, who, despite his knowledge, has something to look at and investigate. With the difference that her objects and installations represent not only found elements, but are shaped and constructed by her. These installations have archaeological approaches on an intellectual level.homa emami 2

Homa Emami was born in Iran in 1955, and after graduating from Tehran’s prestigious Faculty of Fine arts, she continued her studies in Germany and at the moment is lecturer at the Music and Arts School of Bruhl. Shelives and works in Cologne. Her work has been shown in a number of institutions in Germany and Europe.

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A talk with Samaneh Ahmadi painter - By javid Ramezanihttp://tandismag.com/29836/talk-samaneh-ahmadi-painter.html http://tandismag.com/29836/talk-samaneh-ahmadi-painter.html#respond Tue, 07 Feb 2017 08:16:43 +0000 http://tandismag.com/?p=29836 By javid Ramezani .Translated by Behrad Sharifi   در وب سایت ببینید

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Translated by Behrad Sharifi

– Please introduce yourself and tell us a little bit about your biography.
– My name is Samaneh Ahmadi, I was born in 1986 and graduated from Art and Architecture college of Azad University. My first group exhibition was in 2009 in Golestan Gallery and my first solo exhibition was in 2011 in the same gallery.
– So before 2009 you had no exhibition and that was the first time you exhibited your works, why then?
– In fact, it was because of my teacher Mr.Joday and I would like to thank him here. In 2008 I sent my works for Afarinesh festival and I was not anticipating to be accepted but it did and also won, this became a motivation to show my work to Ms. Golestan and she also kindly accept them, and next year they were exhibited in ‘hundred artwork, hundred artist’ exhibition. In 2011 I had a solo exhibition in the same gallery and from that year on I have participated in all of ‘hundred artwork, hundred artist’ exhibitions except one. I was also planning for another solo exhibition, which was canceled due to personal issues. Also I was suppose to have an exhibition in December that canceled too, but the main reason for its cancelation was that I was sending my works for Nord Art. Beside Golestan Gallery from 2009 I have participated in different group exhibitions and festivals.

samaneh ahmadi
– So how did you hear about Biafarin?
– Last year some of my friends shared entry call for Haft Negah (seven vision) on web, in fact it was for the first time that someone out of usual seven galleries were able to introduce artists, in a sense maybe it was eighth vision. Previous year I participated in Haft Negah through Golestan Gallery but that year I decided to go through them. Before that I had no knowledge of Biafarin and its activities.
– Why it didn’t continue?
– I don’t know exactly, later Ms. Golestan told me that this opportunity was given to Biafarin only for one year. As I mentioned before I had no prior knowledge about Biafarin. To be honest that year when I was participating in Haft Negah I was not thinking my collaboration with them would continue, until I had a conversation with Mr.Reza Aiati and he kindly gave me a detailed description about Biafarin and its activities. I submitted my resume and artworks and become a basic member. Now Biafarin is sending me all domestic and international entry calls as it do for all the members.
– Did you participate in Nord Art because of Biafarin’s emails? What is Nord Art and what happened there?
– Yes, I had heard about Nord Art from my classmates, and then I decided to participate in this festival when I recived a mail from Biafarin. Nord Art is one of the oldest and most prestigious European festivals that held every year. Mr.Aiati told me that all three of my work has been accepted and after a while they called me to say they all have been sold. Nord Art 2016 had about 4,400 participants from 109 countries out of which 250 artists from 50 countries were selected; there were two artist from Iran, me and MRS. Samira Alborzkoh.
– What is you main issue with our visual atmosphere and what is missing for you?
– If you mean in Iran, I think there are some weaknesses.

samaneh ahmadi 2
– What do you mean by weakness?
– Unfortunately, in recent years many young artists in Iran are trying to produce works that are only good for sales due to financial problems and I think it’s a big weakness and can have serious damage for Iran’s visual art. There should be research why is this happening? Those who have a personal view in their work also don’t have much luck in selling their work. Most galleries are also dealing masterpieces and try to work on artworks of masters and classics. Of course, it may happen due to various reasons, including poor economic conditions in Iran, which obviously is not without effect on collectors and art lovers. At best, unfortunately, most of galleries limit themselves in supporting only a few young artists. The motivation for the creation of unique and innovative artwork is taken from young artists or at least limited to certain individuals. I think much of this is due to lack of support. In the best scenario when a gallery gives an artist opportunity to be seen, most people think selling is not a priority for the artist. But in reality a young artist same as everyone else also has financial need, especially with all the energy and time he or she is spends on creating artwork.
Every year many galleries start up without growing trend in the art economy and to the benefit of artists.
– What about Nord Art? Did you win a prize and they bought your work?
– I didn’t won a prize, I was chosen and later my works were sold in the exhibition.

samaneh ahmadi 1
– Did you sell only those three works?
– No, a couple from Denmark saw my works in Nord Art exhibition in Germany, when they found out my work were sold, they contacted me through Biafarin and asked whether I have any other work for sell. I offered them three works close to those in festival and after about one month negotiation they bought two of them.
– So are you satisfied?
– Yes, This festival was a good experience and had financial gain too. Because this past two year despite of having various exhibitions I didn’t have much sell and it’s annoying.
– Do you believe through online development and international curating we can revive and grow our art market?
– Yes, hundred percent.
– Do you have shown this works elsewhere and talked about them?
– At that time Honar online news agency published news that two Iranian artists were accepted in Nord Art, and they also published photo of my works. After that Tandis magazine also devoted a paragraph to this topic.
– Very well, at the end of this interview we will also display your works for our readers, good luck to you.
– Thank you.

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kiarang Alaei | puolilapaiseva - photo exhibitionhttp://tandismag.com/29774/kiarang-alaei-puolilapaiseva.html http://tandismag.com/29774/kiarang-alaei-puolilapaiseva.html#respond Mon, 06 Feb 2017 11:20:46 +0000 http://tandismag.com/?p=29774 photo exhibition in fanland   در وب سایت ببینید

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Statement The present photos are the result of my wanderings through a land called “Gilan”, a significant region in the north of Iran. like an unread book, “Gilan” whispers itself in my ear as the rain pours on the old cracked pavements of “Saadi” Street. Unlike most of today’s cities it is a weird and mysteriously damp land.

The Semipermeable consists of a number of photos whose concern is neither to document topography nor to represent precisely the geographical features of the land. It is not ethnographic either. To me, “Gilan” is not simply a place but rather an opportunity which allowed me, on my occasional visits during two years I photographed there, to find a solitude and let my mind my flow, helping me to explore landscapes which were so close to my childhood dreams. Hence these photos are my personal interpretation of the region, a kind of revelation for me to be able to explore that inspiring region and adapt it to my inner world. They are also an attempt to reflect my personal expression of the place, the relationship between people living there and the objects’ attachments to their surroundings. Now after two years when I look back at the photos I feel “Gilan” as a third person has carried me himself to all those landscapes, sometimes passing me through mist and sometimes not letting me to proceed any further. Infact on some occasions, part of me could pass a thick layer of mystery and on some others I was blocked behind wall of perception. The Semipermeable includes single photos that were taken while wandering the land with no apparent aim. Like any other photo, my work portrays a part of the whole Truth. These photos, subjective and in some cases documentary are all captured to connect part of my soul to “Gilan” and stop the flow of time – the nuanced moments I enjoyed – so that all things represented inside them freeze and last forever. It was the only way for me to make “Gilan” part of myself and not forgotten. Kiarang Alaei

kiarang alaei

I Born: 1976 | Iran

 Honorary M.A. in photography, Ministry of Culture and Islamic Guidance.

Photography lecturer in Ferdows University of Mashhad | Jury Member of

Various Photography Festivals Held in Iran like 11th , 12th & 13th Iran Photo

Biennale| Administrative Assistant of Various Photography Festivals in

Iran| Invited to the Berlin Talent campus for the film “Bear Me Faraway”

(Germany-2006) | Winner of Silver Medal for the film “ Bear Me Faraway”

Ebensee Festival (Austria,2006). |Bronze Medal for the film “U” in

Amateur Filmmaking Union UNICA ( Poland,2005)| Grand award for the

best animation: the film “U” in Da Kino Festival (Romania,2005)| Bronze

Medal for the film “ Glassy Walls” in Brno Festival (Czech Republic ,1998)

and Bronze Medal for the film “ Cementy Hands” in Festival of Nations

(Austria,1997)| Solo Photography Exhibitions: Semi-Permeable (Paris, De

la Voute Gallery ,2016)| I was away (Tehran, No.6 Gallery ,2015)| The

Second Scene of The Adventure (Tehran, Azad Art Gallery,2014) |Even

When We Do not Know! (Tehran, Azad Art Gallery, 2012)| A Tranquil

Humidity (Mashhad Artists Forum Gallery ,2011)|Somewhere Farther

(Mashhad Artists Forum Gallery, 2010)| Writer and Translator of Books |

Director of Short Films.

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Reza Lavasani ’s exhibition review - By Javid Ramezanihttp://tandismag.com/28736/exhibition-reza-lavasani.html http://tandismag.com/28736/exhibition-reza-lavasani.html#respond Sun, 22 Jan 2017 09:47:38 +0000 http://tandismag.com/?p=28736 Reza Lavasani is sculptor, illustrator and painter and has displayed a rich set of his drawings in this exhibition. As this exhibition’s name implies journey in the valley of lyrics and poetry is the central approach of the artist. If we consider drawing as the clearest development of painterly mind, in manifestation of genuine visual phenomena and multilateral sublime ideas, imagination and systematic research of Lavasani has given a unique character to his work.   در وب سایت ببینید

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Reza Lavasani ’s exhibition review
By Javid Ramezani
Translated by Behrad Sharifi

لینک فارسی مطلب را در اینجابخوانید.

Today we think less about language, indeed it should be noted that the path of grammar research and linguistics has its own followers. Challenge arises when the language foundation is getting destroyed, in this case despite the existence of language research academies what can be offered? Currently the concept that has held language as a symbol of wisdom and capability of ethnic group has been misunderstood. How can this truth be proved that language is the root for thought? Is there any relation between language and scientific development, education, health, order and life?

What is the answer? It must be said that language is not only literature, but rather a specific conception that has shaped is a specific geography over the years.

reza lavasani 6

When we examine a culture’s world of communicative signs, its authenticity will be determined. These signs in the valley of art are in the form of music, painting, theater and literature. In other words artistic skills are count as foundation, infrastructure and a tone of thought.

During the pas half century, visual artists were trying to create a native tone, and two essential approaches can be explored among them: First, those who borrowed content from tradition and gave it a modern form or contrary to that adopted the form from tradition and looked content with a new look.

reza lavasani 1

Reza Lavasani was born in 1961; in 80s he completed his studies in painting at conservatory and then at Tehran University.

Reza Lavasani is sculptor, illustrator and painter and has displayed a rich set of his drawings in this exhibition. As this exhibition’s name implies journey in the valley of lyrics and poetry is the central approach of the artist. If we consider drawing as the clearest development of painterly mind, in manifestation of genuine visual phenomena and multilateral sublime ideas, imagination and systematic research of Lavasani has given a unique character to his work.

Artist’s emphasis on continuity and search has revealed a step-by-step process, which can be seen in his work. With a holistic look these works can be divided into two categories: First drawing type images with the intention of liberal studies with a pen on paper that tries to review elements such as horses, mountain and pine tree; elements that are seen frequently in Iranian native paintings. The other category is the images with painterly arrangements with gold colored background that has studied variety of diversity. In this category the elements of first category has been worked in a traditional and sometimes western atmosphere.

Lavasani’s most prominent works are emerged from solid and simple surfaces and turned into new forms with sensitivity and commitment to ancient tune such as mountains of Baghdad school or trees of Safavi painters.

reza lavasani 2

Audience in encounter with these elements finds the quality of feeling and imagination that regardless of naive representations is native art.

Despite of being innovative, images are familiar and modern, by eliminating redundancies, passing color, relying on line and quality of pattern they have revealed the painter’s approach.

In Lavasani’s painterly works we witness forms that are result of artist’s distress and psychological suspense. Intertwined tissue of cypress trees, which is enclosed with Nastaliq letters, is the iconic look of artist towards language essence of thought. Essence of these artworks is in the dialogue between artist and audience, which is expressed by Lavassani’s determined angle of thinking towards language. The communication form of contemporary thought horizon with historical and cultural interaction, indeed been subdued in the one-sided monologue. Representation of tradition only in form and without content is not adequate for contemporary art quest.

reza lavasani

Lavasani’s works in glossing old patterns is longing to create new vocabulary in his images; despite of being fantasy they are promising a brand new discourse. In these artworks we witness visual metaphors that brought visual literature and poetry.

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ایمان راد در آرت‌ فر آنتایتلد سان‌ فرانسیسکو - دستان شرکت در آرت‌ فر آنتایتلد سان‌ فرانسیسکو ۲۰۱۷ را اعلام می‌کند.http://tandismag.com/28350/%d8%a7%db%8c%d9%85%d8%a7%d9%86-%d8%b1%d8%a7%d8%af-%d8%af%d8%b1-%d8%a2%d8%b1%d8%aa%e2%80%8c-%d9%81%d8%b1-%d8%a2%d9%86%d8%aa%d8%a7%db%8c%d8%aa%d9%84%d8%af.html http://tandismag.com/28350/%d8%a7%db%8c%d9%85%d8%a7%d9%86-%d8%b1%d8%a7%d8%af-%d8%af%d8%b1-%d8%a2%d8%b1%d8%aa%e2%80%8c-%d9%81%d8%b1-%d8%a2%d9%86%d8%aa%d8%a7%db%8c%d8%aa%d9%84%d8%af.html#respond Wed, 11 Jan 2017 09:56:56 +0000 http://tandismag.com/?p=28350 دستان شرکت در آرت‌ فر آنتایتلد سان‌ فرانسیسکو ۲۰۱۷ را اعلام می‌کند. دستان در این آرت‌ فر آثاری جدید از ایمان راد را نمایش خواهد داد. طراحی چیدمان و غرفه‌ی دستان در این آرت‌ فر نیز توسط هنرمند انجام شده است. آثار ارائه‌ شده، مجموعه‌ ای نقاشی ملهم از سبک «گل و مرغ» در فضایی....... ادامه در سایت تندیس   در وب سایت ببینید

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آرت فر آنتایتلد
غرفه ی سی ۶
ایمان راد
گشایش: ۲۴ دی
پایان:  ۲۶ دی ۱۳۹۵

۲۴ و ۲۵ دی : ۱۱ صبح تا ۷ عصر

۲۶ دی : ۱۱ صبح تا ۵ عصر

iman raad 1

Untitled (Detail), Marker on Watercolor Paper, 152.5 x 223.5 cm

دستان شرکت در آرت‌ فر آنتایتلد سان‌ فرانسیسکو ۲۰۱۷ را اعلام می‌کند. دستان در این آرت‌ فر آثاری جدید از ایمان راد را نمایش خواهد داد. طراحی چیدمان و غرفه‌ی دستان در این آرت‌ فر نیز توسط هنرمند انجام شده است. آثار ارائه‌ شده، مجموعه‌ ای نقاشی ملهم از سبک «گل و مرغ» در فضایی پرآشوب، با تجربه‌ هایی جدید و تحت تأثیر نگارگری ایرانی هستند.

ایمان راد (م. ۱۳۵۸، مشهد) فعالیت هنری خود را در طراحی گرافیک شروع کرد و در طول کارش برنده‌ی چندین جایزه‌ی ملی و بین‌المللی شد. او یکی از مشهورترین طراحان نسل خود است. تجربیات او در هنرهای تجسمی بسیار گسترده بوده‌اند و شامل چاپ، مجسمه، چیدمان، و پرفرمنس هستند. آثار ایمان راد هم از نظر تکنیکی قوی و هم از نظر رویکرد متنوع بوده‌اند، و احتمالاً همین ویژگی باعث پذیرفته‌ شدنش در دوره‌ی کارشناسی ارشد هنر در مدرسه‌ی هنر دانشگاه یِیل شد. آثار او تاکنون در ده‌ ها نمایشگاه در ایران، آمریکا، انگلستان، اروپا و خاورمیانه به‌ نمایش درآمده‌اند.

آثاری که در آرت‌ فر آنتایتلد سان‌ فرانسیسکو ۲۰۱۷ به‌ نمایش درآمده‌اند از مجموعه‌های نقاشی ایمان راد با تکنینک مارکر روی کاغذ و اگ‌ تمپرا روی تخته‌ی چوبی (۲۰۱۶) انتخاب شده‌اند. آن‌ها استنادهای متعددی به نقاشی ایرانی، کاشی‌ کاری، نگارگری، و همچنین طراحی گرافیک و صنعت چاپ دارند. آن‌ها هم به ریشه‌های کار و منابع الهام این هنرمند اشاره دارند و هم به پیش‌زمینه‌ی کاری او.

زبان نقاشانه‌ی ایمان راد را بیش از هرچیز می‌ توان در رویکرد او دید. خطاهای عمدی گاه‌ به‌گاه در خط‌ گذاری، رنگ‌ گذاری و بخش‌ بندی، به صنعت چاپ و نشر اشاره دارند. همچنین، پالت رنگی در این آثار محدود است و رنگ‌های ترکیبی منحصراً در جاهایی دیده می‌ شوند که رنگ‌ها روی هم قرار داده شده‌اند. نمایش پرسپکتیو به‌ طور صریحی به نگارگری اشاره دارد، و پرندگان و کاسه‌ها یادآور سنت «گل و مرغ» هستند. آن‌ها در فضایی پرآشوب و پسارستاخیزی قرار داده شده‌اند، و تکرار عناصر و بازی‌هایی که در پرسپکتیو دیده می‌شوند، چندوجهی بودن آثار را چند برابر می‌کنند.

Dastan is pleased to announce its first participation at UNTITLED, Art -San Francisco 2017 with a solo presentation of recent works by Iman Raad. The show is presented in a booth fully designed by the artist consisting of new works, a series of “Gol-o-Morgh”-style paintings in a chaotic context with a new approach towards perspective inspired by Persian Miniature.

Iman Raad (b. 1979, Mashad, Iran) started his career as a graphic designer, winning many national and international awards and becoming one of the most celebrated Iranian designers of his generation. Iman Raad’s career in visual arts spans from painting and printmaking to sculptures, installations and performances. His works show both mastery in technique and diversity in approach and content, taking him to study his MFA at the prestigious Yale University School of Art. His art has been featured in tens of exhibitions in the USA, the UK, Europe, the Middle East and his homeland Iran.

The pieces presented at UNTITLED, Art — San Francisco 2017 are from Iman Raad’s 2016 marker on paper and a series of egg tempera on wooden board works. They contain multi-layered allusions to traditional Iranian painting, tiling, and Persian Miniature, as well as references to graphic design and the printing industry. They highlight both the artist’s cultural roots and inspirations, as well as his professional background.

The painterly language of Iman is best seen in his approach. The occasional deliberate errors in delineations, coloring and tiling hint inspirations from press and printmaking. Additionally, the color palette remains limited and the colors are only mixed when applied on top of each other. The representation of perspective clearly resembles that of Persian Miniature, with the birds and the bowls working like the traditional “Gol-o-Morgh” (The Flower and the Bird). They are placed in a chaotic and post-apocalyptic atmosphere with repeated elements and plays in perspective amplify the multi-dimensionality of the works.

UNTITLED, Art – San Francisco

Booth C6

Iman Raad

۱۳ – ۱۵ January 2017

January 13th and 14th : 11 am to 7 pm

January 15th : 11am – 5 pm

iman raad

Marker on Watercolor Paper, 76 x 56 cm

 

 

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A talk with Kambiz Derambakhsh - illustration and graphicshttp://tandismag.com/27079/a-talk-with-kambiz-derambakhsh.html http://tandismag.com/27079/a-talk-with-kambiz-derambakhsh.html#respond Mon, 12 Dec 2016 08:23:16 +0000 http://tandismag.com/?p=27079 illustration and graphics   در وب سایت ببینید

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 Tandis Website|By Ali NoorPoor
 translated by behrad sharifi
متن فارسی گفتگو

Kambiz Derambakhsh (born 1942 Shiraz, Iran) is a veteran artist in the fields of caricature, drawing and graphics. At the age of 15 Derambakhsh began his collaboration with Iranian reputable publications, along his 47 years of continuous work with domestic and international press, he has worked with foreign press such as The New York Times, Der Spiegel, Nebelspalter. Also he has taught in Fine Art university of Tehran. He has won prestigious international competitions in Japan, Germany, Italy, Switzerland, Belgium, Turkey, Brazil and Yugoslavia. He has been a jury in several international exhibitions and also received Legion of Honor from French government in 2014.

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With his works, Kambiz Derambakhsh makes us to think about contemporary human, who may have any nationality or any role to play. With a thoughtful look he has experienced different visual elements and over the years he has reached to kind of enlightenment and by polishing has made it to an influential art.  An important point is the element of line beside his rare ideas, which engage every viewer. These lines have become so personalized that even without artist’s signature they are recognizable. Smooth, simple and exciting lines, which are moving strongly in frame to deliver artist’s concept of thinking and make forms.

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I studied at school of Fine Arts, but even at that time I was a famous caricaturist, I was working with respectable publications and everyone knew me. Hanibal Alkhas and Marcos Grigorian were my drawing teachers. I was working with famous newspapers; even my salary was more than my father’s who were an army officer. When I was fourteen my father was editor of army’s monthly journal, at that time a caricaturist was working there by the name of Tejaratchi. In summer holidays I met him there and his work impressed me and my father also encouraged me.

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A few sessions I worked on his drawings, my first work was printed in the same journal.  For a fourteen years old boy who his pocket money was five Tomans, hundred and fifty Tomans was very exciting. I left my studies and everything else and started to work hard, at first its money was interesting for me but later on I fell in love with caricature.

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I was working with famous magazines like Etelaat Haftegi and Sepid Siah, Dr.Behzadi director of Sepid Siah magazine gave me a job and I had two paged in that magazine at that time I was about fifteen years old. Before that I was selling my paintings in manouchehri street, which was a tourist place; mostly I was painting historical places and miniatures.

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Finding ideas is a creative work, for instant you cant teach a poet how to write a poem, talent and idea is an inner matter, which can be nurtured. Creativity can be obtained with practice but its basis should be inside that person in the first place. I have found some formulas for my own creativity and sometimes I tell younger artists how to work and find ideas. But some people wont teach to others and I think it’s wrong, because art is, in fact, like the rings of chain and artists are connected to each other. I have learned from others and others will learn from me, like the old days. The only artists who didn’t learn from each other were cavemen and their art was without imitation.

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 About his impressing ideas with simple and rational elements, Derambakhsh says: It’s not easy to reach this point; it needs years of hard work and effort. Today even in literature we see that stories have become shorter, people don’t have much time these days and they want to know everything as fast as possible. Best example that I can give you is Japanese haiku, which is too short and brief. This simplicity needs time and experience just like a diamond, which is a stone at first, but after many cuts it takes form and beauty. But art is more interesting because it always continues and it doesn’t have an end. When I started practicing drawing my work had too much details but by passing time it became simpler.

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My characters were not like this at first, they become simpler over time, they found life and turned into creatures that are moving, feeling and they can convey their feelings without words. They are understandable for every nationality because they have international visual language. Even when it’s a cold weather they are wearing jackets, I have given them these feelings and they convey it to others. These characters don’t have mimic, eyes or mouth. BY facial expression you can find out about their state of mind, but my characters use body language to show a feeling or a concept.kambiz deraam bakhsh 59

At least I have done forty to fifty years of journalistic work and always I’ve adapted to the demands of people and editor, for example if there was a book fair in Frankfurt my works were about book, writers or censor ship; any topic which be needed by that particular time. These days, environmental issues need attention and there are some topics that are general such as war, peace and migration, they are international issues. In my works poetic and literary aspects have merged journalism. Each one is an artwork and they don’t have expiration date, there are works for thirty or forty years ago, which are new topics even in these days, there are always issues that we can’t fix.kambiz deraam bakhsh 45

From age of fourteen H had habit of going to café; I was living there. No one would bother me, it was a great place to work for me, and I was also able to look at people and society. No one would gain anything by sitting at a closed-door room; you have to live between people. In a café you can meet different people learn new things that can affect your work. In a café I work on paper and will keep those, which are interesting for me. At first I used to throw them out but after visiting a drawing exhibition in Germany where all the works were from artists draft I started to keep mine. In those work I have worked on many characters.kambiz deraam bakhsh 22

My father was a filmmaker and my brother was a photographer but I didn’t like to work with technique. Steps in photography from developing to print were hard for me. But these days photography has become easier, first I started with a G15 and took these photos without any previous experience. But I found out that these subjects have a visual connection with my works. All of this happened very fast, for example one I was having lunch with my sister in Paris, there was a market close by and within one hour I took these subjects.kambiz deraam bakhsh 12

Technique is not everything, if you are interested first you have learn drawing then you can use computers. There are young artists who are in hurry, they come to me with ten or fifteen works and ask me how they can print them or looking for a publisher. My own book was published after eleven years of work. They just think about money and fame, being an artist requires persistence, hard work and research. They have to follow young artists works and exhibitions, today it’s easy and by one click you can see many works and artists. But at my time it was hard and even we had to buy books from outside of country, most of the thing that I have learned were self-thought.

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A dialogue with Nazaar Mosavi Nia - Self-imitation without Kamalolmolkhttp://tandismag.com/25688/dialogue-with-nazaar-mosavi.html http://tandismag.com/25688/dialogue-with-nazaar-mosavi.html#respond Sun, 13 Nov 2016 09:06:43 +0000 http://tandismag.com/?p=25688 Nazaar Mosavi Nia was born in 1979 Abadan, Iran. With B.A., M.A. in painting he is a young noted artist in Iran. In recent years he has flourish in .....   در وب سایت ببینید

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Nazaar Mosavi Nia was born in 1979 Abadan, Iran. With B.A., M.A. in painting he is a young noted artist in Iran. In recent years he has flourish in domestic and international art societies, with several solo exhibitions inside and outside of Iran, he also has participated in Tehran’s auction and Christie’s auction. In a private interview with Nazaar Mosavi Nia regarding his work, we will discuss his concerns about Iranian contemporary art, historical pathology of Iran’s art, art’s economy and it’s impact on the new generation of Iranian artists.

Javid Ramezani, Tandis Website

 translated by behrad sharifi

Javid Ramezani: When did you start professional painting?

I’m a war refugee from Abadan, but my professional work started in Isfahan and it was influenced by literature. I was trying to build a bridge between narration and image, which is different with illustration because these narrations were my own stories not translations from somewhere else. I was imaging my own mental narrations, they were not written and mostly they were dream, nightmare, poetry and delirium.

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Javid Ramezani: Excellent, you had a distinct personal tone in your first exhibition in Day gallery. Now by passing time this personal tone has become more aggressive and offensive. This is very obvious in your professional career; my question is where was your starting point?

Post war impacts were still in me and about 15 years ago everything became serious for me. I was feeling painting style of those days were not satisfying what was happening in me. 90s and early 2000s were overflowing with formal concerns, and garnd achievement was modernism. But my concern was not about form and I wanted to speak my mind.

I was under influence by Ardeshir Mohases and in my opinion he was one of the most influential artists of his time. I was feeling close to literature, narrations and philosophy and also I have influenced by Foucault. War and life were my raw materials for painting and all started from Day Gallery.

In “memories of a chicken” series I tried to have more layers and a color palette in my works. Five years ago tried to study more about painting; most of my study was in classic area, while other artists contemporary to me were moving towards post modernism, there was a wave of conceptual art and performance. But I was thinking it’s not right to start study something from midpoint. During this time I studied the evolution of painting from gothic to classical and neo-classical and also visual experiences of western paintings.

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جنگل های سمی

Javid Ramezani: In between I would like to talk a little about yourself and your work, for instance comparing  “memories of a chicken” with “ poisoned jungle”, you were using miniature much more in “memories of a chicken” ten years ago, whereas in case of “poisoned jungle” it has space and depth. In  “memories of a chicken” you have a simple language that, these people are like chickens, you have shown their idiotic imitation and your social criticism in the form of art that is not committed to painting, which is connected to old Iranian stories of Marzbannameh, Kelileh o Demneh. But today you have studied and worked on composition, in fact it seems you are going back to look at pathology of our art.

Please explain more how this change has happened in your work. What I’m saying is that in “memories of a chicken” you were yourself, but today you have studied what has happened to you in your work?

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جنگل های سمی

Yes, I have studied and my achievement is the understanding that our art is fragmented and disjointed, western art is imported merchandise after that we came to believe that art is a science, a knowledge that we have to learn it. We didn’t move step by step. At first we have miniature but after arrival of western art we lost it completely.  Later on Kamalolmolk started a good reconstruction and brought our art back to its absolute place. With coming of modernism once again everything were lost, Kamalolmolk’s experience was not transferred to his students, Where are they now? Maybe in a mall, but where is the experience of modernism?

I want to point at what happened that kamalolmolk’s students are in malls and some of the modernists are in international auctions and places like that, where did people born?

Where did Saqakhaneh (old Iranian painting style) come from?

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طوطی و بازرگان

Javid Ramezani: Do you think it was instructed? Because Tehran’s auction is not political, doesn’t have religious objection and also it is decorative, it is linked to everything and it’s best raw material for selling. Well, that is economy.

Yes, It was clearly instructed, all I’m saying is that if west had abstract expressionism, context necessary for reaching that point was provided prior to that. Their background was based on Da Vinci, Rembrandt and Van Gogh. They went on this path; with ending of WWII and all emerged contexts they reached to abstract expressionism. It was completely different from here that a high-ranking official was asking for something or ordering to establish certain style. As a result our contemporary art has stocked in current point. When there is no foundation you can witness all the things that has happen in past five years. This can be extended to gallery owners, customers, collectors, curators and art managers. When there is no theoretical and artistic base all these things will happen. Our artists suddenly and just for a short time will reach the peak and then they disappear. Market has become determinative.

Javid Ramezani: It is the same in west. Didn’t Warhol say everyone stays a famous just for fifteen minute?

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خاطرات یک مرغ

I wish we had same kind of fame here, all art works were good with a limited time to be seen, artists were genius and next artist would have worked better than previous one. But here it’s opposite; tastes changes and market would become determinative. I think this type of art would destroy us more than ever.

In 2006 it was like a dream to me when my work was displayed in Christie’s beside great artists like Cindy Sherman, Jeff Koons, and Damien Hirst. Me, Mehdi Farhadian and Ehsae were from Middle East, I was confused for a while and I couldn’t believe my work will be auctioned beside “ For the Love of God”. All those passed, after that we had the crisis in 2007 prices were increased, oil price fell and things fell apart. At that time the question that came to my mind was that, did I grow after auction? What I’m saying is that there is no natural process, and that’s the reason for whatever is happening to our art.

Javid Ramezani: Didn’t you like to go to Christie’s and be seen?

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No, I liked it, my point is that this process is defective, and this art has no foundation, our art economy has become fashionable, establishing a gallery has become fashionable, I’m asking why nobody is renting an apartment to artists and instead of rent take a painting from them? Why nobody provide resources for material and space for an artist in exchange art works. That our problem, please publish it to be seen by gallery owners, maybe it make a change for art.

Javid Ramezani: Lets go back to yourself, you were well received, your first exhibitions were sold out, you have gone to Christie’s and your work was desired by buyers but it didn’t stay that way and you have changed, why? How did you accept that risk?

As matter of fact my friends and relatives were saying you could sell your works what is your problem? Why won’t follow the same way, effortlessly and guaranteed? But I turned to study, re-painting and copying, and with that was the problem of not being seen. Notably “parrot and Merchant” series that did not received properly. But I did it and I’m still involved in study and experimenting, today I see most of those who have started with me are still the same and tomorrow also they will be the same, I don’t want this.

Javid Ramezani: When is your next exhibition and when your new series would be out?

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I think my new exhibition will be by early 2017 some of my works  also are in the process of checking and consideration for next auction.

Javid Ramezani: Tehran’s auction?

Yes 2017 Tehran’s auction

Javid Ramezani: How about out side of Iran?

For that matter I’m waiting for the gallery, which I’m working with, Khak gallery to complete its process.

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Free to Travel Once More, Ai Weiwei Is Having A Huge New York Moment - Four simultaneous shows pack a punchhttp://tandismag.com/25534/ai-weiwei-huge-newyork-moment.html http://tandismag.com/25534/ai-weiwei-huge-newyork-moment.html#respond Tue, 08 Nov 2016 08:30:41 +0000 http://tandismag.com/?p=25534 Free to Travel Once More, Ai Weiwei Is Having A Huge New York Moment Four simultaneous shows pack a punch Given that it is all but unprecedented for an artist to have four simultaneous gallery shows opening on the same day, it is fair to say that Ai Weiwei is having a New York moment ...   در وب سایت ببینید

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Free to Travel Once More, Ai Weiwei Is Having A Huge New York Moment
Four simultaneous shows pack a punch

Given that it is all but unprecedented for an artist to have four simultaneous gallery shows opening on the same day, it is fair to say that Ai Weiwei is having a New York moment this fall.
Fortuitiously, this moment comes four years after he was arrested and banned from leaving China, and just once year since his passport was returned by authorities.

4 AiWeiwei Portrait
In the interim, Manhattan—and especially the art world—have embraced Ai with open arms. Tomorrow (November 5) marks the official opening of four complementary gallery shows: the Fifth Avenue and Chelsea locations of Mary Boone Gallery, as well as Lisson Gallery‘s most recently instituted branch in Chelsea, are exhibiting “Roots and Branches” while Jeffrey Deitch is exhibiting “Laundromat” at his Grand Street location in Soho.

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“It’s a homecoming of sorts,” said Lisson Gallery international director Alex Logsdail to artnet News. “Weiwei has not had a show here that he has been able to see and install himself for a very long time.”

We also spoke to Mary Boone director Ron Warren. He explained to artnet News: “We had offered him both [Boone] spaces and he had the idea for two very different installations. At the same time Lisson was opening their New York Gallery. With Weiwei newly available to travel, he had the idea for three distinct exhibitions, with the benefit of being in close proximity to each other. Each show is distinct but adds to the others and shows the breadth of Weiwei’s work.”
At Lisson, Ai has placed felled, cast-iron tree trunks and a series of iron root sculptures against the backdrop of a new, as of yet untitled black-and-white wallpaper installation that mixes ancient Greco-Roman style figures with modern day imagery, such as barbed wire and groups of refugees traipsing in lines or huddling together.

AiWeiwei Production of Iron Root 2015

“Weiwei has an interest in wallpaper as a way to interrupt space,” says Logsdail. This particular work is “based around his research and experience in and around Greece relating to the Syrian refugee crisis. They’re in the style of a Greco-Roman frieze but with a modern twist. There is this foreshadowing and repetition of figures behind other figures. It marries the artist’s interest in design and art and humanitarian issues.”

Ai Weiwei Iron Root 2015 Lisson
At Mary Boone Chelsea, a towering wood structure, appropriately titled Tree, is actually a remade original structure shaped from weathered wood fragments, found in the mountains of Southern China, that Ai has bolted together as a sign of renewal. Wallpaper here features circular groups of gold surveillance cameras and gold “Twitter” birds, as well as Lego portraits of the artist famously dropping a Han Dynasty urn.

Throughout all of these shows, the artist continues his exploration of survival amid the displacement and destruction brought on by war, violence, and oppression, both in his native China and around the world. “Laundromat” at Deitch, is the most stark and grim of these exhibits, reflecting as it does Ai’s extensive exploration of refugee camps and in particular here, the plight of hundreds of thousands of individuals in the makeshift Idomeni camp on the Greece-Macedonia border.

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When the refugees were forced to leave for other camps, Ai gathered what they left behind: thousands of shoes, boots, jeans, jackets, shirts and other belongings. He has meticulously scrubbed, laundered, and pressed the items.

Now they are presented throughout the Deitch Projects space—like offerings at a Goodwill store— on racks with labels like “Pants $7.” A wallpaper installation displays a sprawling grid of photos showing Ai at the camp, where he is documenting the deplorable conditions and talking with the refugees. A video at the back of the gallery includes, among other scenes of daily life, horrific footage of Former Yugoslavia Republic of Macedonia Forces (FYROM) using tear gas and stun grenades to stem the flow of migrants.

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After all Auction prices give a sense of the depth and breadth of the artist’s work. According to the artnet Price database, the record for a work by Ai at auction is $5.4 million, paid for Circle of Animals/Zodiac Head (2010) at Phillips London in June 2015. The second highest price, $4.4 million, was also paid for a set of animal heads, offered at Phillips London in February 2015.

“Ai has a strong following around the world and his market remains consistently solid. His work has done very well at auction,” said Jonathan Crockett, deputy chairman, Asia, at Phillips auction house, in an email to artnet News. “Different bodies of work appeal to different geographical markets. His wooden sculptures, for example, tend to do best in Asia, whereas works that might reference Chinese art history or culture often do better in the West,” added Crockett.

https://news.artnet.com/exhibitions/ai-weiwei-four-nyc-shows-733172?

 

 

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Why Are Portraits of Women More Valuable Than Portrait s of Men? - Does the market favor depictions of women?http://tandismag.com/25509/portraits-of-women.html http://tandismag.com/25509/portraits-of-women.html#respond Mon, 07 Nov 2016 10:41:53 +0000 http://tandismag.com/?p=25509 According to a recent article on Bloomberg, modern art portraits of women sell for more than modern art portraits of men. Citing Jeremiah Everts, Sotheby’s head of Impressionist and Modern Art, the financial news outlet claimed that a higher proportion of female subjects throughout art history has led to a greater acceptance of the female ...   در وب سایت ببینید

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According to a recent article on Bloomberg, modern art portraits of women sell for more than modern art portraits of men.
Citing Jeremiah Everts, Sotheby’s head of Impressionist and Modern Art, the financial news outlet claimed that a higher proportion of female subjects throughout art history has led to a greater acceptance of the female figure in art, and therefore a higher valuation than male subjects. “If you look at the history of art, there hare more portraits of women than men,” Everts said. But is it true that portraits of women sell for more than portraits of men?

A quick glance at the 10 most expensive paintings sold at auction reveals that the assumption holds weight. The top two slots are occupied by portraits of women; Pablo Picasso’s Les Femmes de Alger (Version O) (1955), which sold for $179.4 million at Christie’s New York in May 2015, and Amadeo Modigliani’s Nu Couché (۱۹۱۷/۱۸), which sold for $170.4 million at Christie’s New York in November 2015.

portraite2

The following two works however aren’t depictions of women. Francis Bacon’s Three Studies of Lucien Freud (1969), which sold for $142.4 million at Christie’s New York in November 2013, and the androgynous figure in Edvard Munch’s The Scream (1895), which sold for $119.9 million at Sotheby’s New York in May 2012.

Of the top 10 most expensive paintings to sell at auction, however, six are depictions of women compared to just two of men. Aside from Bacon’s triptych of Freud, Picasso’s Garçon à la pipe (1905), which sold for $104.2 million at Sotheby’s New York in May 2004, is the only other portrait of a male figure.

portraite

Only one work in the top 10 most expensive paintings to sell at auction doesn’t show a figure, Andy Warhol’s Silver Car Crash (Double Disaster) (1963).
Based on the top end auctions, it seems that the art market does in fact favor depictions of women, perhaps because the majority of top-end collectors are male. Interestingly the only known female buyer of the top 10 most expensive paintings to sell at auction bought a portrait of a man, while the remaining four known buyers—all male—bought portraits of women.

https://news.artnet.com/market/portraits-women-men-valuable-729245

 

 

 

 

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Temo Javakhi - Georgia artisthttp://tandismag.com/25239/temo-javakhi-georgia-artist.html http://tandismag.com/25239/temo-javakhi-georgia-artist.html#respond Wed, 02 Nov 2016 10:02:59 +0000 http://tandismag.com/?p=25239 Tandis web site Compiler:Sara Baftizadeh Translator: Niyoosha Hajian persian link  Temo Javakhi Contemporary artist was born in Tbilisi, Georgia in 1951, he graduated from the Tbilisi Academy of Arts in 1976. His art works as the “Sun in the Mirror” was held at the National Gallery Museum in Tbilisi in August 2016. This exhibition is ...   در وب سایت ببینید

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Tandis web site

Compiler:Sara Baftizadeh

Translator: Niyoosha Hajian

persian link 

Temo Javakhi Contemporary artist was born in Tbilisi, Georgia in 1951, he graduated from the Tbilisi Academy of Arts in 1976. His art works as the “Sun in the Mirror” was held at the National Gallery Museum in Tbilisi in August 2016. This exhibition is an overview of his career, including 140 works from the artist by the media and various media displayed.

Temo Javakhi 6

Volfovicha Dream´s

 

the sunflower as a food, material nourishment (pabulum). The sunflower is adopted by the Georgian mentality to be something amusing, the subject of some kind of ritual play, rather than the food. In specific rules of selling and using (eating) of this product: the sunflower is for sale not in super markets or boutiques. But in streets only. It is sold by same type of second hand dealers – the old women sitting on parapets or stools. They keep the sunflower in sacks, which it with little glasses and give it to their clients in cone packets, making them from the sheets of old magazines or unused office forms. The eating of the sunflower does not have anything in common with the breakfast, dinner or supper. It does not need a chair, table, table-cloth or napkins. The people eat the sunflower always and everywhere, under all circumstances and spit out peels (rinds) (in the hollow of the hand or ash-tray at the best). This ritual is the essential part. Main characteristic of today’s Georgian mode of life. It can be considered as a very capacious, expressive icon of the wide complex of everyday habits, which does not connect with the distant roots of the national traditional, but it’s firmly settled in the behavior stereotypes of modern Georgian and determine them.

Temo Javakhi 9
“Stuk ina time window” ۲۰۱۲                                                                                                                        The essence of the exhibition considerated by this project will be appeared in the intersection (crossing) of the sunflower’s theme’s two treatments, two lines of interpretation – elevated-universal and everyday-local. We aim to show the various aspects of the “grounding” (eating) of the isolated (solitary, detached), eternal idea in the concrete, temporal-spatial context the exhibition researches the various mental plasts of the suggested project and the possibilities of its commenting and interpreting by using the visual means.

 

 

 

 

Temo Javakhi 1

“The weapon” – It become more and more clear that oil, gas, electricity – are the basic mergetic trains, without which the modern world can’t live a normal, civilized life. Countries which do have these recourses, are of course trying to become monopolists of this business and they use this wealth not for only economical well-being, but also for economical terrorand blackmail against other countries.

Works was created by Temo Javakhi with contemporary concepts and social issues, political and By a close look which deals with the epistemological towards their country and the international community is trying to express his intellectual concern. He also has a collection of poems minimalist when it comes to speaking German, Slovak, Russian and Azerbaijani released. For more knowing this Georgian artist you can visit his facebook page: javakhishvi.7

Temo Javakhi 7
“Retaliation “۶۰×۸۰ cm -1985

His art works are wide range of different experiences and artistic projects that work rather than a combination of performance art, video art, photo art, layout, etc.

Temo Javakhi 2

He has used signs, letters, text, numbers, parts of the map, iconic images, the use of zero  in mysterious ways in his arts. He attaches particular importance to the word and its meaning, which is one of the characteristics of his work.

Temo Javakhi 3

The thematic axis of the exhibition planned by this project is the motif of a sunflower, which receives two kinds of interpretation by using various visual means.

Temo Javakhi 11

 

  • The sunflower as a plat (Helianthus). The orientation to the sun, the striving east, then it follows the whole trajectory of the sun and becomes directed to the west in the evening. The sunflower itself bears resemblance to the sun, or rather, to its generally adopted conventional sign (An image, often found in the heraldic of south American countries, can be considered to be the sun or the sunflower at the same time.) In many languages the union of the sunflower with the sun is underlined. Being the part of the organic nature, the plant, the flowers, the sunflower depicts (represents) the eternal striving for the light, the universal source of energy. The sunflower can be understood as a symbol of being imprisoned by the emanation of the sun, as a symbol of solar charming (bewitching) as well.

 

 

Temo Javakhi 8
“Real” ۲۰۰۷

Temo Javakhi 5

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A note on Vahed Khakdan ’s works - Iran shahr galleryhttp://tandismag.com/25143/a-note-on-vahed-khakdan.html http://tandismag.com/25143/a-note-on-vahed-khakdan.html#respond Mon, 31 Oct 2016 07:00:29 +0000 http://tandismag.com/?p=25143 tandis website by Javid Ramezani  translated by behrad sharifi Realistic representation of objects and spaces has long been disputed in art. Life itself is a form of representation, either we represent or be represented. At the same time that artist is representing objects and their relations, he or she re represented by viewer and critic. ...   در وب سایت ببینید

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tandis website by Javid Ramezani

 translated by behrad sharifi

Realistic representation of objects and spaces has long been disputed in art. Life itself is a form of representation, either we represent or be represented. At the same time that artist is representing objects and their relations, he or she re represented by viewer and critic. So art is life itself with a touch of thoughtfulness and intentionality.

Representing is also called as imitation, imitating from people, objects and events. When painter adds something more to work art is born.vahed khakdan 2

Vahed Khakdan is a painter who is trying to express something more than just surface of events and issues, an image beyond a mere copy. Common visual experience of the world has never been satisfying and artists have always been in a challenge to understand the truth of objects and issues. On arrival at Vahed Khakdan’s exhibition his process of evolution from abstract to photorealism is clear.

vahed khakdan 4

Vahed Khakdan was born in 1950 and he graduated from Fine Art Conservatory in 1971. After studying architecture at university of decorative Arts he immigrated to Germany in 1981. His first exhibition in 1974 was presented with abstract expression. Immigration is a central issue Khakdan’s works, which has given a concept to his works. He has been away from Iran for thirty years and after testing western art direction and deep understanding of its culture, now he marks a different ways. Khakdan’s early works in abstract is under influence of modern art. Specific geometric structure and atmosphere of these works later can be seen in his realistic compositions. Organizing early experiences with a focus on still life gives a new life to his work.vahed khakdan 1

From 1976 to this day his commitment to realistic forms can be seen in his works. In his contemporary works light is an element, which gives a holy identity to ultramontane objects. Nostalgia in unstable mixture of non-national painting has generated a volume of objects that sometimes presented in a simple and mostly in a confusing combination. Puppets, pictures, household tools, dried plants as if exhibits a cache of destroyed objects that has made living of his subject in fear and confusion. Fear of identity and locative chaos imposes suffering on artist, so he chose a path other than today’s art that is accepted by majority. Artist’s fear is visible in his six drawings. Burden of existence in faces drawn by compressed and scary composition shows painter’s concerns. This point can prove value and feelings of Khakdan’s works.

vahed khakdan 3
In a sense behind his deliberated and colorful paintings, fear and anxiety of artist and audience will heal and world will sink in a decent oblivion. When artist’s works are faced by audience’s aesthetic experiences they will be preoccupied by a calm fantasy and simplicity.
Another notable point is the way his work has been presented in the gallery. They are mostly digital prints, which are signed by the artist and are for sale. On the other hand packages with same prints in small sizes with limited editions are also available for sale.
This type of presentation will allow the artist to keep the original work and also facilitate the possibility for a broader range of audiences to access the art works.

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Dialogue with Farshid Shafiee - Iranian contemporary painterhttp://tandismag.com/23823/dialogue-farshid-shafiee-painter.html http://tandismag.com/23823/dialogue-farshid-shafiee-painter.html#respond Tue, 27 Sep 2016 12:57:02 +0000 http://tandismag.com/?p=23823 Dialogue with Farshid Shafiee contemporary painter translate by behrad sharifi Farshid Shafiee (1968 Tehran) is an Iranian painter, illustrator and animator. His works has been exhibited in numerous local and international exhibitions and has won prizes in various fields of art. Shafiee has a BA in graphics from Azad University and MA in animation from ...   در وب سایت ببینید

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Dialogue with Farshid Shafiee contemporary painter
translate by behrad sharifi
Farshid Shafiee (1968 Tehran) is an Iranian painter, illustrator and animator. His works has been exhibited in numerous local and international exhibitions and has won prizes in various fields of art. Shafiee has a BA in graphics from Azad University and MA in animation from Art University of Tehran. Hengameh Moa’meri says about artist, Shafiee’s fantasy and visual behavior, represents an important transition in Iran’s art from late modern to contemporary and his contribution in making cultural of his period cannot be ignored.

The truth is that it was expected that generation of seventies and eighties break more taboos than someone who was born and shaped before revolution. By putting whatever makes a painting aside Shafiee is trying to create another painting. He has proposed an understanding out of Art history’s context and classification, something along with his generation’s idealism and anarchy. The transition from concepts and art teachings, which was given in academies by teachers, is an engaging approach, which Shafiee is speaking of in this interview and talks about his artworks.
This interview was conducted in the office of Tandis’s website in the presence of Farshad Shafiee, Sahar Eftekhar Zadeh and Javid Ramezani.

farshid shafee21

Javid Ramezani- The fundamental question raised by artists in you last exhibition is that essentially what are these paintings and they are in which category? Do they influence by illustration and illustration’s workspace that you were engaged previously?
Farshid Shafiee- No these paintings are not coming from illustration. With these painting I was trying to break the coherence and continuity that exist in illustration. At a point in my artistic life I felt it is not necessary to be accountable for what I have learn in front of my teachers, It went so far that I’m not obliged to answer to myself. Four or five times a day I hate or fall in love with painting and that’s the reason I continue. In general I can say going beyond my own framework is far more important than the framework, which exist in other peoples mind. I think it is very sad that people ask me what are these paintings? A person who asks that question has not seen painting or artwork, maybe just a few exhibitions.
Most of the things that I paint, I have perceived in the process of life and have reached them and later I have seen them in books, indeed I have read and perceived many things but I paint what I understand.
Sahar Eftekharzadeh- All styles of art have a foundation and social origin, what is the context and foundation of your work? Where is its derivation in today’s art history?
Farshid Shafiee- Are you saying same thing as others? There is a painting style like Naïve Art, but what does it to do with you?
Sahar Eftekhar Zadeh- no, where is your cultural and social context of your work? What is your artwork’s background?
Farshad Shafiee- If you see my work process you will understand what is the origin of my work, indeed painters affect by different atmospheres to find their characters and after these effects I have found that I’ve got a rebellion character and I don’t like to do anything that is common, I have been the same in the family to, and my painting are also based on this rebellion characteristic.
Sahar Eftekhar Zadeh- Do you make a sketch of your works?
Farshid Shafiee- yes, basically I always make a sketch of my works, in my recent illustration “Zahhak” the sketchbook will be printed separately.

farshid shafiyee3
Sahar Eftekhar Zadeh- How about in painting? Do you make sketch there too?
Farshad Shafiee- Yes, I make sketch for my paintings too.
Sahar Eftekhar Zadeh- There is a much difference between your current exhibition and previous one and a simple and deliberately system is obvious in that, what is the reason? In second exhibition we see a kind of romantic emotions which, has not a expression in forms but in act and it doesn’t fit in your previous structure, is that correct?
Farshid Shafiee- It can be partially correct; I take away all the facilities that make an artist to look like an artist from my work for example, I started with texture, color and drawing. I know how to use a piece of choke to be suited for certain people or not. I exclude this from my work and make my own instrument. Or use brushes in a way that deprive me from these facilities and I make my work mechanical.
Sahar Eftekhar Zadeh- Do you escape from having template?
Farshid Shafiee- No I’m searching for a template and establish my own template. I try ton not remain subordinate to what I have learnt in the past. I put myself in a scary position where I have no facilities from past.
Sahar Eftekhar Zadeh- It has said that your work is childish and you do not use any prefiguration. Is that correct?
Farshad Shafiee- They can say whatever they want. I overpass what I have learnt through my eyes and ears and try to create something that still count as painting. Not necessarily good painting but it is still a painting.
Sahar Eftekhar Zadeh- In your opinion was this exhibition well received? Which age group is your audience?
Farshid Shafiee- most of audience are the two generations after myself and from what I have seen from younger generation is that they copy my works. At least fifteen artists from a generation younger than me are copying my work.
Sahar Eftekhar Zadeh- What are your forms refer to? What do these images say?
Farshid Shafiee- A part of my references are to form, for me the whole thing is like
pure and applied mathematics. I find buttons and for them I sew a coat and its then I understand the concept. Buttons are the clues and hidden meanings. If I succeed, I would say this is my distinctive language and impress my colleagues.
Shar Eftekhar Zadeh- The images we can see from you are divided, how do you justify this?
Farshad Shafiee- I think has not much of importance; they can be explained by codes. The first point is that my mind has seen whole image history. They can be not synchronized and they all have time code, and I think it’s possible that I draw something that has time code but specifically not be synchronic. I think about it that how our contemporary image can be? In this way I can be contemporary and reach something thing that I cant eliminate from my work, something that is relevant to myself. If I be correct in my own refining I will reach my own language, therefor this language will have time and place, it is time and language for today’s contemporary art.
Javid Ramezani- What is your next move? Your next exhibition will be in Tehran?
Farshad Shafiee- My next move is clear to me; I know that I will limit my work in illustration and I’ll focus my time and energy on painting. I’m going to have a group exhibition in New York, this group exhibition will be held with some of the known Iranian artist outside of Iran and names like Shirin Neshat and Nikzad Nojomi are in that list.farshid shafee

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I five exhibition | Iranian young artists - lale's galleryhttp://tandismag.com/23236/i-five-lales-gallery.html http://tandismag.com/23236/i-five-lales-gallery.html#respond Sat, 10 Sep 2016 10:44:56 +0000 http://tandismag.com/?p=23236 ‘ I ’ five, Annual exhibition of a group of Iranian young artists: Translator: Behrad Sharifi Critic: Sahar Eftekharzadeh Source: Tandis website ‘ I ’ exhibition series are based on individuality of each participant and their connection with the world around them. This exhibition with the guidance of Javid Ramezani each year has a different ...   در وب سایت ببینید

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‘ I ’ five, Annual exhibition of a group of Iranian young artists:
Translator: Behrad Sharifi
Critic: Sahar Eftekharzadeh
Source: Tandis website

‘ I ’ exhibition series are based on individuality of each participant and their connection with the world around them. This exhibition with the guidance of Javid Ramezani each year has a different theme and participants are mostly Ramezani’s students. Although in each exhibition few guests also participate.

The first exhibition was exhibited in ‘Kargah Honar’ Gallery on January 2011 and thereafter it has been held almost annually. This year fifth ‘I’ exhibition has held with the central theme of ‘Basic Particles’.

In the following we read Sahar Eftekharzadeh’s critic about this exhibition:

 Most of these young artists have also participated in pervious exhibitions and you can follow their continuous process of work in pas exhibition’s posters.namayeshgah man2

The first thing that catches eyes in first encounter with this exhibition is plurality. This variety of templates and utilization of contemporary artistic approaches, even emphasis more on individuality in crowd. Fifth ‘I’ exhibition has many pieces and each piece also offer combined outcome to audience. For this reasons it is a real and live reflection of contemporary world. In this visual plurality, sound of Mahsa Karimi’s video, despite all voices, is the dominant sound, and like an invisible network connects all the pieces. But at the same times instability of this connection was reminded once in a while by popping Zeinab Saghafi’s balloons. This process and communication in “Laleh” gallery is completing the shaping idea of these exhibitions.mahsa karimi2 mahsa karimi

All these works more or less have a single point. Mostly they are emphasizing on   distorted perception and uncertainty cohesion of reality as an impenetrable whole. Art works in this exhibition have made a possibility for materializing nihility and its recovery through summoning negative spaces, confronting points, segmentations and slices.

 This fragmentation and dealing with the reality of “I” is like a contexture formed by scattered particles, or a story which can be read in different ways by changing formation of words and sentences, and clearly can be seen in Negin Firozi’s photomontages.

negin firoozi1

Same view of montage agreement is used by Niloufar Taghipour and in the form of slices from a grand narrative using photomontage is presented.

niloofar taghi pour

In Mohadeseh Shadmehr’s photo installation trace of same confrontation with fragmented narrative can be seen which resembled by wandering through tapestries hung from the ceiling and finally at a point, bring the wanderer to a conclusion although concealed and potential carrier.

photo 2016 08 08 11 37 04

Ali Yahyae in the search of fundamental element of existence in a serial process in his photos, he reduces objects and with a critical view facing audience with distorted image of emptiness.

ali yahyaee

He continues studying about the ways to challenge recording reality by photography in his works such as ‘prelude’.  In Mohammad Hosein Abghari’s works we can see the acceptance of diversity as a reality more than other works.

mohammad abghary

It is as if the artist easily counts individuality in the population as an inevitable matter. But it seems adding an exaggerated layout of cables and red chair, has impaired this artist’s simplicity and straightforward expression. Also in Amir Koshamanesh’s photo same thing has happened by an orotund statement, while it can be said that these works do not need such a generalization. Koshamanesh’s painterly photos with their captivating color portraits an uncertain and elusive image of world, which by adding the illusion of motion, suspend the real-time existence of the object.

amir koosha manesh

In Mahsa Karimi’s video and photos, suspension and staying in a middling perception plays a decisive role. These art works show the contrast between face-to-face contracts as a window to the world and others and at the same time interceptive between ‘I’ and others, exhibits spontaneity of body language as a suspended position in the process of other’s perception of “I”. Sara Baftizadeh has challenged the integrity of the impermeable positive atmosphere; in her small size art works she has been abled to guide template along content, but in large size work she has lost attention to details, and there she has drifted from overruling idea of collected works of exhibition, Although not as much as Ali Noor Pour.sara baftizadeh1

Noor pour’s illustrations are based on idea, which focus on undeniable unity and a continuous cycle between components. It is a whole that encompasses everything and doesn’t have a range of exchange; it has two poles of existence and non-existence and they are convertible into one another, from this point of view his rich and detailed works, although are as single works worth observing but their presence alongside other works of the exhibition is not justified.

ali noor pour

Roshanfekr’s creations with bodies covered with mouth and numerous eyes, and with open mouths full of emptiness have different conceptual frames. These works are indeed volumetric illustrations for a certain literary text, and because of this context dependency these works hove not completely attached to overruling idea of exhibition.

maryam roshan fekr

Sara Hosseini In her installation works has created new combinations of different objects, which in relation with each other involve the audience with mist of implications. Restoring these objects and putting them aesthetically – which there are numerous example in history of art – can be very personal for the artist and formed completely outside of her personality. In any case, these things are indefinable, consisting of unstable components that provide the possibility of personal perception for each audience.

sara hosseini1

 Masoud Jazani has search basic particles of ‘I’ in a complex texture, in line with his critical view, has chosen a banknote as an element, that is readable in several context and thus making it possible to gather multiple components of his texture in one place and then analyzed its components as a separate texture. His works in from of print on fabric deals with reviewing values that may have been emptied of themselves. By separating components of unit and pulling them out of their agreed text artist has called into question the existence of each one of them.

masoud jazani

In a way Zeinab Saghafi with her collaborative installation has questioned the definition of art, culture, artwork and selling it as an object. So what does the audience buy in reality? Audience can keep the balloon, don’t pop it and take home a bubble of suspension because by popping the balloon and achieving paper on which there is a definition about art or culture, audience wont achieve the essence of anything, rather enters a maze of signifiers with no end. Perhaps the essence of these two words can be the compressed air inside the balloon which takes the shape of its shell and  also shape the shell.

zeynab saghafi

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CONTEMPORARY IRANIAN ART - GROUP EXHIBITION & FUNDRAISING AUCTIONhttp://tandismag.com/22899/contemporary-iranian-art.html http://tandismag.com/22899/contemporary-iranian-art.html#respond Tue, 30 Aug 2016 07:31:20 +0000 http://tandismag.com/?p=22899 CONTEMPORARY IRANIAN ART GROUP EXHIBITION & FUNDRAISING AUCTION ۱۲ September Exhibition Preview & Cocktail Reception ۷- ۹ pm Sotheby’s, 2029 Century Park East, LA ۱۳ September Panel Discussion & Film Premiere ۳- ۵pm Brown Auditorium LACMA, 5905 Wilshire Blvd, LA ۱۵ September VIP Seated Dinner & Art Auction * This event is non-ticketed and by ...   در وب سایت ببینید

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CONTEMPORARY IRANIAN ART
GROUP EXHIBITION & FUNDRAISING AUCTION
۱۲ September
Exhibition Preview & Cocktail Reception
۷- ۹ pm
Sotheby’s, 2029 Century Park East, LA

۱۳ September
Panel Discussion & Film Premiere
۳- ۵pm
Brown Auditorium
LACMA, 5905 Wilshire Blvd, LA

۱۵ September
VIP Seated Dinner & Art Auction
* This event is non-ticketed and by invitation only

This week of Contemporary Iranian Art marks MOP’s second venture into the Los Angeles art community! The exciting program for the week includes a group exhibition and live auction of artworks donated by contemporary Iranian artists to the Friends of MOP Foundation, as well as a panel discussion and film premiere to be held at the Brown Auditorium at LACMA. The exhibition is held once again in collaboration with Sotheby’s and will unfold in the presence of acclaimed Iranian artist and our guest of honour, Fereydoun Ave.

The auction will be conducted by Andrea Fiuczynski, Chairman of the Americas for Sotheby’s. The panel discussion and film premiere is co-organised with the Art of the Middle East Department at the Los Angeles County Museum of Art (LACMA).

Alongside a spectacular work by Fereydoun Ave donated to the charity, and three lithographs created by HIM Farah Pahlavi, this exhibition will feature artwork by 20 emerging and established Iranian artists based in Iran and the diaspora.

magic of persia

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Experts shed light on Modigliani ‘s murky market - with new research projecthttp://tandismag.com/21908/modigliani-s-murky-market.html http://tandismag.com/21908/modigliani-s-murky-market.html#respond Tue, 26 Jul 2016 05:40:39 +0000 http://tandismag.com/?p=21908 Experts shed light on Modigliani ‘s murky market with new research project Fakes and squabbles have long-obscured scholarship, but a catalogue raisonné may now be in the pipeline respected experts has founded a research project and a long-promised catalogue raisonné is on the cards. On 21 June at Sotheby’s in London, the artist’s Jeanne Hébuterne ...   در وب سایت ببینید

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Experts shed light on Modigliani ‘s murky market with new research project
Fakes and squabbles have long-obscured scholarship, but a catalogue raisonné may now be in the pipeline

respected experts has founded a research project and a long-promised catalogue raisonné is on the cards.

On 21 June at Sotheby’s in London, the artist’s Jeanne Hébuterne (au foulard) (1919) sold for a strong £۳۴٫۴m hammer (£۳۸٫۵m with fees) at Sotheby’s—well over its £۲۸m-plus estimate.

In 2015, works by Modigliani sold for a total $251m, according to Artprice. Prices were driven up by Reclining Nude (1917-18), which sold for $170.4m to the Chinese billionaire Liu Yiqian in November. Meanwhile, London’s Tate Modern has a major survey of the artist planned between 22 November 2017 and 2 April 2018.

But this is a market in which considerable uncertainty remains over the authenticity of some works, one that is bedevilled by fakes, by a dearth of reliable expertise and by squabbles between scholars.

No fewer than five authors have penned catalogues raisonnés of the paintings, but only one is accepted by most auction houses: that of Ambrogio Ceroni, last updated in 1972. But it has its gaps, partly because Ceroni listed only what he had seen, and he never went to the US.

Now, a new non-profit organisation, the Modigliani Project, has been founded by the respected scholar Kenneth Wayne, who has been studying the artist for 30 years. He has joined up with an impressive group of French curators and conservators, including Brigitte Léal, the deputy director of the Centre Pompidou; Sophie Krebs, the chief curator of the Musée d’art moderne de la Ville de Paris; and Cécile Girardeau, a curator at the Musée de l’Orangerie, Paris. The project leader is Michel Menu, the chief conservator of the Centre de recherche et de restauration des musées de France, Paris.

Modigliani

For now, their focus is to clarify Modigliani’s technique and working methods through scientific analysis, firstly examining works in French public collections, then extending to those in other countries.

Wayne says that there will be “further developments and announcements” before the end of the year. “Let’s just say that an exciting first step has been taken, with further news to come,” he says.

As well as a number of suspected fakes on the market (more in drawings than in paintings, says Wayne), complicating the field has been an epic battle between two specialists, Christian Parisot and Marc Restellini, which aired publicly for more than a decade through the 2000s.

Now the Paris-based Institut Restellini has announced that it will publish a catalogue raisonné for paintings at the end of this year, with drawings to follow. The institute was founded by Restellini, an art historian who since 1997 had been working under the auspices of, and financed by, the Wildenstein Institute, on a Modigliani catalogue. That relationship came to an end in 2015.

His catalogue raisonné will be online only, with paid access. According to the researcher Marie-Christine Decroocq, the new catalogue will have around 100 more works than the 337 in Ceroni. No more details are currently available.

Decroocq said that the publication is being financed by fees charged by Restellini for his expertise and for issuing certificates of authenticity. The research is being carried out in collaboration with the Fine Arts Expert Institute, a body based in the Geneva freeport that belongs to the Swiss art shipping and storage “king” Yves Bouvier.

How much validity will the market give to the new online publication? An auction house specialist says: “We will have to wait and see exactly what the catalogue consists of before judging it.”

منبع 

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interview | Mahmood Sabzi - Biography and interview on Janet Rady fine art website which focusing on middle east fine arthttp://tandismag.com/21779/interview-mahmood-sabzi.html http://tandismag.com/21779/interview-mahmood-sabzi.html#respond Sat, 23 Jul 2016 10:18:49 +0000 http://tandismag.com/?p=21779 Mahmood Sabzi Biography and interview on Janet Rady fine art website which focusing on middle east fine art BIOGRAPHY Mamood Sabzi began painting at the early age of twelve. His love and talent for the arts was encouraged at an early age by an inspirational teacher and, more importantly, the enthusiastic support of his parents. ...   در وب سایت ببینید

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Mahmood Sabzi
Biography and interview on Janet Rady fine art website which focusing on middle east fine art

Mahmood Sabzi1

BIOGRAPHY

Mamood Sabzi began painting at the early age of twelve. His love and talent for the arts was encouraged at an early age by an inspirational teacher and, more importantly, the enthusiastic support of his parents. He attended the University of Jundi Shapoor completing a Bachelor of Science degree in Agricultural Engineering. Like Joseph Beuys, whose works he studied in Germany, he believed that nature and its extended concepts were most relevant to arts and the concept of creativity, for as he has said, “The best part of agriculture,’’ he says, “is the purity of its primal space”.

In 1984 the ravages of the war caused him to move to Hamburg, Germany. For Sabzi, exile and freedom from his traditional muses represented a challenge which he assumed joyfully and enthusiastically. In 1991, Sabzi moved his family to Southern California, where he was excited by the dynamism of American Culture.

Sabzi’s paintings are lit by both eastern and western lanterns and philosophies. Persian miniatures, themselves inspired by metaphysical inspirations, serve as precursors for many of his forms. © Carlo Lamagna, Chair, Department of Fine Arts, New York University.

His works are in the Museum Permanent Collection of The Los Angeles County Museum of Art (LACMA) U.S.A; Tehran Museum of Contemporary Art (TMOCA) IRAN and are also held in private collections in United States, Germany, France, and Japan.

INTERVIEW WITH MAHMOOD SABZI
July 20, 2016

By Art Journalist and Writer Lisa Pollman

You began to paint at an early age. What or who were your early influences? How did they shape your early work and your later pieces?

The first person who taught me about art was my elementary teacher, who was a very good painter and was inspired by the Impressionists. I began painting and playing music when I was twelve years old. As was customary with many Iranian families, I was encouraged to pursue something useful, so I received a degree in Agricultural Engineering from the Jundi-Shapour University in 1971 — however, I want to point out that my parents were very passionate about art and did support my journey to become a painter.

Did your move to Germany in the 80’s influence you and your work. How?

Despite working in another occupation, I found it difficult to stay away from my passion, which was painting. So in 1981, I moved to Germany to study art – particularly modern art. It was here that I began to develop my own style. I was deeply influenced by several European artists. Still, the Iranian traditions continued to populate my work.

Paul Klee had an influence on my work and in particular my abstract works, which were completed under profound emotional charges and stress. These works were mostly done without thinking but I felt every colour and form deep in my heart.

Mahmood Sabzi3

Did the separation from your homeland provide you with a clear lens in which to examine your Iranian heritage?

My happiest times in Germany were spent in museums. I often went from gallery to gallery in Hamburg and other German cities. However, the memories of my homeland mixed with the music that had infused my soul, produced an emotional and highly personal style that also addressed my pain of separation from Iran and my culture. This produced a mixture of memories of my Iranian experience with the pain of recreating myself in a new land that emerged on my canvases.

You often combine Eastern and Western elements. Are there any Western images in particular that you find interesting? Which ones?

In the early years of the 21st century, my memories of my homeland returned in a different guise. Suddenly the Qajars became a symbol of Iran’s modernity and also its failed dreams. Iran was a mixture of East and West and I found it amusing, while also being conflicted and painful. I found an emotional and intellectual remedy for my feelings in the photography of Antoin Sevruguin.

To me, his photographs of Qajar women were fascinating. Why? As I look back, I realise that their ease and self-conscious posing had evoked in me a sense of Iran’s history that I emotionally recognised. The women represented in Sevruguin’s photographs had a sense of pride in their femininity and in spite of the control exerted on them, they were in so many ways modern and liberated. I guess, to put it differently, what we had for so long seen as backward and primitive suddenly had become a symbol of liberty not only for women but for the country as a whole.

The Qajars after so much historical change and historical surprises turned out to be more progressive than we had originally viewed them. And more so, these Qajar women stand in sharp contrast to my western icons of Marilyn Monroe and many others. This contrast is quite significant as it not only distinguishes but also acknowledges the similarities amongst us all.

My world is split and yet unified. My dreams are of a homeland that I crave to rediscover and also of the painful knowledge that time has changed my world beyond recognition.

Mahmood Sabzi2

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پروژه های آران
عنوان: روایت‌های کاغذی
گشایش : ۲۵ تیرماه ساعت ۴-۸

بازدید همه روزه ساعت ۱-۷

هنرمندان: تارا آزرم -لیلا ایمانی- غزاله بحیرائی – فاطمه بهمن سیاهمرد- ترلان تبار
سامان خسروی – علی اصغر خطیب زاده -افشان دانشور- رنه صاحب – صادق صادقی پور – نسترن صفائی -کیارش علیمی- سارا قنبری – مینا محسنی
معصومه مهتدی
آدرس: خیابان نوفل لوشاتو کوچه لولاگر پلاک ۵
تلفن ۶۶۷۰۲۲۳۳

در این نمایشگاه آثاری از هنرمندانی با گرایش ها و تمایلات مختلف و با محوریت کار با کاغذ یا روی کاغذ ارائه میشود. روایتهای کاغذی که در جوار یکدیگر انگار که تالار آیینه‌.ای میسازند که بازنمودی است از زمانه ی ما. نسترن صفائی از صفحات رنگ و رو رفته مجله زنان که محبوب چند دهه پیش بود حجم هائی می سازد که گویی دسته های گلی هستند برای جشنی فراموش شده. یادآور ناپایداری و شکنندگی زندگی. طراحی های بزرگ فاطمه بهمن سیاهمردی فضاهای حقیقی و تخیلی را اشغال می کنند که پر تنش و آکنده از انرژی هستند. بیننده به تقلا وا داشته می‌.شود که تصویر را برای خود منسجم و قابل درک کند و هنرمند با ترکیبات خطی پیچیده ای که به تصویر می کشد مخاطب را وادار به تجسم فضائی سه بعدی می کند. علی اصغرخطیب زاده با بهره گرفتن از پیشینه تحصیلی اش در دنیای تئاتر تجسمات خود را به روزنامه های باطله منتقل می کند. شخصیت های کمدی و تراژیک نویسندگان محبوب وی به دنیای واقعی وارد می شوند تا روایتهائی که قرنها محبوب مخاطبین باقی مانده اند را متصور کنند؛ ارجاسب شاهنامه ، میدیا در اثر اوریپید، و دلقک همیشه حاضر. لیلا ایمانی با متمرکز کردن توجه خود بر قلم گیری در نقاشی ایرانی و استخراج فرم از تصویرهای آشنای نگارگری خوانشی جدید از قواعد و عناصر این سنت نقاشی ارائه میدهد. گلهای بزرگ کیارش علیمی در دنیایی تجریدی، صبور، سرکش و زیبا به استواری به نمایش درمی آیند.

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Mina Mohseni, The Noah’s Arc. Mixed media, detail of overall size of 100×500 cm

سادگی شگفت آور این نقاشی ها یادآور شکوه زندگی و بی وزنی باور پذیر بار هستی هستند. معصومه مهتدی روایتهای معاصر را در قالب کتابهائی که نمی نویسد بلکه می سازد به نمایش می گذارد. کتاب از تاریکی افسرده کننده‌.ی محو شدن تدریجی دریاچه ی باستانی آشوریان خبر می دهد. دریاچه ای که شاید آخرین زیستگاه آرتمیا باشد. جانداری سخت پوش که برای یکصد میلیون سال در چرخه طبیعت حضور داشته است. برخلاف انسانها که به توازن طبیعت دست اندازی می کنند، آرتمیا این موجود باستانی در برابر هرگونه تغییری ایستادگی کرده. غزاله بحیرائی فرزند ابرشهر ماست. او در کوچه پس کوچه های شهری که دوست دارد قدم زده و واقعیتهای روزمره را با تقلید سخره آمیز و با الهام از تجربه زیسته‌.ی خود به نمایش درمی آورد.در کنار ویدئو، طراحی های هنرمند یادآور طراحی های سایه نما -سیلوئت- هستند. هنرمند با طراحی های سیاه و سفید برش هائی از مناظر شهری را نشان می دهد؛ ردیابی و ترسیم سایه های شهر و ساخت تصویری از قصه های این شهر و شهروندان آن. سامان خسروی ما را به کودکی خود می برد؛ بزرگ شده کردستانی ناآرام در زمانه ی جنگ و خشونت. مدلهای هواپیماهای ساده‌.ای که یادآور بازیگوشی های کلاسهای مدرسه هستند راوی داستان کودکی که هیچوقت نبوده می شوند. رنه صاحب از ضرب المثل ها و حکایتهای اخلاقی زبان فارسی بهره می گیرد تا زمانه و دنیای پیرامون خود را نقد کند. با نقل قصه سه میمون خردمند بر روی کاغذ، باورهای قدیمی ژاپن و زرتشتیان ایران و اصرار بر پندار نیک، کردار نیک و گفتار نیک را یادآوری می کند. مینا محسنی قصه سیل بزرگ و افسانه نوح و بقای او را به تصویر می کشد. بی ثباتی زمانه ما و مبارزه مستمر انسان دربرابر فجایعی که به دست انسانها پدید می آید و همینطور بلایای طبیعی بخش بزرگی از تجربه زیستن در این قسمت از دنیا است. با قرار دادن صفحه های پلاستیک معوج بر روی نقاشیهایی ظریف، هنرمند بیننده را به خوانشی مجدد و دریافتی جدید دعوت می کند. افشان دانشور در ترکیب بندیها و ساخته های مویین خود که نتیجه مجذوب بودن و تمرکز فوق العاده هنرمند هستند قطعات کاغدی را به هم متصل می کند که گوئی زمانی بخشی از چیزی دیگر بوده‌.اند. بازساختن صفحه‌.ای جدید، ارجاع دادن تکه پاره ها و ساخت ماهیتی جدید. نتایج نهائی در عین اینکه در ذات خود شکننده هستند ولی ماهیتی صامت و استوار دارند. سارا قنبری به زمان و خاطرات و دریافت ما از این خاطرات در طول زمان می پردازد. او زمانی معلق را به تصویر می کشد، بین اکنون و گذشته، حرکت در لبه خاطره. در نقاشیهای دوتائی خود هنرمند موفق به نشان دادن گذر زمان شده و با تولید مجدد تصویر خاصیت حیاتی خاطرات و دریافت آنها را به چالش می کشد. تارا آزرم در طراحی های خود به مفهوم و فرسایش و گذار زمان می پردازد. فرم هایی که در جست جوی ساختاری نو در شرایط غیر قطعی هستند. فرم ها بدون هیچ هدفی از چیزی به چیز دیگری تبدیل می شوند، محو میشوند تا در امتزاج با واقعیت و تخیل دوباره پدیدار شوند. ترلان تبار ناخودآگاهِ خود را از مفهوم جاودانگی و نامیرایی و سعی برای نیل به آن که برای زمان طولانی پیش نظر داشته به تصویر می کشد. خودشیفتگی و بیهودگی در آثار وی در مسیری متضاد با جاودانگی و ابدیت در حرکت هستند. هنرمند بین رنج و سرمستی در تناوب است و ترجمان خود از این حرکت متناوب را در قالب رنگهای زنده و طراحی های مرکبی بزرگ به نمایش می گذارد. صادق صادقی پور مرد کتاب است. بخش قابل تاملی از زندگی او در کتاب فروشی بزرگی اتفاق می افتد. کتابهای او که با کیفیت فوق العاده ای با برش با دست ساخته میشوند اکنون دیگر حجم محسوب می شوند. اگر قرار است که در دنیای قرن بیست و یکم کتاب منسوخ شود آیا راه حلهای دیگری برای حفظ کتاب در حوزه زیستی انسانی میتوان یافت نمود.

araan2
Ali Asghar Khatibzadeh, Masks. Installation overview

Pulp Narratives
Opening at Aaran Projects on 15th July. Artists:
Tara Azarm- Leila Imani- Ghazaleh Bahiraie- Fatemeh Bahman Siahmard- Tarlan Tabar- Saman Khosravi-Ali Asghar Khatibzadeh- Afshan Daneshavar- Rene Saheb- Sadegh Sadeghipour- Nastaran Safaei- Kiarash Alimi- Sara Ghanbari – Mina Mohseni – Masoumeh Mohtadi

This exhibition aims to show the preoccupations and concerns of a group of artists with diverse practices; Narrations in Pulp that next to each other create a Hall of Mirrors, and consequently a funnel to our times: Nastaran Safaei’s compositions resemble bouquets for an event long forgotten. Pages from a famous women’s magazine of yester years, with pallid and faded colors, enact the theme of life’s transience and fragility. Fatemeh Bahman Siahmard’s large scale drawings create tensions between spatial occupations- actual and imagined- and are charged with energy. Viewer struggles to make the image coherent and through intricate lines artist forces the onlooker to visualize a three dimensional space. Ali Asghar Khatibzadeh who is a playwright transfers his visualizations on to pulp of discarded newspapers. Tragic and comic characters from his favorites writers are moved in to the real world to recite the stories that have fascinated audiences for generations; “Arjasb” of Shahnameh, “Medea” by Euripides and the ever present Clown. Leila Imani focuses her attention on superb delineation in Persian Paintings and by extracting figures from well known imagery of manuscript paintings, offers different readings of age old traditions. Kiarash Alimi’s large scale flowers stand firmly in their isolated world, patient, unyielding and superbly beautiful. The fabulous simplicity of these paintings are a reminder of splendor of life and the plausible lightness of being. Masoumeh Mohtadi creates books that are talebearer of our times. The book speaks of the gloomy disappearance of the ancient lake of the Assyrians, lake Urumieh. The lake that can be the last habitat of Artemia, a 100 million year species that exists as part of the cycle of nature. Unlike humans that disregard the balance of nature for their own ambitions and survival, Artemia, the ancient being, has resisted change. Ghazaleh Bahiraie is a child of our mega city. She has walked the alleys and streets of her beloved city and offers parodies and her own lived experience. Next to her video, her drawings resemble Silhouette Portrait paintings. Through the black and white drawings artist cuts out the cityscapes; tracing lines around the shadows of the city and telling the stories of its citizens. Saman Khosravi takes us back to his childhood. Having grown up in volatile Kurdistan of Iran, and raised amid war and violence, his simple models of aircrafts that are reminiscent of childhood games at schools, is adapted to tell the tale of horrors of war and a childhood that never was. Rene Saheb has consistently used fables and proverbs of our language to criticize and comment on life around her. By bringing the story of Three Wise Monkeys on to paper, she reminds us of the ancient Zoroastrian inbuilt beliefs in all that is good.

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Sadegh Sadeghipour, Iran Interrupted, from series ex libris

Mina Mohseni retells the story of the great flood, refreshing the legend of Noah and his survival. The uncertainty of our times and the consistent struggle of humanity against manmade and natural disasters is a large part of the history of the region. Using sheets of wavy transparent plastic to cover her suspended paintings, she forces the viewer to reconsider their perceptions. Afshan Daneshvar, in her delicate compositions and absorbed in her practice, assembles bits of papers that are reminiscent of strings of something that was once was. Re-building a new page, re-assigning morsels and creating a new presence. The final result are Silent and solid entities that are fragile in essence. Sara Ghanbari tackles the subjects of time and memories and how our perception of life changes as time goes by. She illustrates a suspended space: between present and the past. In her twin paintings, she successfully portrays the flow of time and by re-producing the images, she raises the question of vitality and perception of memories, walking on the edge of memories. Tara Azarm with her set of drawings steps in to realm of concept, erosion and passage of time. Her forms seek to establish new structures out of ambiguous circumstances. Her shapes – with no apparent purpose- change from one thing to another and disappear and reappear in a fusion of the real and the imagined. Tarlan Tabar, pictures what she has seen in her subconscious for a long time. In her works Narcissism and absurdity are in conflicting path with eternity and perpetuity. She alternates between agony and ecstasy and offers her interpretation in lively colors as well as in large scale ink drawings. Sadegh Sadeghipour is a book man. His life is spent in a large book shop every day. The books take the shape of sculptures in his intricately hand cut books. If books are to become obsolete in the 21st century, what better alternate than transforming them to a beautiful sculptural piece and keep them around in one way or another.

Aaran Projects
Neauphle Le Chateau, Lolagar st. No 5.
Tel +98 21 66702233
For Opening day: 4-8,And everyday visiting hours, 1-7

www.aarangallery.com

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Simon Terrill |Sutton Gallery - Nouns of Assemblyhttp://tandismag.com/21017/simon-terrill-sutton-gallery.html http://tandismag.com/21017/simon-terrill-sutton-gallery.html#respond Tue, 28 Jun 2016 10:19:26 +0000 http://tandismag.com/?p=21017 Simon Terrill Nouns of Assembly OPENING Saturday 2 July, 4-6pm EXHIBITION DATES ۲ July– ۳۰ July, 2016 Sutton Gallery  ۲۵۴ Brunswick St Fitzroy, VIC 3065 Australia In his third solo exhibition at Sutton Gallery, Simon Terrill brings together a triptych of photographs plus a sculpture and a text piece running the length of the gallery ...   در وب سایت ببینید

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Simon Terrill
Nouns of Assembly

OPENING
Saturday 2 July, 4-6pm

EXHIBITION DATES
۲ July– ۳۰ July, 2016

Sutton Gallery

 ۲۵۴ Brunswick St

Fitzroy, VIC 3065

Australia
In his third solo exhibition at Sutton Gallery, Simon Terrill brings together a triptych of photographs plus a sculpture and a text piece running the length of the gallery walls. He aligns fantasy architecture of the funfair with the utopian proposition of the unrealised monument that is Tatlin’s Tower. Terrill’s continued exploration of gathering and crowding is extended into spaces that are presented under a utilitarian and political guise.
The photographic triptych presents the Tuesday Market Place in King’s Lynn, a town 150km North of London. This site has a long history with the funfair. The Charter for a market was originally granted to the town in 1204, it subsequently became the site of the Valentine’s Day Fair in 1537 via an edict from Henry VIII. Since the latter half of the 19th century it has been the first funfair in the Showmen’s calendar. It is here that distinctions between fair and mart, pleasure and commerce, stage and shop, have merged over time into what we now recognize as the vertigo inducing pleasurescapes of the contemporary funfair.

unnamed

Centrally positioned in the installation Terrill’s 4.2-meter high recreation of Vladimir Tatlin’s Monument to the Third International is rendered as a 2D sculpture/drawing in space. Derived from Tatlin’s drawings of “the most famous building never built”۱ and described by Trotsky as “an impression of scaffolding which someone has forgotten to take away”۲, this landmark of utopian architecture is remodelled as a prototype for a playground, using the thick black safety rope and connectors that are commonly used in these constructions. Often remade, in various forms and for a variety of purposes, the intention here is in the placement of Tatlin’s tower within a sphere of play, of open participation that acknowledges its anti-monument origins.

A linguistic game, Nouns of Assembly/Terms of Venery lines the wall with a list of nouns used to collectively describe groupings of animals, a form of literary play that first came about from a hunting tradition of the Late Middle Ages. It was a linguistic game of one-upmanship whereby whoever could come up with the most apt linguistic illusion to animal crowding won the day. In a murder of crows, a mess of iguanas or a troop of kangaroos the idea has taken root.

Terrill’s Nouns of Assembly installation positions entertainment and spectacle against utopian ambitions, the crowd across sites and species becomes suggestive of universality in the desire to congregate.

Simon Terrill has exhibited extensively since 1998. Recent solo exhibitions include; South of the River: Crowd Theory, National Portrait Gallery, London, 2016; The Brutalist Playground, a collaboration with Assemble, The Royal Institute of British Architects, 2015, S1Artspace, Sheffield & Peacock Arts, Aberdeen, 2016; Room X, Balfron Tower, 2014; Tilt, Sutton Gallery Melbourne, 2013; Crowd Theory Adelaide, Samstag Museum of Art, University of South Australia, 2013, Balfron Project, 2 Willow Rd Erno Goldfinger Museum, London, 2011 and Phantom, Sutton Gallery, 2011. His work has been included in numerous group exhibitions both locally and internationally, including: The Piranesi Effect, Ian Potter Museum, Melbourne, 2014; Summer Exhibition, Royal Academy, London, 2011; Contemporary Encounters, National Gallery of Victoria, Melbourne, 2010; William and Winifred Bowness Photography Prize, Monash Gallery of Art, Melbourne, 2009; Photo-ID, Contemporary Art Norwich (CAN09), 2009; and FX in Contemporary Photography, McClelland Gallery + Sculpture Park, Melbourne, 2008. Terrill has been the recipient of a number of prestigious awards, including grants and residencies from the Australia Council (2009, 2002 and 1998). He was awarded the Acme Studios’ Bow Cross Residency, London, and the Bow Arts Heritage Studio Residency, Balfron Tower, London, in 2010 and the Anne and Gordon Samstag International Visual Arts Scholarship in 2007. His works are held in important public and private collections in Australia and the UK.

۱ Owen Hatherley http://isj.org.uk/a-beardless-monument/
۲ Cabinet Magazine, Issue 28 Bones Winter 2007/08, Svetlana Boym, Tatlin, or, Ruinophilia.
http://cabinetmagazine.org/issues/28/boym2.php

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Domestic Affairs|Gallery Isabelle van den Eynde - Nargess Hashemi, Zahra Imani and Sara Rahmanian & Khalid Al Banna, Aisha Khalidhttp://tandismag.com/20884/20884.html http://tandismag.com/20884/20884.html#respond Wed, 22 Jun 2016 10:12:46 +0000 http://tandismag.com/?p=20884 Stories told, untold, aspects of daily life, personal and collected memories, and the ever changing urban landscapes inform Domestic Affairs, featuring works by Emirati artist Khalid Al Banna, Pakistani artist Aisha Khalid, and Iranian artists Nargess Hashemi, Zahra Imani and Sara Rahmanian. This show draws on the domesticity and intimacy of everyday life through materiality ...   در وب سایت ببینید

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Stories told, untold, aspects of daily life, personal and collected memories, and the ever changing urban landscapes inform Domestic Affairs, featuring works by Emirati artist Khalid Al Banna, Pakistani artist Aisha Khalid, and Iranian artists Nargess Hashemi, Zahra Imani and Sara Rahmanian. This show draws on the domesticity and intimacy of everyday life through materiality of textile and manifestation of the body, thereby giving birth to images of lost traditions, nostalgia, public appearances, and evoking ambiguous feelings of comfort.

Domestic Affairs

Gallery Isabelle van den Eynde

۲۲ June – 8 SeptemberDomestic Affairs 20161

While textile and text are etymologically linked through Latin words textere (to weave) and textus (a fabric), there is a sense of comfort with the mystery of textile, and something ephemeral and transient in the way these works are open to change. Drawing upon this, Al Banna fearlessly assembles pieces of patterned cloth in circular abstract formations to reminisces about the lost traditions and cultural values in his native United Arab Emirates. In most cases, the works are not informed by the frames that surround them, instead each maintains its organic flow in the way it is presented. Sometimes they are even placed on the floor to emphasise the materiality of the cloth, such as Khalid’s Comforter, which hovers just eight inches from the floor, balancing lightness with its fierce colour and form, and eloquently defying the inherent risks of beauty and tradition.

narges hashemi
narges-hashemi

Imani, on the other hand, is not afraid of beauty and ornamentation – which is often criticised as decorative and shallow – to create large-scale drapery that combines visual and tactile qualities of the fabric to render interior scenes. Hashemi and Rahmanian’s more expressive investigations of the body delves into intimate gestures in the context of the home. Their canvasses are filled with repetitive and mundane activities. Every motif, form and structure is emphasised upon to allow us to see the qualities and processes of everyday life.

Zahra Imani
Zahra-Imani

Domestic Affairs is a light-hearted show that builds on the gallery’s on going collaboration with Khalid and Hashemi in conversation with new voices emerging from the Emirates and Iran. The exhibition allows the viewers to intuitively engage with the works by drawing on personal memory and shared experiences.

Sara Rahmanian
Sara-Rahmanian
Aisha Khalid
Aisha-Khalid
Khalid Al Banna
Khalid-Al-Banna
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Galerie Stuttgart| Dadbeh Bassir - Giving Yesterday a Tomorrow ...http://tandismag.com/19178/galerie-stuttgart-dadbeh-bassir.html http://tandismag.com/19178/galerie-stuttgart-dadbeh-bassir.html#respond Tue, 10 May 2016 08:14:52 +0000 http://tandismag.com/?p=19178 Dadbeh Bassir, in the exhibition: Giving Yesterday a Tomorrow … Iran: Architecture and Art Opening at IFA-Galerie Stuttgart Institute for Foreign Cultural Relations (IFA) Charlottenplatz 17, D-70173 Stuttgart www.ifa.de Opening 22nd April- 3rd July 2016 How does a society deal with its cultural heritage? How can approaches to identity, culture, tradition and history become a ...   در وب سایت ببینید

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Dadbeh Bassir, in the exhibition:
Giving Yesterday a Tomorrow …
Iran: Architecture and Art

Opening at IFA-Galerie Stuttgart
Institute for Foreign Cultural Relations (IFA)
Charlottenplatz 17, D-70173 Stuttgart
www.ifa.de
Opening 22nd April- 3rd July 2016

How does a society deal with its cultural heritage? How can approaches to identity, culture, tradition and history become a resource? How can we give yesterday a tomorrow, as Le Corbusier put it during a journey in 1929? In Iran, a country that can look back at several millennia of high culture, and whose cultural identity has experienced highly diverse influences and ruptures over the past five hundred years, questions like these are being asked urgently – by architects, artists, authors and scientists.
Excerpts from Curators note, for more info: http://www.ifa.de/en/visual-arts/ifa-galleries/exhibitions/giving-yesterday-a-tomorrow.html
Born in 1978, Dadbeh Bassir studied at Azad University of Art and Architecture in Tehran, in field of photography. During his 5 years at university he was fortunate enough to study with some of the progressive professors and photographers, like Yahya Dehghanpour, and Bahman Jalali, who are among the most celebrated Iranian photographers in recent decades.
Since 2007 he has held the position of artistic director at Omran Falat Civil Eng Co, in charge of documenting and recording activities of this company in different parts of the country.
In 2009 his work was exhibited along many other famous photographers in an exhibition celebrating 165 Years of Photography in Iran, at Musée du Quai Branly – Paris, France.
Since 200 7 , he has been a member of “Institute for Promotion of Visual Arts” in Iran as well as “ Iran Authors, Journalists and Artists Support Credit Found”.
His works are held at different private collections and were recently added to permanent collection of LACMA, Los Angeles County Museum and were exhibited in Jan 2016 as part of the exhibition: Islamic Art Now, Part 2 at the Museum.
tehran series cs
Dadbeh Bassir, Untitled (Tehran series), Polyptych, Light Box, 2005–۲۰۱۴; © Dadbeh Bassir, courtesy of the artist, Aaran Gallery (Tehran) & La Caja Blanca (Palma de Mallorca)

The Iranian contribution to the 2014 Venice Architecture Biennale looked at different moments (and buildings) during processes of modernisation in Iran in the last century, when a process of the recreation and reinterpretation of historical heritage was initiated. The photos and videos by Mehraneh Atashi and Dadbeh Bassir and the collages and installation by Mona Hakimi- Schüler explore traditional technologies, old legends and Persian poetry, looking at their significance in today’s social and political contexts and reflecting the transformation of traditional norms in a rapidly changing world. Both Iranian architecture and these artistic positions question seemingly binary categories of past and present, tradition and modernity, seeking to combine them and make them productive for the future.

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ISIDRO BLASCO | Shirin Gallery NY - UNDERGROUND PASSAGEWAYShttp://tandismag.com/18870/isidro-blasco-shirin-gallery-ny.html http://tandismag.com/18870/isidro-blasco-shirin-gallery-ny.html#respond Tue, 03 May 2016 09:54:57 +0000 http://tandismag.com/?p=18870 ISIDRO BLASCO | UNDERGROUND PASSAGEWAYS May 12 to June 4, 2016 Opening Reception: Thursday, May 12, 6-8pm ۵۱۱ W 25th St., Suite 507, New York Shirin Gallery NY is pleased to present Underground Passages, the solo exhibition of works by the artist Isidro Blasco. Born in Madrid and based in New York, Blasco creates sculptural ...   در وب سایت ببینید

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ISIDRO BLASCO | UNDERGROUND PASSAGEWAYS
May 12 to June 4, 2016
Opening Reception:
Thursday, May 12, 6-8pm
۵۱۱ W 25th St., Suite 507, New York

Shirin Gallery NY is pleased to present Underground Passages, the solo exhibition of works by the artist Isidro Blasco. Born in Madrid and based in New York, Blasco creates sculptural works to describe both urban sites and private spaces. His use of materials – combining C-Prints with wood and other hardware – turn once two-dimensional photographs into 3D representations of space. Although they are three- dimensional, the works present a single spectator’s perspective.  In this exhibition, the photographic prints, anchored to pieces of structured wood, describe spaces within New York subway system.

In his own words, Blasco explains,

“I take the subway every day from my home in Jackson Heights to the studio in Bushwick, and very often I find myself looking at a particular corner or stairs, or section of the tracks. Every time they look very similar but not the same as the day before. And I wonder if other people like me also look at these same sections of the subway system, and if by this looking that we all do, somehow we are effectively changing those places.

I am guessing all this is just an effort to relate to these places. There is an emotional restraint that we all exercise, conveying not destruction but disorientation, the unsettlingly simultaneous expansion and compression of space that the urban dweller experiences in their way through the city and through its underground.”

shirin

Isidro Blasco was born in Madrid in 1962, and has lived in New York since 1996. He is a candidate for Ph.D. at the Architectural School of Madrid, and received his BFA from the Fine Arts School in Madrid. He was twice the recipient of the Pollock Krasner Foundation Grant in 1998 and 2010, and in 2000 he received the Guggenheim Foundation fellowship in Visual Arts. In 2004, Blasco had a solo exhibition of his works at the Reina Sofia in Madrid, and has since shown his work at the Museum of Modern Art and MoMA PS1, NY; and the Champion International Corporation (of the Whitney Museum of American Art), Stamford, Connecticut, among others. His works are included in collections at the Museum of Modern Art, the Whitney Museum of American Art, both NY; the Chicago Institute of Contemporary Art; and the Tweed Museum of Art, Duluth, MN.

isidro blasco1 55x55 Isidro Blasco2 55x55 Isidro Blasco6 55x55 isidro blasco5 55x55 isidro blasco4 55x55 Isidro Blasco3 55x55   در وب سایت ببینید

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ROKNI HAERIZADEH |Guggenheim - But a Storm is Blowing from Paradise|Contemporary Art of the Middle East and North Africahttp://tandismag.com/18827/rokni-haerizade-guggenheim.html http://tandismag.com/18827/rokni-haerizade-guggenheim.html#comments Mon, 02 May 2016 12:35:11 +0000 http://tandismag.com/?p=18827   در وب سایت ببینید

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ROKNI HAERIZADEH AND MOHAMMED KAZEM
But a Storm is Blowing from Paradise: Contemporary Art of the Middle East and North Africa
Curated by Sara Raza
Guggenheim, New York
Until 5 October

Gallery Isabelle van den Eynde would like to congratulate Iranian artist Rokni Haerizadeh and Emirati artist Mohammed Kazem for their participation in But a Storm is Blowing from Paradise, the third exhibition of the Guggenheim UBS MAP Global Art Initiative that opened yesterday. The exhibition borrows its title from the 24 recently-acquired drawings by Haerizadeh and illuminates contemporary artistic practices in the Middle East and North Africa and the region’s diaspora by presenting a selection of newly acquired works for the Guggenheim’s permanent collection. Kazem participates with a large scroll work, entitled Scratches on Paper, which was also part of the 12th Sharjah Biennial. Following its presentation in New York, the exhibition will travel to Istanbul’s Pera Museum in 2017.

rokni
Rokni Haerizadeh, But a Storm is Blowing from Paradise, 2014, Gesso, watercolour and ink on printed paper, 30 x 40 cm

Haerizadeh also presents a single channel video animation entitled Reign of Winter as part of Hello Guggenheim, a four-week long programme curated by Bidoun, which showcases diverse films and videos that are united in their mistrust of inherited narratives about history and documentation, testimony and voice. Reign of Winter will be screened on Friday, 13 May and Sunday, 15 May at 1 pm at the Guggenheim New Media Theatre.

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