Iran News ...


07/02/12

Exhibition of "Iranian Contemporary Art" in Sydney, Australia

Sources: Tavoos Art Magazine & New Albion Gallery

July 5th until August 4th, 2012 at New Albion Gallery in Sydney/Surry -Australia

A group exhibition entitled "Contemporary Iranian Art" will open on July 5 at “New Albion Gallery“ in Sydney/Surry -Australia. The exhibition includes works by Iranian contemporary artists such as: "

Samira Hodaei, Nazgol Ansarinia, Behnam Kamrani, Ali Adjalli, Shirin Aliabadi, Babak Golkar, Shahrzad Changalvaee, Jinoos Taghizadeh, Behrang Samadzadegan, Barbad Golshiri, Abbas Kowsari, Haleh Anvari, and Australian artist, eX de Medici,.

“Contemporary Iranian Art" will take place from July 5th until August 4th, 2012 as affiliated exhibition of the 18th edition of Biennale of Sydney.

Since its inception in 1973, the Biennale of Sydney has provided an international platform for innovative and challenging contemporary art, showcasing the work of more than 1500 artists from over 83 countries. Alongside the Venice and Sao Paolo biennales and dOCUMENTA, it is one of the longest running exhibitions of its kind and was the first biennale to be established in the Asia-Pacific region.


Ali Adjalli
Autumn's Grace, 2004
149.0 x 199.5 cm
synthetic polymer paint on canvas


Shirin Aliabadi
Hybrid Girl 4, 2008
Lambda print mounted on aluminium
100.0 x 78.0 cm
edition of 5


Nazgol Ansarinia
Untitled 1 - Pattern Series, 2009
digital drawing and ink on tracing paper
215.0 x 173.0 cm (4 sheets)
edition of 3 + 1 AP


Shahrzad Changalvaee
“Motherland” # 4, 2010
type C print on Kodak metallic paper
95.0 x 143.0 cm
edition of 3


Babak Golkar
Need To Communicate, 2010
hand woven Persian carpet and cadmium yellow acrylic paint
62.0 x 67.0 cm


Barbad Golshiri
Jxalq (dзχślgh), 2006
single channel video
duration: perpetual
edition of 5


Samira Hodaei
Just a wrong pattern on your sacred wall, 2011
mixed media on canvas
120.0 x 100.0 cm


Behnam Kamrani
With Persepolis, 2010
synthetic polymer paint on printed canvas
82.0 x 171.0 cm

 


Abbas Kowsari
Day of Ashura, 2004
type C photograph
70.0 x 100.0 cm
edition of 7


Farideh Shahsavarani
I will be back, 2008-09
single channel video
duration: 8:00 minutes
edition of 3


Jinoos Taghizadeh
Wind blows through the streets, 2008
single channel video
duration: 6:48 minutes
edition of 5

Contemporary Iranian Art
by Doug Hall AM, New Albion Gallery

A few decades ago not many of us would have dared to imagine the 20th century closing with the universal recognition of contemporary Asian art. Western institutional and art historical interests had usually consigned the arts of Asia and the Middle East as great moments of antique interest, as though contemporaneous expression was what the West did.

When we think of our view of other cultures, superiority remained a lingering post-colonial relic and it took some time to shed. Paradoxically, the idea of modernity and urbane sophistication in Europe happened, in part, through importing the arts from other places. Take East Asia and Persia, for example - from Chinese export ceramics of the late 16th century to Persia’s representation in London’s Crystal Palace and the Great Exhibition of 1851. The latter’s influence on the Arts and Crafts Movement was considerable: in 1882, William Morris wrote: ‘To us pattern-designers, Persia has become a Holy Land.’

The change has been remarkable. Major art museums - public and private - collect the art of our time in a far more panoramic way than they have ever done. Biennales and art fairs have grown at a phenomenal rate and now take an interest in cultures that, until recently, were active yet peripheral to our thinking. The British Museum and Louvre have established a presence in Abu Dhabi - the Metropolitan Museum, New York, is presenting an exhibition of contemporary Iranian art until September this year; next year the seventh Dubai Art Fair will be held. The world has seemingly shrunk yet become vaster.

Until the 1990s modern and contemporary Iranian art, like other Middle Eastern countries, received a distant interest from the West. And, Iran - Persia until 1935 - was rugs, miniatures, calligraphy and great architecture. Each is brilliant in its own way but, historically, has been used as a stylistic source for appropriation, where its intrinsic and deeply-set cultural characteristics were applied as style.

From the late 1940s the tensions between embracing western capitalism and religious conservatism have been well documented. What marks contemporary Iranian art is that it’s known and admired as the expression of individuals, not a megaphone for regimes. That’s not to claim that each artist is blithely uninterested in issues of national identity, gender, social conduct and the circumstances of contemporary Iranian life. But above all, it’s personal - distinctively individual. Tehran is a sophisticated city of millions with the majority of the population under 35 years of age. Its art world is active and connected with a lively museum and gallery scene.

The 13 artists represented in this exhibition work across media with which we are familiar. They are engaged locally and speak to us with a visual language which is universal. The subject matter might be specific but we see it through the lens of individualism. There’s a poetic transcendence in perpetual play, often quietly witty, but never gratuitously flippant.

The Australian artist, eX de Medici, is included in the exhibition. She is best known for her large watercolours which synthesise direct experience and become emblematic of social and political circumstances; they are usually laden with historical references. eX and I have a mutual long-standing interest in non-western cultures. The idea for the exhibition was developed in the wake of her visits to Iran - her love of Persian history, its art and the people she met; she will return to Iran soon.

This is an important exhibition and we are honoured that galleries and artists responded with great enthusiasm to participate. The Middle East has been subject to typecasting, often suggesting that cultures are somehow mass-subservient: recent events disprove that. And as this exhibition reveals, the individual’s expression over notions of a doctrinaire collectivism are clearly manifest.

... Payvand News - 07/02/12 ... --



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