Opening Friday June 15, 2012, 4:00 to 8:00 pm at Tehran's Seyhoun Art Galley
The exhibition will remain open until June 27, 2012 everyday from 11 am to 7 pm
The gallery is closed on Mondays
Apart from all sentimentalist wordings of the current era, what we call as “Modern Art” is a collection of de-structuralism and in some parts returning to structuralism which has been approved and rejected plenty of times during the past few decades.
In their media transition particularly since the 70s, photos have undergone a lot of change; changes which have taken place in the mind of the photographer and the innovations which were added to the list of modern arts after the settlement of digital world in the world of art. It seems photo montage is a word combination that entails a comprehensive concept including different sorts of photo editing with conceptual, realistic, and press aims (to mention a few) which are categorized under the Fine Arts heading.
However, here in this show Nazila Daneshvaran has done her own work apart from any artistic categorizations - paradoxes among negatives and positives which are combined in singles compositions and illustrate the nostalgia of both groups for us.
Whether it be cinema or any other form of media, it’s been ages that a child symbolizes simplicity, innocence, aspiration and all those characteristics in which a compiling and creative artist has illustrated her own inaccessible features.
The presence of deep colors may reflect feelings of the artist deep inside.
The negatives and positives which always come in pairs and never more signify the nostalgic paradox of truth and reality _ what should have come true and what the artist has missed in real world. The artist has created this collection by comparing herself to a child of her own gender (female), and eventually the solidarity of the compositions tells us that these two people are actually one; however, ...
Photo montage, digital art, and any other word by which one can describe Nazila Daneshvaran’s current exhibition present a personal scent and color. And this feature of being personalized gives the works a more precious value than describing them through accrediting the works to a special category. (Written by Pouyan Moghaddam; translated by: Reza Asadifar)
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