Source: Leila Heller Gallery
It is it, and it is only now...
Farideh Lashai, Dear, Dear, How Queer Everything is Today, 2010,
Painting with projected animation and sound, oil, acrylic and pencil on canvas,
5 minutes, 40 seconds, 78.8 x 39.5 in / 200 x 100 cm, Edition of 6, 1 AP, Unique painting
Edward Tyler Nahem Fine Art, 37 West 57th Street
April 3 - May 7, 2013
Thus in silence in dreams' projections
Leila Heller Gallery, 568 West 25th Street
April 4 - May 2, 2013
The Life and Legacy of Farideh Lashai (1944 - 2013)
A conversation between Shirin Neshat & Hamid Dabashi
Moderated by Mahnaz Fancy; closing remarks by Leila Heller
Thursday, April 25th
Leila Heller Gallery
568 West 25th Street, NYC
7 pm (doors open at 6:30)
RSVP, seating is limited
Edward Tyler Nahem Fine Art (ETNFA) and Leila Heller Gallery are pleased to present two posthumous New York exhibitions celebrating the life and career of internationally renowned, recently deceased, Iranian artist Farideh Lashai (1944 - 2013). On view, from April 3 to May 7, at ETNFA will be works such as El Amal, 2011-2012, Le Dejeuner au Park-e-Mellat, 2007-2011, among others. An extended version of Lashai’s work Rabbit in Wonderland, 2010, will be on view at Leila Heller Gallery from April 4 to May 2. A joint gallery catalogue, featuring an essay by Negar Azimi, Senior Editor of Bidoun magazine, will be published to accompany the exhibitions.
Through her dynamic paintings and videos, Farideh Lashai, who began exhibiting her work internationally in numerous solo and group exhibitions in 1968, created a compelling Iranian aesthetic in contemporary Middle Eastern art, inspiring artists at home and abroad. During her career, Lashai captivated viewers with her works, which seem to inhabit an ephemeral reality akin to the actual shifts of events through time and space. Lashai’s amalgamated use of layered mediums such as video, paintings, and sound, brings to lifetransient movements of iconic figures and other characters projected upon striking paintings of nature. Her intricate use of projected videos and sound upon unique paintings function as a cohesive whole and awaken a universal sense of nostalgia.
The main gallery at ETNFA will feature two large connected works of art with projected animation and sound. El Amal, 2011, inspired by the Arab spring and the Egyptian revolt, is a projection in which Charlie Chaplin appears in a scene of The Great Dictator. The face of Um Kalthoum, the Grande Dame of Arab music, rises on top of the painting, majestic as a moon with her renowned emerald earrings hanging. The eyes of the singer are closed, as if she is ignoring the minuscule dictator under her watch, dancing in excitement to the tune of her song "El Amal", meaning “hope, desire” in Arabic.
This work is directly related to the second installation on view, When I count, there are only you ... But when I look, there is only a shadow, 2013, which features 80 etchings based of Goya’s Disasters of War series from which all of the violent figures and actions have been removed, leaving only Goya’s backgrounds from each scene. These are then illuminated by a floating ball of light from El Amal. This work is about the reminiscence of violence and atrocity, a horrific event in a specific location (Spain’s invasion by the French), yet which is universally understood by those who have experienced war, or in the case of Iran, violent regime change that erases all memory or traces of the past. In this work, it is the recognizable background of Goya’s etchings that maintains the cultural memory even as the actors upon it change or disappear.
Additional works on view include Le Dejeuner au Park-e-Mellat, 2007, inspired by Manet’s infamous work Le dejeuner sur l'herbe, and three unique canvases - Pomegranates, 2008; Untitled, 2008; and Zinc Borders, 2007.
Leila Heller gallery will devoted its entire exhibition space to Lashai’s Rabbit in Wonderland, the multi-layered painting, sound and video masterpiece inspired in part by Lewis Carroll’s Alice in Wonderland and consisting five works (I Come from a Land of Ideology; Gone Down the Rabbit Hole; Dear, Dear! How Queer Everything; Keep you Interior Empty of Food/That you Mayest Behold Therein the Light of Interior is Today) depicting the metaphoric unfolding and subsequent disillusionment of various ideologies that entered Iranian society in the 20th century. While referencing key political figures and events, this series stresses the struggles of the Iranian nation as its people navigated this volatile epoch in their country’s history. Her search for meaning in identity and self are revealed by embarking on a journey through these competing political and intellectual voices of dissonance.
About Farideh Lashai
Lashai’s work can be found in major private and public collections, including the Tehran Museum of Contemporary Art, Tehran Museum of Contemporary Art, Tehran; Los Angeles County Museum of Art (LACMA), Los Angeles; Demenga Public Collection, Basel; Deutsche Bank, Commerz Bank, Frankfurt; Christie’s collection, New York City; National Museum of Fine Arts, La Valetta; Abu Dhabi Authority for Culture and Heritage (ADACH), Abu Dhabi; Devi Art Foundation, Delhi; The Farjam Collection, Dubai.
photo by Maryam Zandi
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