MAGIC OF PERSIA / MOP CAP 2015 SHORTLIST

01

02

03

004

005

Magic of Persia Contemporary Art Prize Shortlist Exhibition 2015 16-20 March / Dubai, UAE

"

006

About MOP Fundation

Established in 2004, MOP Foundation promotes Iranian art and culture to a wider audience and strives to make a notable contribution to its long-term advancement worldwide. This is accomplished by establishing programmes in modern and contemporary Iranian art, music, media and academia in partnership with world-class institutions.

MOP’s Art & Education programmes include: - A series of artists’ panel discussions entitled ‘Different Perspectives on Modern and Contemporary Iranian Art’ in collaboration with the British Museum - Art residencies and exhibitions for young Iranian artists at the Delfina Foundation and Parasol unit in London - Curate Archive, online residency - Publication Grants - Scholarships and grants in higher education at the Royal College of Art, London Film School and Goldsmiths University of London - The Magic of Persia Contemporary Art Prize (MOP CAP); a global search for the next generation of Iranian visual artists - The MOP CAP Artists’ Directory The charity’s primary source of funding derives from the auction of artwork generously donated by established and emerging Iranian and international artists.

Held in the UK, the US and the UAE, the success of these fundraising events relies entirely on the participation and support of artists and patrons alike. Sponsorship from organisations and individuals also supports MOP’s various projects.

007

About MOP CAP

MOP CAP is a worldwide search for the next generation of contemporary Iranian visual artists who have the potential to make a significant impact in their field.

The goal of the prize is to provide an opportunity for emerging artists to gain international exposure, and to engage in artistic experimentation and cultural exchange. Through its archival material, including an online artist database and printed publications, MOP CAP aims to provide an educational interchange and contribute to the development of Iranian art and culture.

THE PROCESS

MOP CAP is open to young, emerging Iranian visual artists, living in and outside of Iran, through an online application. The profiles of all eligible entrants to the open call are reviewed by the MOP CAP Selection Committee, and a shortlist of up to 21 artists is compiled.

The MOP CAP Shortlist Exhibition in Dubai showcases works of the selected artists, at which time the Judging Panel meet to deliberate on, and choose, up to seven Finalists. Subsequently, an exhibition of the Finalists’ work is held in London, where the Judging Panel meet once again to select the MOP CAP Winner.

Throughout the process, the Selection Committee are available to the artists for guidance, should they request it.

THE PRIZE

The MOP CAP Winner receives a one-year mentorship with a curator, resulting in a solo-project at a leading gallery space in London; as well as a three-month residency at the Delfina Foundation.

008

Selection Committee

Shiva Balaghi is a cultural historian of the modern Middle East, who

teaches History and Art History at Brown University. She has published widely on Iranian visual culture and contemporary art of the Middle East more generally. Her books include “Saddam Hussein: A Biography”, which includes a discussion on art under Saddam; “Picturing Iran: Art, Society and Revolution” (co-edited; 2004); and “Reconstructing Gender in the Middle East” (co-edited, 1994). She is a Contributing Editor of Jadaliyya and a Trustee of the American Institute of Iranian Studies.

During Fall Semester 2014, she is on leave from Brown and is serving as a curatorial consultant at Leila Heller Gallery in New York City.

Dr. Hamid Keshmirshekan is a research associate at LMEI, SOAS,

University of London. He has been the Academic Fellow in the History of Art Department, Oxford University, and editor-in-chief of the bilingual (English–Persian) quarterly, Art Tomorrow. From 2004 to 2012, he was the Associate Fellow at the Khalili Research Centre, Oxford University while holding history of art professorship at the Iranian Academy of the Arts. He received his PhD in history of art from SOAS, University of London, and was awarded post-doctoral fellowships by the Barakat Trust in 2004–05 and the British Academy, AHRC and ESRC in 2008 – both at Oxford University. His current research is on twentieth and twentieth-first-century art from the Islamic world, with a particular focus on recent developments in art practice and its relation to its context. He has taught art history and criticism in British and Iranian universities and 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.

Sohrab Mohebbi is a curator and writer currently based in Los Angeles.

Mohebbi is the recipient of 2010 Montehermoso research grant 2012 recipient of Creative Capital | Warhol Foundation Arts Writers Program for the blog Presence Documents. His writings have been published in Bidoun Magazine, where he is a contributing editor, as well as e-flux journal, Artforum, Art Agenda, Modern Painters, among others. Mohebbi was the 2010 curatorial fellow at Queens Museum of Art, New York. He is the assistant curator at REDCAT, Los Angeles. Together with Rush Estevez, he received the 2013 The Emily Hall Tremaine Exhibition Award for the upcoming exhibition Hotel Theory. He holds an MA in curatorial studies from Bard College and BFA in photography from Tehran Art University.

09

0010

JUDGING PANEL

Jananne Al-Ani is a London based Iraqi-born artist. She studied Fine Art

at the Byam Shaw School of Art and graduated with an MA in Photography from the Royal College of Art. She is currently Senior Research Fellow at the University of the Arts London.

Recent solo exhibitions include Excavations, Hayward Gallery Project Space, London (2014); Groundwork, Beirut Art Center (2013) and Shadow Sites, Arthur M. Sackler Gallery, Washington DC (2012). Group exhibitions include Mom, am I Barbarian? 13th Istanbul Biennial (2013); Re:emerge Towards a New Cultural Cartography, Sharjah Biennial 11 (2013); all our relations, 18th Biennale of Sydney (2012) and The Future of a Promise, 54th Venice Biennale (2011).

Recipient of the Abraaj Capital Art Prize (2011), her work can be found in the collections of the Tate Gallery and Imperial War Museum, London; Centre Pompidou, Paris; San Francisco Museum of Modern Art; Mori Art Museum, Tokyo and Darat al Funun, Amman.

Dr. Sussan Babaie joined The Courtauld Institute of Art in 2013 to take up

a newly established post teaching on the arts of Iran and Islam. Born in Iran, she attended the University of Tehran’s Faculty of Fine Arts (Graphic Design) until the revolution of 1979 when she moved to the USA where she received her Master’s degree in Italian Renaissance and American Arts, followed by her PhD at the Institute of Fine Arts, NYU, where she focused on the arts of Islam. She has taught at Smith College and the University of Michigan in America, and as the Allianz Visiting Professor at Ludwig Maximilian University in Munich. Her publications include “Persian kingship and architecture: Strategies of power in Iran from the Achaemenids to the Pahlavis” (2015), “Shirin Neshat” (2013), and “Slaves of the Shah: New Elites of Safavid Iran” (2004). She is the author of the award-winning “Isfahan and its Palaces: Statecraft, Shi‘ism and the Architecture of Conviviality in Early Modern Iran” (2008)

011

Image courtesy of Nour-Eddine El Ghoumari.

012

Judging Panel

Matthew Collings is an artist and art writer. His collaborative abstract

paintings, based on patterns and done in partnership with the mosaicist, Emma Biggs, are exhibited at Vigo, in London, and are in collections worldwide.

Together with they have curated several exhibitions, including a show of Picasso’s late works at Helley Nahmad, London, in 2007, which premiered the same year at the Basel Art Fair.

He has written and presented many successful TV series on art of different periods, ranging from the Renaissance to contemporary, and broadcast on the UK’s BBC TV and Channel 4. His six-part series This Is Modern Art, won many awards, including a Bafta. Between 1997 and 2005 he presented the annual, live Channel 4 TV programme on the Turner Prize. His documentary about abstract art from Hilma Af Klint to El Anatsui, entitled The Rules of Abstraction, was broadcast by the BBC in 2014. He is the author of many books on art including “Blimey! From Bohemia to Britpop: The London Art world from Francis Bacon to Damien Hirst” (published by 21), and “This Is Modern Art” (published by Weidenfeld and Nicolson). He is currently completing a book on contemporary painting for Thames & Hudson.

Isaac Julien’s work draws from and comments on a range of artistic disciplines and practices (film, dance, photography, music, theatre, painting and sculpture) and uniting them in dramatic audiovisual film installations, photographic works and documentary films. Born in London in 1960, where he currently lives and works, Isaac Julien studied at St Martins’ School of Art. Julien was a founder member of the Sankofa Film and Video Collective formed to expose the racialised unconscious of British Society in the Thatcher years, and subsequently of Normal Films established to produce queer cinema in a UK context.

Professor Andrew Patrizio is professor of Scottish Visual

Culture in Edinburgh College of Art (University of Edinburgh). His art historical work include the books “Contemporary Sculpture in Scotland”, “Stefan Gec and Anatomy Acts” (winner of UK Medical Book of the Year 2007). He has published with New Formations, The National Galleries of Scotland, The Scottish Society of Art History Journal, Architecture and Culture and Antennae. As a curator he worked at Glasgow Museums and Hayward Gallery, London. He has made exhibitions with Alan Davie, Ilana Halperin, Christine Borland, the Llubljana Print Biennale and Giuseppe Penone, among many others. He is currently a member of the Edinburgh Environmental Humanities Network and a Trustee of the Little Sparta Trust (Ian Hamilton Finlay).

013

Photograph Š Graeme Robertson Courtesy Isaac Julien Studio

014

011

"

Artists:

016

Abdolreza Aminlari Azi Amiri Negar Jahanbakhsh Amirnasr Kamgooyan Nader Koochaki Shahrzad Malekian Nafise Mighani Pendar Nabipour Hani Najm Mahdieh Pazoki

017

018

"

Abdolreza Aminlari B. 1979

019

020

Abdolreza Aminlari

EDUCATION

B.A. Fine Arts, College for Creative Studies, Detroit, Michigan, 2002

SOLO EXHIBITONS

Abdolreza Aminlari and Benjamin King, Longhouse Projects, New York, NY, 2014 Walls and Landscapes, Jackie Klempay, Brooklyn, NY, 2013 Abdolreza Aminlari and Drew Shiflett, Storefront Bushwick, Brooklyn, NY, 2012 We use to have fun, Spare Room Projects/Jackie Klempay, Brooklyn, NY, 2011

GROUP EXHIBITIONS

You Are My Sunshine, Associated Gallery, Brooklyn, NY, 2013 Music by Cavelight, Canberra Museum and Gallery, Canberra, Australia, 2013 Electric Darkness, SÍM Gallery, Reykjavik, Iceland, 2012 On my way, KVKM Kunstverein, Köln, Germany, 2011 More is More, Lexington Art League, Lexington, KY, 2011 Mark Making: The Presence of Line, Derfner Judaica Museum, Bronx, NY, 2011 Pin Ups, Fleetwing Gallery, Brooklyn, NY, 2010 Zwischen den Welten, Galerie DUO, Bonn, Germany, 2010 Point, Sweet Lorraine Gallery, Brooklyn, NY Exposure, ICO Gallery, New York, NY, 2010 Art Cart-el, DUMBO Art Under The Bridge Festival, Brooklyn, NY, 2009 Photo 2002, Monique Goldstrom, New York, NY, 2002 Thesis Show, Center Galleries, Detroit, MI, 2002 Academics, Paint Creek Center for the Arts, Rochester Hills, MI, 2002 Off the Chain, New York Studio Program, New York, NY, 2001 Furniture Factory, Detroit, MI, 2001 31st Annual Photography Show, Scarab Club, Detroit, MI, 2000 Photography, Paint Creek Center for the Arts, Rochester Hills, MI, 2000

PERFORMANCES

“Gesang an das noch namenlose Land”, (collaboration with Katharina Rosenberger) performed by Mivos Quartet, Longhouse Projects, New York, NY, 2014 ANIMA TRIANGULI (collaboration with Katharina Rosenberger), traveled to Gare du Nord, Basel, Switzerland, Eglise St. Foy, Sélestat, France, and Pforzheim, Schlosskirche, Germany, 2014

021

SELECTED BIBLIOGRAPHY / PRESS / PUBLICATIONS

Jean, Thomas, “LES LIEUX D’ART QUI COMPTENT A BROOKLYN”, Ideat #112, November 2014 Millar Fisher, Michelle, “Abdolreza Aminlari and Benjamin King”, ARTnews, Summer Issue, 2014 Romashevskaya, Irina. “Longhouse Projects”, Nu Modé Magazine #10, April 2014 Wohlthat, Martina. “Getrennte Welten”, DISSONANCE 125, March 2014 “Musikprojekt “Anima Triangeli”: Premiere mit drei Uraufführungen”, Badische Zeitung, January 13, 2014 Allen, Kalin. ”Installed: ABDOLREZA AMINLARI”, Artcore Journal, September 27, 2013 Galgiani, Allison. ”The Wait Is Over! 8 Art Openings this Weekend Will Be Here Before You Know It!”, Bushwick Daily, September 9, 2013 2012 Hybenova, Katarina. ”Your Perfect Arty Sunday in Bushwick”, Bushwick Dialy, June 29, 2012 Panero, James. ”An Improve of Color and Threads of Hope”, The Wall Street Journal, June 23, 2012, page A20, Print Cotter, Holland. ”The Latest Vibe Moved to Brooklyn”, New York Times, June 8, 2012, Art in Review sec.: C25/C28, Print “Gallery Hopping in Bushwick”, New York Times, June 8, 2012 Gomez, Enrico. “June in the Borough”, wagmag, June, 2012, “Four Shows To See During Bushwick Open Studios”, NY Arts Magazine, May 31, 2012

COLLECTIONS

College For Creative Studies

AWARDS & HONORS

SÍM Residency, Reykjavik, Iceland Aicad New York Studio Program Residency, New York, NY Artistic Achievement Award, College for Creative Studies Medal in Color and in B&W, 31st Annual Photography Show, Scarab Club

022

022

Untitled 2013 Thread on paper 146.69 x 139.07cm

GENERAL STATEMENT My work is informed by challenging perceptions of space, object, location, and memory. Thread is sewn into paper exploring physical as well as subconscious territory. I am interested in the repetitive nature of the act of sewing and the domesticity that comes along with the process. Simple shapes are transformed by textures, shadows, and metallic refraction creating an illusion of depth, space, and movement.

The reflective quality of gold thread is dependent on the viewer’s perspective. Geometry, the limitations of the thread, and the process of sewing inform each drawings final form.

024

Abdolreza Aminlari Untitled 2013 Thread on paper 138.75 x 132.08cm

025

Untitled 2013 Thread on paper 49.53 x 64.77cm

Untitled 2012 Thread on paper 49.53 x 64.77cm

028

Abdolreza Aminlari

029

Gesang an das noch namenlose Land 2013 Pigment print, acrylic paint, thread, and Japanese seed beads on canvas Dimensions variable.

Installation of 3 tapestries, each approximately 274.32 x 101.6 cm

020

"

Azi Amiri B. 1979

021

022

Azi Amiri

EDUCATION

Masters of Fine Art, NYU, Steinhardt School of Culture, Education and Human Development, New York, NY, 2012-2014 Bachelor of Fine Art, Shahed University, Tehran, Iran 2000-2006

SOLO EXHIBITIONS

Amorphousness of Love, 80 Washington Square East Gallery, New York, NY, 2014 Story of History, Art on the Move Program, PSU, State College, PA, 2010 The Story of Mystery, Schlow Centre Region Library, State College, PA, 2010 Colorful Dark, Art on the Move Program, PSU, State College, PA, 2009 Coloured Poems, Saales Gallery, Tehran, Iran, 2005

GROUP EXHIBITIONS

The New Paradigm, TAG, The Art Gallery at the University of West Florida, 2014 Homeland, Prattsvile Art Center, 2014 Employee Art Show, Metropolitan Museum of Art, New York, NY, 2014 HAT-titude: The Milliner in Culture & Couture, Art, Westchester, Westchester, NY, 2014 Fish Out of Water, Liberty Arts Gallery, Yreka, CA, 2013 NYU First Year MFA Show, Common’s Gallery, Barney Building, Steinhardt, NYU, NY, 2013 The Recycle and Rubbish Exhibit Museum (RARE), Chico, CA, 2011 Bell Memorial Union gallery, Main hall, CSU, Chico, CA, 2011 Laxon Gallery, CSU, Chico, CA, 2011 10x10x20, B-SO Gallery, CSU, Chico, CA, 2011 MFA Show, Bell Memorial Union gallery, CSU, Chico, CA, 2011 MFA student Show, B-SO Gallery, CSU, Chico, CA 2010 Juried Exhibition, Schlow Centre Region Library, State College, PA, 2010 Art on the Move program, PSU, State College, PA Go Figure, Art Alliance of Central Pennsylvania, State College, PA, 2009 Happiness Ceremony Painting Competition, Shafagh Art Center, Tehran, Iran, 2007

022

AWARDS & COMPETITIONS

Artistic Practice Award, New York University, New York, NY, 2014 The Departmental Banner Bearer, New York University, New York, NY Martin Wong Scholarship, Martin Wong Foundation, San Francisco, CA, 2013 Anderson Award, Art and Art History Department, CSU, Chico, CA 2011 Associated Students Sustainability Fund, CSU, Chico, CA 2010 Talented Artist Award, Schlow Centre Region Library, State College, PA, 2010 Art on the Move program Honor, PSU, PA, 2009

PUBLICATIONS

“Understanding is possible between Iran & US”, Centre Daily Time Newspaper, Sunday, Nov. 22, 2009 “Happiness Ceremony” catalogue, Shafagh Art Center, Iran, Tehran, 2007

REVIEWS

NYU MFA 2014 Catalogue, Essay by Jennifer Krasinski, May 2014 “Art and Public”, Town and Gown, June 2010 “International Women In State College Speak Of A New Life,” Voice of Central Pennsylvania, PA, March 2010 “Art Festival Preview,” Town and Gown, Special Supplement, PA, 2009 “Iranian Painter Display Her Works,” The Daily Collegian, PSU, October 2009 “Artist Honored For Series,” The Daily Collegian, PSU, April 2009

024

Azi Amiri

GENERAL STATEMENT For me, the first function of art is communicative; a podium to embody my thoughts and feelings and convey them to others. However my aim is not to make the works easily accessible, but to create a space into which the viewer must enter or get closer in order to hear the story.

Attention to the ongoing interaction between present, past and my presence, has contributed and shaped my practice as an artist.

Incorporating the actual objects that I have used offer viewers traces of my personal experiences, in an effort to give each piece an individual and irreplaceable history. Monoprints of my worn scarves create a platform for my rendered figures to share their stories, while remaining interwoven with my daily life.

By using simple daily life performances (cleaning dishes, getting my hair cut, wearing a scarf‌), I try to bring these ordinary life tasks, which can easily be snubbed, to the surface so that I can examine them in light of their social, historical, and cultural formation.

I want to create a collaged delusion of a dreamy and quiet environment in which small details invite the viewer to step closer and linger. I employ layers of drawings or hand-printed images combined with found images, or old Iranian photos, juxtaposing the beauty of Iranian culture and heritage with the grimness of its current state of insecurity and uncertainty.

Form depends on, and is determined, by content. They are interrelated in my three-dimensional works. My sculptures and installations are sometimes ephemeral and time-based, and their content expresses poetic prominence, while their form carries the aesthetic value. In short-lived sculptures made from sugar, I explored the use of ephemerality, not solely in terms of art world issues but of the relationship between ephemerality, mourning and loss. Tears Container is a slow-melting sculpture to the sounds of dripping water, which is strongly associated with feminine and domestic connotations of both material and form; a tribute to a moment of sacrifice and breaking in the name of love.

025

Snapshot #2 2014 Monoprints,collage 111 x 76cm

026

Azi Amiri

Snapshot #2 2014 Monoprints, collage 111 x 76cm

This body of work involves making a monoprint of one of my scarves, thus creating a platform for my figures-and myself--to share their stories. The images are from old Iranian photos showing females wearing western clothing, standing in front of the camera, and reveling in being women. Females who are performing what is culturally perceived as a perverse desire to step out of the tangling environment in which they live; in this case the scarf!

A peep box is called Shahre-Farang, which means “western city� in Farsi.

Portraying two females looking through an old peep box, simultaneously hesitant and playful, allows me to navigate my own skeptical approach toward the new surroundings in which I am living.

027

Snapshot #4 2014 Monoprints,collage 111 x 76cm

028

Azi Amiri Leftover 2013 Monoprint, collage 68 x 55cm

In this body of work I am trying to examine the relationship between art and life by using the objects that often hold great personal and collective meaning and carry stories of particular times, places, or events. I monoprint these personal objects (a pair of my kitchen gloves, a scarf, hair‌) on delicate paper to explore the fragile relationship between meanings, values, culture, beliefs and my own existence.

029

Wing 2013 Monoprint, collage 68 x 55cm

040

Azi Amiri

041

Amorphousness of Love 2014 Sugar, plexiglas, copper, and water Installation dimensions variable, Tear Container 47 x 17cm

I remember visiting the Abgineh Glass Museum in Tehran where I first saw the odd-shaped glass containers, each featuring a dramatic curve in their long, narrow neck. The remarkable and stirring form had a strong reciprocal relation with its traditional usage: while a husband was away at war or a long trip, the wife (or the lover) would keep her tears in the bottle called Ashk-Don in Farsi, or “Tear Container”. Upon his return, she would gift him the tears to show him how much she missed him.

A few years after that visit, living separately from my beloved ones was an era of “Tear Containers” for me. Modifying their function by making them out of sugar, I explored the contradictory subtexts of ephemerality, love, loss, pleasure and pain.

My tear container would break down with humidity or heat easily.

Even someone’s breath or body temperature would change them and eventually put an end to their existence. These ephemeral sculptures represent the amorphous pleasure of love and its accompanying melancholy. The bitterness of tears in relation to the sweetness of sugar echoes the irony of interwoven sorrow and desire experienced in any form of love.

042

Azi Amiri

Turtles Cry When They Fly 2014 Time-based sculpture Dimension variable Tear container 47 x 17cm

I found a container made out of sugar that is used to fill tears, a proper vessel to contain a story of war and love. One of the most beautifully depicted stories of war and love that I have ever seen is the movie Turtles Can Fly by Bahman Ghobadi. It pictures a story about the hearts and lives of children and youth in the world of ceaseless war.

The installation of my piece Turtles Cry When They Fly, is slowed-down footage from the movie, projected through a tear container cast from sugar. The sound* is an evidence of a happening, but the image is too abstract to reveal the nature of the event.

The container becomes deformed from the heat of the projected image, people’s presence (breath and body temperature), and time; as if the continued sorrows annihilate the fragile existence of the vessel. * Original music for the film by Hossein Alizadeh.

042

044

"

Negar Jahanbakhsh B. 1986

045

046

Negar Jahanbakhsh

EDUCATION

B.A. Painting, Alzahra Art Universtiy Graphic Design Diploma, Modarres Art School

SOLO EXHIBITIONS Azad Art Gallery, 2013

GROUP EXHIBITIONS

Note, Azad Art Gallery, 2010 Selected of New Generation, Mellat Art Gallery, 2010 Cutting Edge Artists, Mellat Art Gallery, 2011 The Doll Behind The Curtain, Shilla Art Gallery, 2012 Versus Announce, 2014

PRIZES

Winner of Afshin Pirhashemi Prize

047

GENERAL STATEMENT I was born and raised in a friendly middle- class family. That is why people have a special role in my life and paintings. I used the figures of my family members in many of my paintings. My family members have emotional, psychological, social and conceptual aspects because I have known them for many years so I can use characters in a symbolic way in my paintings.

For example, in the Tarahan-Tarahan collection, the old man who has been repeated as single person in seven paintings is my grandfather.

His spirit and physical properties provide me with a space for creating personal concepts. He is the symbol of me, and his illness and isolation reminds me of my own spirit. On the other hand, these characteristics which are associated with aging are the simile of painting conditions in contemporary art, painting history and being the painter.

Considering the details and elements of pictures is one of my obvious characteristics. The details are as important as the main subject of my paintings. All of them have concepts and are not added to the painting in vain. In my opinion, these details make the whole. I use a naturalistic method because it perfectly corresponds with my way of thinking and approaches my position to realistic subjects.

048

Negar Jahanbakhsh

049

His briefcase is a portable museum 1 2013 Acrylic on canvas 150 x 100cm

In these two paintings, I explain more about my grandfather and Marcel Duchamp with an emphasis on a briefcase.

In one painting the briefcase is closed showing the investigation of conditions, and in another it is open with the contents displayed.

My grandfather had always a handbag to keep his stuff and when he opened it, it was as if the contents were a review of his whole life.

The bag reminded me of Box in a Valise by Marcel Duchamp. I linked this installation with the painting and emphasised the similarity between the characters in my paintings and Marcel Duchamp. The title of my painting comes from a sentence in a critique of the Duchamp’s Box in a Valise.

050

Negar Jahanbakhsh

051

His briefcase is a portable museum 2 2013 Acrylic on canvas 100 x 150cm

052

Negar Jahanbakhsh

052

Statement

2013 Acrylic on canvas 160 x 240cm

In this painting I have used one of the disadvantages of painting to portray a kind of weakness.

Everything is ready for the presentation, an energetic lecturer, a stage and gigantic speakers but no sound to be heard. Illustrating an impeccable and magnificent moment in which its biggest problem is not seen...and the lecturer goes on and on with the same enthusiasm without noticing the issue.

For me the intention and meaning of this drawing is criticising the visual arts space in Iran and the hopelessness of artists in facing it.

054

Because I could have created several ready–mades a day 2013 Acrylic on canvas 100 x 170cm

The grandfather lives and all the trinkets that he uses daily are around him. I found a link between a grandfather and his appliances, and Marcel Duchamp and his ready-made works. Two old men, one of whom is Duchamp being interviewed on the television, and another who is a secluded old man drowned in a crossword puzzle. The title of this painting is the subtitle of Duchamp’s interview about the ready-mades.

055

The man who went down the stairs 2013 Acrylic on canvas 150 x 200cm

The concept of this painting to me is struggling with art, as I learned in contradiction to the art that is current in the world. For example, bedding (a quilt and mattress) was always put in my grandfather’s house at nights and my grandmother collected it in the mornings.

I also found a link between the bed by Robert Rauschenberg (1955) and the bedding that still has a traditional function in my life.

056

Amirnasr Kamgooyan B. 1982

057

058

Amirnasr Kamgooyan

EDUCATION

B.A. Graphic Design, Shiraz Soure University, 2005

SOLO EXHIBITIONS

To 13 Hertz, Shirin Gallery, Tehran, 2014 Capturing Friction, Shirin Gallery, Tehran, 2012

GROUP EXHIBITIONS

Zoo, curated by Iman Safaie, Shirin Gallery, Tehran, 2014 Day Gallery – Non Hated Movement, curated by Aidin Xankeshipour, Day Gallery, Tehran, 2014 Black gold, curated by Vida Zaeim & Leila Varasteh, Shirin Gallery, Tehran, 2014 Inversion, curated by Aidin Xankeshipour, , Dastan’s Basment, Tehran, 2013 Corrosion, curated by Aidin Xankeshipour, Shirin Gallery, Tehran, 2013 Igreg Gallery, Tehran, 2013 Drawing week 1, Homa Gallery, Tehran, 2013 Video Show (Limited Access4), curated by Amirali Ghasemi, Aran Gallery, Tehran, 2013 Video Show, Curated by Amir Rad, East Gallery, Tehran, 2013 Museum of Contemporary Art, curated by Hamzeh Farhadi, Ahvaz, 2012 Inanimate life, Seyhoun Gallery, Tehran, 2012 Take part in Final encore project, Tehran, 2012 Iranian Artists, State Capital, California, 2012 Drawing for Drawing, Arte gallery, Tehran, 2012

ART FAIRS

Context Art Miami (Scope), Shirin Gallery, 2014 London Fair, Shirin Gallery , 2014 Vienna Fair, Shirin Gallery, 2013 Miami Beach Art Fair (Scope), Shirin Gallery, 2013 Basel Art Fair (Scope), Shirin Gallery, 2013

AUCTIONS

Tehran Auction, Azadi Hotel, Tehran, 2014 Young Collectors Auction, Ayyam Gallery, Dubai, 2013

059

GENERAL STATEMENT My focus has mainly been on printmaking. Searching for a personal style, I turned more and more to photo-engraving. It didn’t take long before I became fascinated by the printing plates themselves, and they became my first artwork in a group exhibition in 2012. After that experience, I decided to develop this skill and make use of the capacities of the engraving techniques to realise my intricate mental images. The goal was to achieve a glorious and unique quality, with my source of inspiration being the geometric shapes and stark sketches of engine parts, drawings of industrial machinery and biological illustrations.

Moreover, I became obsessed with aged things, like old structures, shabby buildings, battered and rusty objects, and old factories, deserted towns etc. The older they were, the more intriguing they became. For me, they symbolise the passage of time and almost like a time capsule, they vibrate with a mysterious frequency. This could perfectly be translated into steel printing plates.

During this process, I resolved to get rid of frames and empty margins: I cut out the drawing in its entirety so that a single shape remained.

This gave me freedom not only in design quality but also in presentation. Another benefit would be that the viewer’s attention would be more focused on the work itself.

Humanity is in constant struggle. This is inevitably reflected in our environment. Of all the generations, we are suffering the worst consequences of the deeds of our predecessor. All of our achievements, whether scientific or technological, were supposed to help us live better, more profound and more fulfilled lives. But all of our endeavours have backfired terribly. Our progress has cost us a lot and it is progressively taking its toll on our planet. A modern man can single-handedly do more harm to nature than a thousand men of old ever could. And he does. Modernity will not stop until it has trodden all nature down under its colossal wheels.

Francis Bacon has famously said, “I am like a grinding machine. I look at everything, and everything goes in and gets ground up very fine.

Images are regenerated within me.” I always try to be as honest as I can: I choose an image like a Ziggurat or an autopsy or a pattern in a carpet, and then I start to imagine and draw, so in the process I somehow “dive into” the subject. In this way, I can access the layers of the subconscious and also the unconscious of my psyche, delivering them on steel. It also gives enough space for accidents. Every detail gives birth to another: the whole creative process is exhilarating.

060

Untitled From to 13 hertz Series 2014 Stainless steel, painted steel 96 x 126 cm Edition 3 of 3

061

Trinity - no. 2 From Trinity Series 2014 Stainless steel 130 x 220cm Edition 1 of 3

062

Amirnasr Kamgooyan

TRINITY SERIES I am not sure whether I was asleep or awake: perhaps somewhere in between?

Perhaps the excitement of the discovery of the unexpected would inevitably be auspicious: no discoverer sets out on his journey, in the quest of luck and serendipity. Purposefully walking off the beaten track, he will tread on so many fruitless roads. Searches are left unfinished that often seem pointless. But searching high and low for meaning is the incessant struggle of man to draw closer to that mysterious something. Would it still be worth looking for if it was not strange?

Drifting apart from the familiarity of everyday experiments with these unfamiliar images, we step into a familiar vagueness. As if unearthed by excavation, the apparently random images stand before your mind’s eye: similar to the bizarre symmetrical inkblots of a psychological test with general vagueness that nevertheless contains information of a particular yet peculiar entity that exists curiously on the edge. Without imagination we are threatened by a danger so much graver than the perils of imagining the seemingly unattainable.

Alpha: Yeah! Now I remember. When was it? Yeah... the same day that the... Theta: Let me first get out of these trees...

Alpha: Watch out! Mind those pipes, lest they fall!

Theta: It’s so cold out here!

Alpha: It’s dry lead! What an image! Fabulous! I was saying—I mean the day in the jungle—I told you, you should have clutched the bird’s throat...

Theta: That fool does not understand a dammed thing! Look at it! Sitting there talking craaa...

Alpha: This is the way you should do it. I saw it the other night; it ate up everything on your desk. It was...

Theta: Imagine that!? Everything has been written before!

Alpha: Ok. Calm down! These trees smell like...

Theta: We’ll talk about that too. Rome wasn’t built in a day!

Alpha: Blow! Blow to warm up your hands... (In the third phase, you have to bring out your avatar like a yogi: time travel!)... See what nonsense is written here...

Theta: Oh, I almost forgot! A while ago, I got it busted one night: I caught it and clutched its throat. It was about to prick me with its beak... then it started to throw up.

Alpha: We’ll get there in half an hour I reckon. It took a tad more this time.

Theta: I told you more... more time...

Alpha: Cut it! Give me your hand! Come on! I like that corner over there. It looks cozy. Behind those ferns...

Theta: You’ve made me curious, can I see it? Aha! A second and then it vanished...

Up, down, 1174, up, nut, screw, screw, and nut... wait, wait...

Alpha: Hey! Don’t fall asleep! The smell of the trees again ... It drives me crazy!

Theta: Damn it! That creep stopped over there! I cannot bear its stupid face!

Alpha: Come! Come on up! Get in the car!

Alpha: Aha! Well done! I like that curiosity! What a good noise! This sound is great!

062

But I feel for you...

Alpha’s Mind: Where did Hall want to go? The yellow rays of light passed through that cavity and touched my face. While I was staring at the ornaments of the tower, I realized I was underground too...

Hall: Yeah! Right!

Alpha’s Mind: What a beautiful symmetry! It’s Outstanding! Fabulous! It occurred to me that the entry to that tunnel of sound is the beginning of falling into the dark tunnels of the center of the earth... no, I am making a mistake here.

Hall: Yeah! Right!

Alpha’s Mind: He said he was in a different planet. So, one can travel through time!

Alpha: What?! You’re back?! What happened? Did you see it?

Theta: Yes! All of them were sitting in the middle of those horsetails. It was there too! Sad, without a sound, with its beak opened; it opened its chest...

Alpha: The same old thing, huh?

Theta: Yeah, but that funnel caught my atten...

Alpha: Wait a minute! It is coming! Let’s talk about it later...

Theta: These pipes are very cold! Very... very...

Alpha: Blow! Blow on your hands and rub them together!

Theta: Want a puff of...?

Alpha: Maybe later... Do not forget the propeller, the belt and the washers! Wash them all! Clean! Tonight we’ll finally be off. We must go! Catch you later then...

Theta: Later... later... You make me sick! Don’t repeat yourself!

Alpha’s Mind: A door to one of the tunnels will be opened... the flooding of the fish... rotation, rotation, rotation.

Theta: Count them!

Alpha: 227.

Theta: A prime number again! Ha-ha! Excellent!

Hall: Yeah! Right!

Alpha: Aha! So you saw that funnel?

Alpha’s Mind: It is as if that old plant is fermenting in my arms! Rotation of the fish: They are constantly increasing! I am blown up like a balloon! Full of oil... I’m heavy... I’m subsiding... echo in the funnel... the fish, rotation, rotation, the fish! I’m subsiding! I’m heavy! Subsiding...

The dialogues in this story, have happened in the brain frequency (consciousness) of someone who is dreaming and the Hall character is the sound of the atmosphere that the story is taken place in. (The frequency of the brain of a person who is awake is usually twenty cycles per second. Frequencies over 14 cycles per second are called Beta, which are for connecting with the physical world outside, and for connecting with time and place or using natural senses. But the brain has other frequencies that have lower cycles in comparison with Beta and they are Alpha, Theta and Delta respectively. However, Theta and Delta frequencies are not for the physical world’s connections, and we only use them when we are not aware of time and place. These frequencies are used for dreaming, soul connection and intuition that are related to our inner consciousness.)

064

065

Trinity - no. 2 From 13 hertz Series 2014 Stainless steel 140 x 130cm

066

Amirnasr Kamgooyan

Untitled

From to 13 hertz Series 2014 Stainless steel 116 x 81cm Edition 2 of 3

067

068

"

Nader Koochaki B. 1982

069

070

Nader Koochaki

EDUCATION

Sociology, University of the Basque Country, Spain, 2006 Academic research studies in collaboration with CEIC-IKI

SOLO EXHIBITIONS

Argazki Erakusketa, Egia Culture Centre, Donostia, 2011 XXXXX, Paraninfo of the UPV, Bilbao, 2011 Violence, Repetition, Archives from the historical territory of Alava, Gasteiz, 2010

GROUP EXHIBITIONS

First Thought Best, Artium, Gasteiz, 2014 Allan Kaprow, Other Ways, Fundació Antoni Tàpies, Barcelona, 2014 Scènes, Médiathèque de Biarritz, Biarritz, 2012 Scènes, Musée Basque et de l’historie de Bayonne, Bayonne, 2011 ZoOo, THE WILD WORLD, Cristina Enea Fundation, Donostia, 2010 Interactivos? ‘09, Arteleku, Donostia, 2009

MISCELLANEOUS

Collaboration: Ingrid Buchwald, Ehizalerroak, 2010-2014 Vazquez & Arrieta, Eight or Ten, Six or Seven Wolves, 2012-2013 Workshop: Dorsal Landscape, Bulegoa z/b, 2013 Performance: Closed circuits, Club le Larraskito, 2013 Collaboration: Carme Nogueira, Castillete, retablo minero, 2012 Film Programme: Tradition and Betrayal, Zera Kultur Elkartea, 2010 Talk: About shepherding representation Talk: Congress about Trashumacy Studies, 2010, Article: Dorsal Landscape, Zehar nº67, 2010 *Profile picture (pg.14) courtesy of Kimia Kamvari

071

GENERAL STATEMENT Basically my work has been characterised by the intention to develop a language that would overcome the restrictions and obligations of an academic sociology. A drift trying to combine analytic and creative work. A search for ways of working that have found their place in the area of visual arts.

Materials can be found every place we visit. I am particularly interested in how society exploits or adapts nature to itself and how nature conditions society to its qualities. I pay special attention to the traces of these relations and I adapt the way to register or intervene in them to the aim that I consider essential: the more the matter you talk about and the way you talk about it look alike the better it is. I understand visual registering ways as a means of approaching different environments. Rather the camera is a means than the photograph as a goal.

I could describe my artistic practice as the formation of four work constellations that have been shaped without following a plan. Although parts of them have been somehow formalised, shown or published, I understand them as continuous lines of work that grow up in time and are activated depending on circumstances and possibilities. Accumulations of different materials and approaches formalise themselves, out of a studio-work logic. Some materials match together due to formal sympathies and time sequences. Some other materials stand by just as tracks, traces or vestiges of a followed path.

The first constellation (XXXXX) consists of an approach to the shepherding practice in the Basque Country as a perfect scheme of the western interpretive thinking diagram (the subject, object and means/technology triad) and as a significant cultural image of the Basque Culture. The second constellation (Scènes) consists of a video scene corpus related to the cultural Basque heritage. Some scenes of a hypothetical experimental film, all of them related to photographical language and the museographical way of showing objects.

A phantasmagoria created by the shadow of the step of modernity. The third constellation (Huntinglines) is a collaborative project with Ingrid Buchwald, about hunting imagery and the specific way that hunting practice in Gipuzkoa has been established. The fourth constellation (/ /, “ “, ^ ^) is a black and white accumulation of photographic materials that have been absorbed by three working plans in one. On the one hand there is a photographic series about the registration methods of identity documentation. On the other hand there is a photographic series, which is the fruit of the labour of following the protest traces of the mining workers on the roads of Asturias and Leon. And finally there is a photographic series about erased street paintings. In all of them there is a severe concern about colour, the storage medium of the photographs, and erasing and emptying processes.

Two years ago, Koochaki started to learn and discover his father’s second language and culture: Persian (as he is Kurd, his firts language and culture were Kurdish)

072

072

Pigeonhole, Huntinglines 2014 Installation: steel, labels and phographs Dimensions Variable

Ehizalerroak is a project of research and artistic production about hunting developed with Ingrid Buchwald (Ibarra, 1980), which started in late 2010. The project takes as its starting point and structuring axis the photographic documentation of the hunting posts in the province of Gipuzkoa, using as a guide topographic maps and inventories provided by the County Council and encouraged by the shared reading of the book Ehiztariaren erotika (The Hunter’s Erotic) of Joseba Zulaika (Erein,1990).

We carried out an exploration of the conceptual and geographic territory in which hunting is circumscribed as an ontological condensation. It has been a process of reflection that goes into pathways as the dialectic between Humanity and Nature, imagery around the forest, the organisation and demarcation of territory and architectural typology of the structures from which the hunting activity takes place. We have engaged in field work (we documented nearly one thousand two hundred hunting posts to date), researched cinema imagery (gathering a large archive of frames) and walked with bird counters during migration seasons in the different points of bird migration zones in the Iberian Peninsula.

At the moment, we have built some structures to contain and show some of the materials (cartography and photography), which were actually exhibited in the Artium Museum. The materials and forms of the structures are related to the architectural forms and ways of assembling that we have documented.

074

Nader Koochaki

"

XXXXX

2009 8-channel video & software installation, cut books, documentation tables & other materials Dimensions variable

This piece is about the representation of shepherding in the Basque Country. It is the result of an approach to the context of shepherding competitions and a big intervention that copied / translated the most important of the comeptetitions using various alteration and recording it with 8 video cameras and 16 microphones. A software was also created to generate information about the movements, punctuation, orders and other aspects of the happening. This work was motivated by an aim to use the basic scheme of shepherding, highlighted by the reductionism of competitions, to speak about western philosophy: the subject that governs an object by an instrument / a culture that domesticates nature by language (shepherd --> dog --> flock). It is a synchronised video installation with a duration of 2 hours.

075

076

Nader Koochaki

Open Sky / /

2014 Colour photgraphs, glass and steel hardware Dimensions variable

Open Sky / / is an ongoing project that started in 2009. It is a series of photographs in ID card format with a structure of glass and steel.

They express a personal reflection and action around the notion of photography, identity, and personal image capturing devices and art forms. Adopting the methodology proposed by the disruptive action by H. Garfinkel proposes a review of concepts as absencepresence, subject-object, difference-repetition etc. / / is a project in which the author disappears, the object as well, but the light and photography remain highlighted. / / raises the need for other categories of interpretation while pointing out, and emptying, those that have become obsolete. / / is a collection of photographs in ID card format in which the face is not there, it has been displaced, so that the light occupies the photograph since action overflows. I am not the author of any of the pictures. And in a few cases the photographs have not been taken by a photographer. The quality of each of the photographs is local and arbitrary.

Sociology and photography are sister disciplines and have developed together. Just as the photographic approach has changed, the same category of photography has changed too. The notion of image changes along with the changes in the techniques to obtain it. / / is not reduced to a mere reflection on identity and its supports, which it is also, but claims the use of the glut of devices in society and overcomes the tendency of the artist to be introduced in certain contexts with personal image capturing tools . / / consists in activating the devices influencing in them. The vacuum does not mean anything. In / / pictures overflow and we can access them. / / is also a tribute to photography; without a goodbye is a gesture in its path.

At this point / / is composed of 160 groups of photographs with their respective glass and steel supports. Each set of photographs ranging from four to eight pictures. The photographs have been performed in various cities in Spain and abroad (Germany, UK, Portugal) since 2009 at different rhythms and intensities. The series is ongoing and it is cumulative in nature, at least quantitatively. In 2011 twenty groups were shown in a little exhibition. The whole collection still has not been shown. All of the materials have been produced with their own packaging.

077

078

Open Sky ‘‘ ‘‘ 2012 B/W 35mm photographs Dimensions variable

Open Sky “ “ is a photographic archive of the remains and traces of mining protests in Leon and Asturias: asphalt burned by flaming barricades, destroyed fences, shifted signals, stones ... evidence of an activity or type of protest that characterised the miners and is marked in place. Scars on roads, landmarks, traces of an existence before his disappearance.

079

Scénes is a collection of videos that deal with the subject of cultural dislocation; a series of visual fragments that could be the first step towards an experimental film. Its raw material is museum objects that are part of the heritage of the Basque cultural imaginary. Scènes is an open project presented as a video installation. Each of the videos forces photographical time and language.

Scènes 2012 Video installation Dimensions variable

080

"

Shahrzad Malekian B. 1982

081

082

Shahrzad Malekian

EDUCATION

B.S. in Microbiology, Faculty of Science, Tehran University, Iran, 2001-2006 B.F.A in Sculpting from Art University Tehran, Iran, 2007-2011

GROUP EXHIBITIONS

Nietzsche was a man, video program, Pori Art Museum, Finland, 2015 SALVATION GHAZA, Installation, Event, Niavaran Cultural Center, Tehran, 2014 Nietzsche was a man, Video Program, Malmö Konsthall, Sweden, 2014 Reversed City, Urban Installation, Tehran, 2014 Invisible present Tense, Video Program, 10th Beijing Independent Film Festival, Beijing, 2013 Group Exhibition of Art University Sculpture Student Graduates, Iranian Artists` Forum, Tehran, 2013 Nietzsche was a man, Video Program, FONLAD, Digital Art Festival Coimbra, Portugal, 2013 Nietzsche was a man, Video Program, Museo Ex Teresa Arte Actual, Mexico City, 2013 Rotation: Iranian videos, Parkingallery archive, Swiss Ambassador`s residence, Tehran, also Co- Curator, 2013 Invisible present Tense: Video program, 36th Göteborg International Film Festival, Göteborg, 2013 Invisible present Tense: Video program, 42nd International Film Festival Rotterdam, Rotterdam, 2013 Limited Access IV, Aaran Art Gallery, Tehran, also Program Coordinator, 2013 A Man, Aun Gallery, Tehran, 2012 Video-therapy, Session one: Recovery, Stueben Gallery, Pratt Institute, NYC, 2012 The Invisible Present, Artists’ Television Access, San Francisco, 2012 The Invisible Present: Video Section of The Iranian Pulse, Sao Paulo, Brazil, 2012 It’s Normal!, Villa Kuriosum, Berlin, Germany, 2012 Human from the Contemporary Viewpoint, Fravahr Gallery, Tehran, 2012 Unanimously Condemned: Video Art & Performance Documentary from Iran BONNER KUNSTVEREIN, Bonn, Germany Annual Exhibition of Iranian Sculpture Forum, Iranian Artists’ Forum, Tehran, 2012 Exhibition of 3 Generation of Iranian Sculpture No.2Fravahr Gallery, Tehran, 2011 Group Sculpture Exhibition, Café Gallery, Iranian Artists’ Forum, Tehran, 2010

082

PARTICIPATION

Goteborg Film Festival: Signals, Inside Iran, 2013 Rotterdam Film Festival: Signals, Inside Iran, 2013 The 3rd Biennial of Urban Sculpture, Tehran, 2012 The First Mural Art and Urban Design Biennial, Tehran, 2012

PUBLICATIONS

Short Review on Group Exhibition: Black or White, Iranian Artists in Italy, Art Tomorrow, Vol 1, 2010 Art Around the World, review on major international art exhibitions, Art Tomorrow, Vol 2, 2010 Halim Al-Karim, Aksnmeh, Contemporary Photography Quarterly, Vol 32, 2010 “What light Can Tintoreto shed on modern art at the Venice Biennial?�

(Translation), Jonathan Jones, Alef Bimonthly of Arts and Culture, Vol 86/2011 A Simplified and Secretive Istanbul Biennial, (translation), Susan Fowler, Alef Bimonthly of Arts and Culture, Vol 86, 2011 Profile on Istanbul Biennial, Interview with artists, extracted from the catalogue (Translation), Aksnmeh, Contemporary Photography Quarterly, Vol 33/ 2011

084

Shahrzad Malekian

GENERAL Statement

Wearable sculptures “Piece 1” 2010 Tulle fabric, Jupon 170 x 78 x 78cm (approximately) Edition of 2 + 1 AP

In my works, there is an element of introspection into the sociocultural domain with a subtle political flavor. I have a bent for enveloping the artistic concepts in layers of glamour, fantasy, and sarcasm, sometimes in a dramatic fashion and sometimes in a direct way as in a social science study.

The starting and finishing points in my creations revolve around the human being with all her/his sophistications. The inner drive of my work embodies the contemporary human in her/his complex relations, power structure, and gender from the private to public domain.

My encounter with these concepts leads me to select a performative medium. My main aim in creating interactive sculptures is making the possibility for a strong interaction between the spectator and the artwork. These objects are utilised as Wearable Sculptures in the creation of performances, and continue to retain their independent identities afterwards.

Cloth and clothing, as the most intimate accessories to the human body, and as elements with signifying forms as well as sexual, cultural, and psychological implications, inspire me to create these appending objects. When joined to the performer’s body, they become complete and find active quality. My approach, in encountering these wearable sculptures, is formal as well as conceptual and performance-centered.

In my interdisciplinary practice I bring together various forms of sculpture, fashion design and performance art and video art to make socially critical and gender conscious statements. All these sources make my diversified collection of data, which I try to reproduce and reformulate in a new appearance.

085

086

Shahrzad Malekian

087

Wearable sculptures The works in this series—The Wearable Sculptures—include a set of objects conceived to generate a period of intimate contact with the body of their users—who may be the audience of the work or the performer who is to exhibit the mechanism that follows each object.

This mechanism alludes to certain qualities of social interaction and the ways in which people become engaged in forming subject-to-subject relationships. In another sense, the action that evolves through an engagement with these objects tends to expose qualitative positions within the contours of which particular subjects happen to get entangled when engaged in social relations. Although such positions may apparently touch on issues with some degrees of specificity, they can be expanded into situational modes of interaction in general.

The Wearable Sculptures are pathologies of socialism crafted and embodied as instrumental means that go on to initiate performative moments for elaborating on the modes of socialism and the subjectivities that they bring about.

“Piece 1”

2010 Tulle fabric, Jupon 170 x 78 x 78cm (approximately) Edition of 2 + 1 AP

As a piece in the series, a fluffy, cloudlike heap of white tulle is sewed so that, when put on, covers one’s head, arms and body right up to the knees. This part costume, part object is drawn upon the stereotypical bridal gown, literally abducting the jupon; while alluding to the conventional notions of purity and innocence, this veiling mass is a means to render ambiguous. The pair of legs that come from underneath this crafted shape of shapelessness suggests a precarious subject burdened with terror, vulnerability and potential violence.

088

Shahrzad Malekian

089

Wearable sculptures “Piece 2” 2010 Mixed-media 70 x120 x 30cm Edition of 2 + 1 AP

Another wearable object consists of a big funnel-like part attached from the narrow end to a hose long enough to reach the user’s mouth—where it gets attached to a hard plastic mask—when the object/instrument is put on the straps hang on the shoulders and the funnel is placed between the legs, pushing tight to the crotch and its wider end placed under the buttocks. When speaking, blowing or dropping any noise through the mask into the hose, the sound gets transduced via a sensor connected to a mini fluid pump—installed inside the hose and the funnel—and eventually any vocal attempt is translated into flowing blood red drops. Speech, either literally or as gestural noise, is directed forward as its material consequence drips in the opposite direction. The mechanism that this object triggers points at the concealed violence implemented in every-day communicational acts.

090

Shahrzad Malekian

Wearable sculptures “Piece 2�

2010 Mixed-media 27 x 35 x 12cm Edition of 2 + 1 AP

A black leather belt with a transparent compartment in front, in which the sculpted figure of an infant could be seen, pressing its folded legs and arms tight to its body, this wearable object is designed to be worn by men or women who have not experienced pregnancy. The figure of the infant, a realistically modeled piece of sculpture, triggers a whole statement towards the status of a medium as it is not being delivered via traditional modes of sculptural presentation but is being carried as a prosthesis with sociocultural significances. As the recast of the human body, caught in a state of indeterminate contingency, meets the actual anatomy of the living person, the representational role turns into an intimate experience of a loss, what can not be touched, something that is to be grasped in its phantasmic presence. The materiality of the sculpture, in its very representational status synthesised with a prosthetic condition, manifests a loss; embodies a state of vacuum.

On the other hand, as the realistic illusion of the sculpture is to be experienced via the performance of the body rather than merely being looked at, the prosthetic condition, thus, transforms the representational instantiation into the very concept of representation itself—it is not this particular figure of an infant that is represented, but the very mechanism of representation is exposed as the weight and shape of the loss that it generates is touched through this particular figure. Finally, this performative take on the medium of sculpture, and what it mediates, leads to a twist of gender positions and tries to manipulate how such positions are both represented and experienced.

091

092

Shahrzad Malekian

Makeup experiments: Lipstick 2013 Video Performance 4’20�

The lipstick is fixed; this is the lips, the face, and the whole body that tends toward the lipstick. This piece of cosmetics works both to initiate a range of action and a spot of spectacle. The scope of action includes the lipstick, at first, subtly getting applied and gradually getting rubbed all over and across the lips, slightly above and below them, on the chin and the cheeks. It takes the whole materiality of the lipstick, all that pasty mass, for the action to get fulfilled all across its possible range.

This interrelationship between the human body and the object leads to the objectification of the body: the two screens seem to function, in one sense, as shot and countershot, therefore the range of action, the body performing it and the object involved are all rendered as parts of one spectacle, directed at which is a serious gaze spanning across the whole time of the action. However, parallel to the production of this set of spectacular objects, the divided screens seem to function yet in another way: in the eye of the spectator they are to switch places in order to align the overall image with the image of an actual face, the eyes placed above to the lips, and the lips placed below to the eyes.

It is in this easily deduced, though imaginary move, that the objectified spectacle and the viewing subject unite in a single body, which is to find its counterpart right outside of the frame and among the audience. The two looks, the gaze of the spectator and the one in the film, intertwine with one another. All the reflections, positiontakings and position-turnings point at an apparatus that sets the limits for the bodies and their positions, which are brought into consideration when an object, loaded with relations produced through that apparatus, is called upon the stage of action and representation.

092

094

Shahrzad Malekian

095

"

Irreversible Beauty 2012 Single Channel HD Video 15’43�

This video was filmed in a single take, and then the image and the sound were put out of sync: the uninterrupted image plays back in reverse while the sound remains as it was recorded. The artist performs in front of the camera; lying in a bathtub, she puts on some makeup on her eyes, holds her breath and dips her head into the water, and comes up seconds later. Her intense physical endeavor confronts the idea of undoing the positions that allude to and stem from gender identities.

As cosmetics seem to have an instrumentally decisive role in the formation of gender identities, makeup here is used as a piece of material culture standing for the many tools used to compose the regime of gender constructions. More than a thorough statement or conclusion, the labour of the artist seems to track a particular zone where this cycle of simultaneous erosion and development could eventually be owned and occupied by the will and the gesture of the artist, turning the process into a set of therapeutic rituals.

As the practice of the reversed picture clearly contests the title of the work, and as the ending of one audio track marks the beginning of another visual one, this filmed performance seems to tackle both the promise of a destined irreversibility and the wish for a strategy of undoing, one that goes in reverse.

096

Nafise Mighani B. 1989

"

097

098

Nafise Mighani

EDUCATION

B.A. Photography, Faculty of Fine Art Tehran University, 2012 Graphic Design Diploma, Modares Institute of Art, 2009

PROFESSIONAL EXPERIENCE

Zanan-Emruz Magazine, No 3, Summer 2014 Participated in Abr jungle’s Summer Environmental Art Festival 2014 Photography Instructor for exceptional children 2014 Professional work for BESAT book publishing, cover, layout, graphic design for at least 30 books including novels, textbooks, psychology books, 2013-2014 Photographing Babak Etminan’s workshop 2012- 2012 Photographing the production line of Spry Machine, manufactured in Hamedan province, Iran 2012 Artist for Herfe- Honarmand Magazine, Vol 3, No 43, Autumn 2012 Membership of Student Association of Photography for 3 years 2009-2012 Policy-maker, executive member & advertising director of first Festival of Photography “Here is My Living Place, My Mental Geography” held in Tehran 2011 Presentation of the weekly meeting of young photographers, with the presence of: Mehrdad Afsari, Najaf Shokri, Mohamad Ghazali, Ramyar Manuchehrzade, Behnam Sedighi, Reza Shojaee, Amin Ghashghaee, Hosein Rajabi, 2010-2011 Presentation of the book “Photography: A Middle-Brow Art Pierre Bourdieu”, with Naser Fakuhi Ph.D., 2011 Presentation of a video art workshop with Alireza Sahafzade, 2011 Presentation of criticism and review of the book “The Body and the Archive” by Allan Sekula, with Mehran Mohager and Alireza Sahafzade, 2011 Publishing of Cheshmak, Magazine of Photography 2011

099

GENERAL STATEMENT “The Unseen Objects” Being unseen and dissembled is something that I’ve experienced before, which is why I started to figure out my surroundings. I began looking for unseen things around my house, where I spend most of my time. I saw so many unseen objects such as a smudge on the tablecloth, a towel, an empty bottle, and the light on the wall... I found these things during my inquest in a familiar sphere, where things had not had the chance to be noticed. Light warmed up the dead and cold grain of my photos. Everyday around 12 to 3:45pm the light appeared up on the wall. I pushed the table against the wall and captured my discovered objects.

This project is my endeavour to remember the Unseen Objects. It was a reaction against the strict social attitude that made it hard for other attitudes to express themselves.

0100

Nafise Mighani

Orange 2012 Photograph 19 x 19cm Edition of 5

2012/1/18 1:52pm I found it in the refrigerator, it was hidden behind all of the other stuff and that’s why nobody saw it, nobody ate it, and it was covered in white velvet.

0101

102

Nafise Mighani

Empty Bottle 2012 Photograph 19 x 19cm Edition of 5

2012/1/16 1:34pm Sunlight shines on the wall, and now it’s in the middle of the wall, right in the middle. I put the bottle on the table... in the direction of the sunlight

102

Cups Buttermilk 2012 Photograph 19 x 19cm Edition of 5

2012/1/23 2:31pm I saw the glass of yoghurt drink in the sink. The dried yoghurt drink made many different motifs on the glass and that’s why I took it.

104

Nafise Mighani

Plastic Bag 2012 Photograph 19 x 19cm Edition of 5

2012/1/22 2:23pm Transparent, without color, perfect for being neglected. I put the bag on the table. The light on the wall is about to disappear. I pull the table, the bag moves on the table and it stops in the space between the wall and the table....

105

String

2012 Photograph 19 x 19cm Edition of 5

2012/1/23 1:41pm This is just a white plastic string, just a string for wrapping the candy (cake) box.

106

Pendar Nabipour B. 1985

107

108

Pendar Nabipour

EDUCATION

Masters of Fine Art in Artistic Research, Dutch Art Institute/ ArtEZ, Arnhem, The Netherlands, 2011-2013 Bachelor of Art in Sculpting, Tehran University of Art, Tehran, Iran, 2007-2011 Post-Diploma in Visual Arts & Painting, University of Science & Culture, Tehran, Iran

SOLO EXHIBITIONS

Welcome-Not Welcome, Schmall Gallery, Amsterdam, 2014 Solo OpZicht titled “ Exactaroboard “, Stroom Den Haag, The Hague, 2014 Waterlogged proverbs, Siin Gallery, Tehran, 2011 Solo exhibition of Illustration, Elm-o Farhang University, Tehran, 2005

GROUP EXHIBITIONS

LOCUS, Upcoming Iranian Artists Abroad, Vrije Academie Gemak, The Hague, The Netherlands, 2014 Participation in “ Free Cinema W139 “ with “Life is Not That Painfully Fast” Series, W139 Space for Contemporary Art, Amsterdam, 2014 Galata Fotoğrafhanesi Fotoğraf Akademisi, Dutch Art Institute Istanbul, Istanbul, Turkey, 2013 Exhibition of Works by Graduates in Sculpture from Tehran University of Arts, Momayez Gallery, Iranian Artists Forum, Tehran, 2013 3rd National Urban Sculpture Biennial, Barg Gallery, Tehran, 2012 Making Use, Van Abbemuseum, Eindhoven, The Netherlands, 2013 Human from the Contemporary Viewpoint , Fravhar Gallery, Tehran, 2012 Three artists walk into a bar, De Appel Art Center, Amsterdam, 2012 Elephant in the Dark, curated by Amirali Ghassemi, Devi Art Foundation, Tehran, 2011 Sixth National Sculpture Biennial, Niavaran Complex, Tehran, 2011 Second Contemporary Art Exhibition of Sananda, an under construction building in the city central district, Tehran, 2011

PUBLICATIONS

‘‘Do you remember?’’ Article about collective memories of Iran’s post revolution generation, Reorient Magazine, Online Publication, 2014 Author and illustrator of “Che-Khowf” zine, New-bookz Publication, Tehran, 2010 Illustrator of 3 different titles of science workbooks for children, Shabahang Publication, Tehran, 2004-2006 Illustration and design for a children puzzle book “Find, Stick, Paint!”, Peik-e Adabiat Publication, Tehran, 2004 Illustration and design of the book “Come Dear! Let Me Tell You a Tale” for children, Peik-e Adabiat Publication, Tehran, 2004

109

PARTICIPATION

Shortlisted for Freedom monument competition for Farhang Foundation, Los Angeles, 2014 Participation and presentation in “See You in The Hague” project, a master class about Preemption, Politics, Alternatives / Stroom Den Haag, The Hague, 2013-2014 Translation subtitling and editing of 10 documentary videos for an organisation of human rights from English to Farsi (Persian), The Hague, 2013 Participation in “Curating Academy”, Framework by If I can’t Dance I don’t Want To Be a Part of Your Revolution, Arnhem, 2013 Participation in “Co-op Academy / The Van Abbemuseum presents ‘USEFUL ART’ ”, Eindhoven, 2013 Filmography for the short movie “Midnight depends on the time zones” by Susana Pedrosa, in collaboration with Expodium, Utrecht, 2012 Director, filmography and editor of the short movie “Doubt in presence of a coloured baby chick”, Tehran, Iran & The Hague, 2005-2012 Participation in “Re-reading Public Images” as part of the DAI program, Framework by Florian Göttke, Arnhem, 2011-2012

AWARDS, HONORs AND GRANTS

Schuurman Schimmel – van Outeren Stichting, Haarlem, The Netherlands, 2012 Awarded ArtEZ Scholarship for Non-EEA Students, Arnhem, The Netherlands, 2012 Awarded and honored by the 6th National Biennial of sculpture in the field of “under 35 years old artists”, Tehran, Iran, 2011 Honored by Tehran University of Art with letter of commendation in “Metal Workshop”, Tehran, 2010 Awarded and honored by Iranian Education Ministry in “Mehr National Students Photography Competition”, Tehran, 2002

GENERAL STATEMENT

I usually tend to work with social concerns, popular culture, memory, and literature. I will always try to find a way to create intervention between the artwork/myself and the spectator. My urge to address political issues is rather strong. I like being playful with bits of irony. My main area of practice is making interactive sculptures/installations, but in recent years, I have been doing a number of public interventions and performances as well. Graphic design has been my financial provider along with my main focus on visual arts since 2002.

I like to try, fail and of course eventually succeed. I rely as much as possible on research within the area that I would like to create my work around. I enjoy collaborations with other people, and I greatly respect collective consciousness.

110

Pendar Nabipour

Stages to the Conscious Longing 2013 Glass, plastic strings, meta pieces, plastic stickers, LED lighting, electronic wiring 30 x 90 x 200cm (Hanging piece) Single edition

Stages of memory that we carry along evolve and form our present points of view and our judgments. Memories pass through the filter of time, and the important and heavier ones remain, while the light ones get forgotten, or at least stay aside from the main picture. Our consciousness relies on those memories most of the time, and as the projection of pure consciousness passes through the stages of memory and time, the present picture of our consciousness gains a new shape; a shape that already carries along a consistent picture, and tries to see or enlighten the present given picture relying on its pre-specified data.

The image used in this work is taken from a design belonging to the cover of school children’s notebooks from the 1980’s in Iran. The notebook was massively produced because of the mass-production agenda of the new government that had recently experienced a revolution and was at war with its neighbouring country Iraq (19801988). The consequences of this mass-production of school stationary, television programs and many more items, created a strong bond between the common memories of one of the largest generations in Iran (large because of the encouragement of the new government for large families). Gradually the common mementos and activities gave birth to a new sort of pop-culture in the 1980’s.

Now after more than two decades, a new pop-culture has been born from the ashes of the older one from the 1980’s, which reflects a huge demand for the mementos from that time. This image has been chosen as the symbol of this phenomenon after research about the nostalgia of the present for the 1980’s, and the ways it deals with the current behaviours of the same generation.

111

112

Pendar Nabipour

WELCOME – NOT WELCOME, AT SCHMALL GALLERY 2014 32 x 25 x 15cm Wooden commode, photograph & glass mirrors Single edition

In my opinion there are three layers, stages or areas of personal space for each individual. The third and the grandest one is the public layer, which includes the majority of audiences and common encounters of an individual with those audiences. It is where anybody who meets a person can enter and be a temporary visitor. The middle one relates to relationships. It usually includes two individuals (sometimes a few more) and their internal codes, mutual trust, joint memories, and their ways of encountering with the third stage. And for the first stage, it includes only the inner voice of the individual. It is a much smaller layer where the person looks through at the other two, in order to capture the world outside and interact with it. This stage relies on the knowledge, memories and experiences from the other two stages, but stays carefully hidden and safe with the inner voice.

Roland Barthes introduced ‘Punctum’ in order to read photographs and to be stung by the sharp tip of the mesmerising contents of a special image. ‘Punctum’ may be one of the few bridges to connect the first stage to the other two, because as a photograph, the mysterious subject is visually visible to see, and to deal with.

The stories behind the roots of this gallery, and also the story of the image behind its hesitating doors, may not be narrated for all, neither is it necessary that they be told, but they can act as bridges to connect the stages to one another, for only the memory remains. *This work is the result of collaboration with Doran Schmaal and her invitation to work with the idea of Schmall Gallery, which is a small platform with the idea of working with a tiny wooden gallery.

112

0114

115

Water Will Not Even Slide Over Water 2011 Glass aquarium, resin, plastic dummies, plexiglass sheet, water with preserving chemicals 150 x 40 x 40cm Single edition

WATERLOGGED PROVERBS Proverbs are important as they are very practical in the Persian language; a language for people who try to use metaphor in their speech and behaviour most of the time. This set of works contains seven installations with interactive and non-interactive sculptures, which try to use the element of illusion within the proverbs and to show the issues lingering on Iranian society’s collective mind. This set of works has been influenced by the events of 2009 to 2011 in Iran, and has social and political roots. My reason for the use of the term “Waterlogged” is to first explain the usage of water itself in most of the works as an element of interaction, and secondly to stress the stinginess and the boldness of artworks with aims that are as metaphoric as proverbs themselves in the Persian language.

* Photograph courtesy of Negar Yaghmaian

116

Pendar Nabipour When your head is under the water, it does not matter if its 1 foot under or 100

Water Will Not Even Slide Over Water

The lake is muddy from the source

2011 Wood, clay bowl, ping pong ball, water with preserving chemicals 130 x 40 x 40cm Single edition

2011 Glass aquarium, resin, plastic dummies, plexiglass sheet, water with preserving chemicals 150 x 40 x 40cm Single edition

2011 Wood, plastic dummies, aquarium pump, water pipes, plexiglass, electric wiring 130 x 40 x 40cm Single edition

117

The cradle is wet and the baby is gone 2011 Glass aquarium, plexiglass, miniature mattress and pillow, ink 150 x 40 x 40cm Single edition

There is water in the jug, and we thirsty people keep seeking around

Getting one’s own kilim (little carpet) pulled out of the water

2011 Wood, plastic dummies, aquarium pump, water pipes, plexiglass, clay jug, electric wiring 150 x 40 x 40cm Single edition

2011 Glass aquarium, fake plastic rug, 50V DC adapter, electric wiring 150 x 40 x 40cm Single edition

0118

Pendar Nabipour

WATERLOGGED PROVERBS

Water will not even slide over water This proverb is used in the Persian language to refer to a situation that is unstably silent and nothing happens. Using the Azadi Square’s memorial tower (Azadi meaning freedom), I tried to express a situation in which everything is ready for an explosion, yet no big change happens.

The scene refers to the huge demonstration that took place on the 15th of July 2009, when nearly 4 million people took to the streets in silence and gathered in this square to protest for their votes after the presidential election.

There is water in the jug, and we thirsty people keep seeking around This proverb means that while you were trying so hard to accomplish something, or were looking for something in the four corners of the world, what you were seeking was at your reach all the time and you didn’t know it.

The lake is muddy from the source This proverb expresses that when things are not getting better, it may be the case that the deal was corrupt from the beginning. It means the whole thing is tainted from high above and since this is happening, the others have to use the muddy water instead of clean water. So the whole community remains sick or unsatisfied.

0119

Getting one’s own kilim (little carpet) pulled out of the water This is an old proverb with a historical background that means to put one to the test to see if they can overcome their issues on their own.

In this piece there is a little plastic kilim covered by water and there is an instruction guide on the artwork asking the viewer to reach into the water and pull their kilim out. There are two wires in the water, releasing 50 volts of DC electronic power. As the spectators reach their hands into the water, they will feel a weak shock that makes them pull their hands out immediately. So in fact no one can pull their kilim out of the water.

The voltage of the shock is of course safe and a warning appears on the instruction that people with heart conditions should not participate in this action.

The cradle is wet and the baby is gone This proverb indicates that what is done is done and “they” finally did what they were up to doing. It also means that someone has secretly caused some damage for their own benefit, and now it has become conspicuous. There is almost a similar idiom in English: “the fix is in”.

In this piece there is a baby’s cradle placed in the vitrine, which is wet because the baby pissed in it. The lid of the vitrine calls to mind a ballot box that refers to the controversial presidential election, which took place in the summer of 2009 in Iran.

When your head is under the water, it does not matter if its 1 foot under or 100 This proverb states that when someone is under water they are not able to breathe, and it does not matter how deep the person is, they cannot possibly breathe anyway. It refers to the fact that while a person is going the wrong direction, doing something which is wrong, it does not matter how deeply guilty the person is, they are still doing wrong.

120

Pendar Nabipour

The Enemy

2012 Acrylic glass, print on film 50 x 50 x 50cm Edition of 2

The work consists of a 50 x 50 x 50cm acrylic glass cube with prints on lithography films on the inner sides of the walls of the cube, and a smaller cube with a size of 20 x 20 x 20cm inside with no image on it’s walls. The inner floor of the cube is black. The images relate to a list of descriptions about the enemy, normally used

by Iranian state media, in three columns: Contradictions, Definitions and Functions. Each number refers to a picture and the spectator needs to find the right pictures in order to interact with the artwork. The descriptions are written in Farsi, English and Hebrew.

121

What are they doing?

2013 Glass, wood, smartphone, speaker, microphone, fan, cables and converters 160 x 40 x 50cm

As a part of a three-year long collaboration between Van Abbemuseum and the Dutch Art Institute I, alongside nine other artists from the Dutch Art Institute, have been working with the museum on the idea of “useful art� during the 2012/2013 academic year, in order to discuss and find ways to analyse the ideas of use and how to make use of a museum using artistic practice.

My part of the discussion was focused on interaction with the public. I tried to connect the Van Abbemuseum as a contemporary art institution to the urban space of the city of Eindhoven, where the museum is situated. My aim was to connect or swap places between the urban space and the museum.

This interactive sculpture is basically an audio portal between the museum and a shopping mall in the city of Eindhoven. Using two smartphones and many of electric devices, the sculpture transmits the environmental sound from the museum to the sculpture situated in the shopping mall, and the sculpture in the shopping mall, transmits the sounds from the shopping mall to the museum.

One needs to listen through the glass glued to the surface of the sculpture in order to hear the sound of the museum/city.

122

"

Hani Najm B. 1986

122

124

Hani Najm

EDUCATION B.A. in Graphics BIOGRAPHY Permanent member of Iranian painters Member of Kids and Adolescent Book Illustrators Association Shortlist of the Magic of Persia Contemporary Art Prize 2013 One of five chosen in the Professional Section, Best From the Disposable Festival, Artists΄ House, Winter 2012 Second prize, Shamse Festival with the city as the subject, Drawing Section, 2012 Selected in Fifth Art of the Youth Festival, drawing section, Saba Museum, 2010 Laureate of Iran’s Second Contemporary Drawing Festival held at the Imam Ali Museum in 2009 Selected in the Ninth Contemporary Drawing Festival, Atashzad Gallery, 2009 The first New Art National Festival, Museum of Contemporary Art in Ahwaz Chosen in the festival of drawing / Persbookart Participation in many individual and group exhibitions

GENERAL STATEMENT The result of life is not the things and objects we gather, it is the hearts we attract. With the intention of reducing the distance between people and the artist, I’ve been drawing people on subways and busses for eight years. In all these years there have been only a handful of people who actually saw what I was doing and you can see the unconscious effect on these works, which is a sign of the cold relationships between people in society. One of the concepts I am pursuing through my artistic practice is creating affection between people. They are close to one another on the bus but it’s just their bodies which are close; their souls and minds are somewhere else and this was the reason I named the collection: Close But Far. With industrialisation and the digital age, apparently relationships have become abundant yet people do not see one another anymore. They have parted from each other, afraid of facing one another. I once set out to visit a friend, but he was too busy chatting on Viber. I’ve seen this scene frequently on the bus when someone speaks loudly and others admonish him/her, they do not accept they’re doing something wrong and the situation ends up in a harsh quarrel. All of these images are my own personal experience and I recall this saying that man is a werewolf because when wolves are hungry and they don’t find food, they eat each other.

125

I want people to change the way they think about their everyday life style.

For this reason I tend to use rhythm in my works a lot, because rhythm comes from repetition and I view my life as repeating the repletion. Here you can see three works that all are drawn on the subway tickets. Two works are drawn with pen, all inside the subway and city atmosphere. One coloured work is done using my imagination, on phone cards and internet cards. I found its white circles next to the trash bins of a restaurant containing papers that had been disposed of, in a place called “Tehran’s Roof”. There is a pedestrian path there named the “road of health” where people walk. There is a contradiction in the situation: harming nature, which nobody is informed of, because of these types of restaurants.

In this colour work I asked my nephew to draw on it and he drew a couple of rows on it in the white circles. My aim of this was to make people think about their past and, for at least once, get back to their childhood, because kids paint without thinking about anything and live in the present moment.

One departs more and more from the innocence of childhood as they grow, contaminating their mind and soul. You never see hate in a child, and they forget resentments so soon. Kids don’t like meat because it’s against their nature, but grown-ups forcefully feed them meat so that they get used to it. I see the remedy for industrialisation and a boring everyday life as a return to the simple life of the past, and vegetation for all the people in the world. With the current procedures followed by humans wild life dies, people get sick, earth and water get more polluted, the earth gets warmer, and subsequently the balance of resources is shaken, leading to war between nations. If our life style doesn’t change, everything will swoop towards extinction.

The meat industry is the first-class convict in the erosion of our earth, air pollution, water shortage, water contamination, the extinction of wildlife, the disappearance of the diversity of wildlife, and climate change.

Animals raised for human food are in fact the reason for producing more than half of the greenhouse gasses made by humans. Every year one million people die from hunger. If we harvest potato instead of using land to produce cattle for meat, this would prevent their deaths, and the earth would not be destroyed by the excessive grazing of domesticated or herbivorous animals.

This is the reason I use dispensable material in creating my work. I do not classify my work in any specific style, because with a work that is done with integrity, the result would be something that no one else had ever done before. I like kid’s paintings and the Naive style because of the integrity that is present in both of them. Being close to these concepts, a return to the past, originality and integrity, I see my works as similar to them. I remember one time when my friend asked me: “why don’t you turn your refrigerator on?” I answered, ”if you want to change the world, start with yourself.” My intention in creating these works of art was to enhance human relationships in order to reach global peace.

0126

127

We Are Citizens 1 2014 Metro ticket & pen 400 x 200cm

128

Hani Najm

WE ARE CITIZENS Citizenship is equal to my lone portrait beside thousands of other portraits. We have absolutely nothing to do with each other, unless our benefits become engaged, or fall into risk with each other or even if their shadows are thirsty for each other’s blood, they are aiming at each other, ready to shoot. Here there is no sign of a human network or love for anything of the kind. This whole, constituted of tens, thousands, millions of desperate parts has not even one iota of the sweet bee hive. A hubbub who has chewed mass ethics, has swallowed social consciousness, has devoured human love and had thrown up a thick hard senseless bone which just fits for putting inside a wound.

Citizen: ooouuuuuch Municipal worker: Did it hurt for good?

We are citizens. Just because we live in the city, and here, life is riding us like a horse and makes us run with an overwhelming speed. Here the watch is tuned according to worthlessness. Who am I really? Where is my value hiding? Do I have worth in this society or have any value?

In the night when the city goes to sleep, they are murmurs, which wander around in the city with the wind. Scared, shy murmurs like an innocent child, that go: we are citizens, and expire time of us, paper citizens are until we have a use, until we open the gates for the entrance of whom we are under control, that it makes its pass and embarks on a train that takes him to its destination.

Citizen: So where is our destination?

Subway worker: I have to tell you your majesty, it’s here, the pretty giant garbage bin.

Citizen: so for whom do the trains start ahead?

Municipal assistant: husssh! Tickets don’t have the right to speak.

129

120

Hani Najm We Are Citizens 2 2014 Metro ticket & pen 300 x 150cm

0131

0122

122

We Are Citizens 2 2014 Metro ticket & pen 200 x 150cm

124

Mahdieh Pazoki B. 1979

125

126

Mahdieh Pazoki EDUCATION B.A. Carpet (Painting), Tehran University of Art, Tehran, 1997

SOLO EXHIBITIONS Solo exhibition of drawing, Isfahan Museum of Contemporary Art, Isfahan, 2002 Solo exhibition of painting, Isfahan Museum of Contemporary Art, Isfahan, 2003 GROUP EXHIBITION Iranian Artists Forum, Tehran, 2003 Iranian Artists Forum, Tehran, 2013 Mahe-mehr Gallery, Tehran, 2014 Qasr Museum, Tehran, 2014

127

GENERAL STATEMENT This present series refers to the Islamic patterns and art of mirror decoration, while at the same time challenging the pre-defined and fixed interpretation of these elements. In some cases, I have considered patterns and mirror decoration as a background for other contemporary elements. These elements are replicated and multiplied just like their traditional Islamic precedents, while being composed of new forms, such as women’s underwear and shoes.

The women’s underwear and shoes are shaped by the use of Islamic mirror decoration and patterns, and since symbolically this Islamic Art refers to the divine light, these works challenge the traditional concept of light and holiness. At the same time they refer, in a way, to existing paradoxes in contemporary Islamic societies, particularly in Iran. By virtue of these motifs’ new given concept, they deconstruct the standard interpretation of constructed elements. In these works I’m trying to question the possibility of reviving a traditional meaning in a contemporary paradoxical situation, or challenging established “binary oppositions” by subjecting them to a playful destructive approach.

128

Mahdieh Pazoi

129

HOLY CLOTHING 2014 Multistyle, plexiglass, chador fabric 121 x 121 x 8cm

This artwork refers to Islamic girih (knot) tiles, in which a design is regularly repeated, therefore making multiplied inscriptions or another individual inscription. This is like the principle of making knots, which is based on multiplicity in unity.

In fact, through deconstructing this concept, I considered ladies’ footwear as the multiplied element, which reaches the Shamseh design using several geometric multiplications. “Shamseh” is the holy concept in Islamic inscriptions, which is in turn the concept of unity in multiplicity and multiplicity in unity.

I also covered the surface of the canvas with a chador, which has provided a basis to display this piece of work.

140

Mahdieh Pazoi

"

MY SHOES

2014 Multistyle, plexiglass chador fabric 131 x 131 x 8cm

In this artwork, I used the complicated models and patterns of geometry of the designs and girih tiles (knot) and arranged them as the background. The manner of designing and arranging the shoes in turn refers to the arabesque (eslimi) and Iranian-Islamic forms which are multiplied from each side making a unique image, which is the form of ladies’ underwear.

In this work, I have tried to de-familiarise the past cultural historical elements aside today’s daily life elements and their mutual effects on each other, which are eventually displayed on a canvas covered with a veil.

141

142

Mahdieh Pazoi

142

THE ORIGIN OF THE WORLD 2014 Multistyle, plexiglass, chador fabric 110 x 127 x 18cm

This piece is inspired by the Islamic architectural Muqarnas and arches.

The work is projected from both sides towards the centre, with a notch in the centre part. In the projected and black part of the work, I have tried to establish architectural arches. The notch part of the work refers to the architectural vaults. This part has been covered with mirror, while the mirrored parts have been made from small pits placed besides each other repeatedly. These minor and major notches refer the work to architectural vaults, which are worked under the holy buildings’ dome and verandas in the form of some floors with regular notches and projections; it also refers the work to the Freud’s concept of femininity.

The general arrangement of the mirrors has no records in Iranian architectural decorations and is deemed an uncommon form, for which I tried to make it resemble the form of ladies’ underwear. Finally the work’s surface has been covered using a chador, which highlights the arches and the work’s projections and is placed in contradiction with its unique application, i.e. covering.

144

145

146

Farnaz Rabieijah

EDUCATION

M.S. in Plant Biology, Payam e Noor University, Iran, 2007 B.S. Biology, Tehran Azad University, Iran, 2003

AWARDS

Winner of the “Best Guest” Prize of British Art Medal Society, 2012

GROUP EXHIBITIONS

Context, Art Miami, Miami, FL, 2014 3rd Tehran Auction, Azadi Hotel, Tehran, 2014 “Black Gold” Group Exhibition, Shirin Art Gallery, Tehran, Iran, 2014 ART14 Art Fair, London, 2014 “Scope” Miami Art Fair, Miami, FL, 2014 Calligraphy Group Exhibition, Nicholas Flamel Gallery, Paris, 2013 Online Auction, London Auction Room, London, 2013 Group Sculpture Exhibition, Homa Art Gallery, Tehran, 2013 Vienna Art Fair, Vienna, 2013 My Name is Not Rouge, Group Exhibition/ Shirin Gallery, New York, 2013 Unexposed, Group Exhibition, Brussels, Athens & Warsaw, 2013 Popli Khalatbari Charitable Foundation Auction, 15th Annual Fundraising Event, London, 2013 Scope, Art Basel, Basel, 2013 ART13, Art Fair, London, 2013 Scope, Miami Art Fair, Miami, FL, 2012 Solo Sculpture Exhibition, Shirin Art Gallery, Tehran, 2012 Opera Gallery Auction, Opera Gallery, Dubai, 2012 Vienna Art Fair, Vienna, 2012 Group Medal Exhibition (BAMS medal society), Glasgow, 2012 Group Sculpture Exhibition by “Varagh” Group, Etemad Gallery, Tehran, 2012 Group Exhibition, Rira Art Gallery, Dubai, 2012 Haft Negah Annual Art Expo, Niavaran Art Gallery, Tehran, 2012 Group Sculpture Exhibition, Seyhoun Art Gallery, Tehran, 2012 Magical Nights Fundraising Auction, MOP, Salsali Private Museum, Dubai, 2012 Group small sculpture exhibition, Fravahr Art Gallery, Tehran, 2012 +me, The First Annual Exhibition of Elahe Gallery, Elahe Gallery, Tehran, 2011 The 6th Iranian Contemporary Sculpture Biennial, Niavaran Art Gallery, Tehran, 2011 The 10th Iranian Contemporary Ceramics Biennial, Imam Ali Museum, Tehran, 2011 The 2nd Sculpture Expo, Shirin Gallery ,Tehran, 2011 Sculpture Group Exhibition (Till), Henna Gallery, Tehran, Iran The 3rd Generation & Parviz Tanavoli Sculpture Group Exhibition, Fravahr Gallery, Tehran, 2011 Sculpture Group Exhibition, Aria Art Gallery, Tehran, 2011 Haft Negah, Annual Art Expo, Iranian Artists’ Forum, Tehran, 2010 Sculpture Exhibition by “Varagh” Group, Elaheh Gallery, Tehran, 2010 The 1st “Medal” Group Exhibition, Elaheh Gallery, Tehran, 2010

111

GENERAL STATEMENT Human ideas can be imposed or exploited by others. These ideas can be derived from superstitions or come into force on the basis of a predetermined plan. This collection is based on social thoughts and beliefs, which sometimes lead people to prison or death. Words, which have been transformed into screams and sometimes have never been told! Iranian culture has undergone plenty of revolutions due to widespread attacks throughout the history of Iran, which have lead to a variety of cultural influences and has caused a gradual evolution in etiquette and tradition of the society. The beliefs of different people which rise from religious, secular, political and social viewpoints demonstrate different exterior aspects; depict the general form of a society and ultimately the whole country. The letters that I most often use in my artworks symbolise these ideas

148

Farnaz Rabieijan

149

SPRING

2014 Fiberglass 200 x 30 x140cm Edition 1 of 3 +AP

Spring was predicated on a number of ideas and events of the Arab Spring, which started in December 2010 and evolved throughout 2011. I wanted to create a piece that represents dictatorship; this gun, comprised of the Arabic alphabet, symbolises dictatorship and enforced expectations. The previous artwork of this series was made in bronze in 2012 and titled “The Golden Gun,� but this piece is titled Spring which is a symbol of the beginning of a new life.

150

Farnaz Rabieijan

111

Kooh e Noor 2014 Mixed media 40 x 40 x 44cm Edition 3 of 3 +AP

The history of Iran’s oil industry began in 1901, when British speculator William D’Arcy received a concession from Iran to explore and develop southern Iran’s oil resources. By purchasing a majority of the company’s shares in 1914, the British government gained direct control of the Iranian oil industry. A 60-year agreement signed in 1933 established a flat payment to Iran of four British pounds for every ton of crude oil exported, and denied Iran any right to control its oil exports.

The term “petroleum” consists of two words “petra” means stone and “leum” which is oil. The Kooh-e-Noor was originally 793 carats when uncut. It is now a 105.6 metric carat diamond, and was once the largest known diamond. The diamond has belonged to many dynasties including the Rajputs, Mughal, Afsharid, Empires, Sikh and British. It was seized as a spoil of war time and time again. The diamond is currently set into the crown of Queen Elizabeth and is on display at the Tower of London.

In this artwork I wanted to merge these two facts by setting a barrel in the position of the Kooh-e-Noor diamond on the crown of Queen Elizabeth.

152

Farnaz Rabieijan

SWEET (SHIRIN) 2014 Bronze 54 x18 x 27cm Edition 4 of 4 +AP

Shirin was the Princess of the Aran region and the wife of Sassanid Persian King, Khosrow II. Long after her death, Shirin became an important heroine of Persian literature, as a model of a faithful lover and wife. She appears in the romance Khosrow and Shirin by Nizami Ganjavi (1141−1209) and is one of the main subjects in most miniatures.

Her elaborate story in literature bears little or no resemblance to the mostly unknown historical facts of her life, although her difficulties after the assassination of her husband remain part of the story, as well as Khosrow’s exile before he regained his throne. After Khosrow’s son kills him, he demands that Shirin marry him, however subsequently she commits suicide to avoid such an ordeal.

One of the most famous Iranian heroines in the 21st century is Shirin Neshat who is a leading avant-garde visual artist. Now she can be the heroine of contemporary miniatures.

152

154

Farnaz Rabieijan

155

The Silver Medal

2012 90 x 22 x 8cm Bronze Edition 3 of 3

The Silver Medal was a piece in the “IRAN� collection, which was exhibited in October 2012 at Shirin Art Gallery, Tehran. This collection includes artworks that represent the different cultures and ideas of people in a society that I symbolise with alphabets. The Silver Medal represents ideas and beliefs, which may cause one to be condemned or even sentenced to death.

Iran held the second place in executions after China; therefore I named it The Silver Medal.

156

Hamed Rashtian B. 1984

157

158

Hamed Rashtian

EDUCATION

Hamed was a student of pure mathematics at Beheshti University, when he became familiar with sculpting. He enrolled in sculpting classes of “Kargah Honar” institute. That is where he realized, he was talented in sculpting. At the time, having studied at Beheshti University for 5 semesters, he felt like he had drifted away from what he was actually studying in university. Soon he dropped out and started taking independent courses at Maahe Mehr private art school in sculpting, history of contemporary art, philosophy of art, art history of Iran, all taught by elite scholars of the field. After that he spent two years working as Parviz Tanavoli’s assistant. Along with other students of Tanavoli’s class, they formed the group Ma’koos. With their first group exhibition, his professional artistic career started.

SOLO EXHIBITION

Clue-Scratch, Khak Gallery, Tehran, 2014 Them, Etemad Gallery, Tehran, 2011 There Is a Hole, Etemad Gallery, Tehran, 2009 Dust In The Wind, Mah-e-Mehr Gallery, Tehran, 2007

GROUP EXHIBITIONS

Neo-Traditionalism in Contemporary Iranian Art, Museum of Contemporary Art, Tehran, 2014 Annual Review, Khak Gallery, Tehran, 2014 Annual Review, Khak Gallery, Tehran 2013 America the Beautiful, Aaran Gallery, Tehran, 2012 Third Annual of Sanandaj Contemporary Art, Sanandaj, 2012 Crucifixion, Shirin Gallery, Tehran, 2012, Figurative, Shirin Gallery, Tehran, 2012 The Second May, Seyhoun Gallery, Tehran, 2012 Group sculpture exhibition, Ambassador of Belgium Residence, Tehran, 2012

159

Intersection of The Imagination exhibition of Association of Iranian Sculptors, Iranian Artists Forum, Tehran, 2012 Opening, Sin Gallery, Tehran, 2012 Factory Garden, Mohsen Gallery, Tehran, 2011 2nd Sculpture Expo Exhibition, Shirin Gallery, Tehran, 2011 Hunted(er), Mohsen Gallery, Tehran, 2011 PKCF foundation, London, 2011 Art Dubai, Dubai, 2011 Abar Ghahraman-e-Man, Aaran Gallery, Tehran, 2011 My Super Hero, Morano Kiang Gallery, Los Angeles, 2011 Television, Mohsen Gallery, Tehran, 2011 Forth Year, Mohsen Gallery, Tehran, 2010 Tehran Urban Sculpture Biennial, Barg Gallery, Tehran, 2010 Three Generations of Iranian Sculptors, Farvahar Gallery, Tehran, 2010 3days group work shop and exhibition, Farvahar Gallery, Tehran, 2010 PKCF foundation, London, 2010 3rd Makous, Shirin Gallery, Tehran, 2010 Laleh Gallery, Tehran, 2010 3rd Haft Negah, Pardis-e-Melat Cultural Center, Tehran, 2010 Golestan Gallery, Tehran, 2009 Under 35 years old sculptors Exhibition of Association of Iranian Sculptors, Iranian Artists Forum, Tehran, 2009 The seeds of Baobab, Aaran Gallery, Tehran, 2009 2nd Jungle, Shirin Gallery, Tehran, 2009

AWARDS

Jury’s special sight award, International Sculpture Symposium of Padide, Shandiz, 2014 Honorary award of the referees at the Fifth Biannual Sculpture Exhibition of Tehran, 2007- 2008

160

Hamed Rashtian

GENERAL STATEMENT

NO. 2 “Clue-Scratch” series 2014 Fiberglass, bronze 100 x 125 x 33cm Edition 1 of 3

Routine anger; anger deeply rooted in the past, childhood anger, anger driven by our own fears. An all pervasive anger.

My psychoanalyst once told me that she sees signs in me portending a certain relationship between me and “Shir”, the word given to lion, milk and water tap in Persian, which I have dealt with and brought into my life and work one way or another. This revelation, beside its psychoanalytical aspect, became of interest in my artistic endeavours and I continued working on the lion as the topic of my works currently on display – I had previously worked on the tombstone lions inspired through a collection and a book “Tombstones” complied by my mentor Parviz Tanavoli, sculptor, collector, teacher and researcher. This collection is my interpretation of the tombstone lions.

The objects placed on the lions is a collage and each bear a personal meaning to me and in some cases, whether planned or improvised, they are like visual deliriums, somewhat representing my state of mind at the time; a mind full of ambiguous thoughts and images which I cannot decipher.

0111

162

162

NO. 1 “CLUE-SCRATCH” series 2014 Fiberglass, bronze 125 x 120 x 5cm Edition 1 of 3

Concentrated on the act of screaming, the lion head in this work has been placed inside a megaphone. Multiple focus points have been used in this work, so the viewer cannot stay focused on one point for a long while. The scattered arrangement of the objects used in the work represents a state of deliriousness. The masculine violence is applied through the penis. The spear-shaped rod coming out of a smaller replica of the lion’s head underscores the themes of violence and sexuality.

The megaphone is also associated with the protective pet cone that animals wear after procedures are performed on them. This is a sign of restriction.

The single objects used are a combination of abstract and figurative forms. The selection of the objects was mostly random and subconscious except for the penis, which I used decidedly. The parasol placed over the head cast is indicative of the presence of the sun. So even though the sun is not figuratively present, I bring it into focus in a conceptual manner.

Bronze and fiberglass; this is the combination I feel more comfortable with. Layers of painting have been added and washed multiple times.

So when you look at it, you see traces of these layers, as if you are looking at a wall that has been painted and repainted multiple times through the years. The bronze is patinated and is in multiple shades/colours so it contributes to the same theme of time.

164

Hamed Rashtian

NO. 2 “CLUE-SCRATCH� series 2014 Fiberglass, bronze 100 x 125 x 33cm Edition 1 of 3

Pain and suffering is the most prominent reflection of this piece. A rider is seated backward holding the harness that is tightly wrapped around the part that is supposed to hold the testicles of the lion. The lion is understandably screaming with pain and violence. The mustache is the main sign of masculinity and masculine violence in this work. As with the other two pieces, architecture is a present concept. You see a stairway that leads to and enters the anus of the lion. It is as if the lion is being violated.

Another prominent feature of this work is the non-proportionality of the scales seen in the stairway, the rider, the lion, and the bird tower on top. This contributes to the delirious nature of the work, which in turn causes the object choice to be random and seemingly unrelated.

Objects have their own specific proportions, while the combination of these proportions does not contribute to one single story.

In this work multiple layers of pencil etching and scraping were also added that, all in all, represent the traces that remain on the body of the lion through the course of time.

165

166

167

NO. 2 “CLUE-SCRATCH� series 2014 Fiberglass, bronze 115 x 103 x 38cm Edition 1 of 3

This is the simplest lion of the collection that lacks facial features and is made up of a body, limbs, and a head. The head and the mouth are wide open in an awkward way and a broken rifle has been shoved into them. There are also two bananas beside the rifle. The presence of the bananas is somewhat of a comic relief, toning down the serious and violent nature of the gun. Of course the bananas add a sexual feel to the whole concept as well. There is also a cold-blooded feature inserted inside the body of the lion: the fish, which for me represents the lack of feelings and emotions.

The top structure is more of a mere composition that contributes to the concept of delirium. The combination of the parasol, rocking chair, and the gun is a smaller version of a large piece I once created for a residency project in Berlin, where I constructed a giant machine gun on which these very objects were used.

Layers of paint have been added multiple times, constantly covering up the existing layers of drawings. A large network of pencil lines was added in the end, which in turn becomes harmonious with the fish, as if it is stuck in fishing net. And the crane hook hanging from under the lion’s belly represents any instrument that can be used to capture the prey.

168

Hamed Rashtian

NO. 4 “CLUE-SCRATCH” series 2014 Fiberglass, bronze 81 x 90 x 30cm Edition of 3 +2 AP

This piece is one of the simple works in the collection with regard to the added elements. The concept of the character on top, with his wooden sword, is close to toy figurines. It is as if it is a scene from a child’s dream, when he sees himself riding a lion and prancing forward. The dummy is posed as if it is ready to attack, despite the lion’s standing pose. The stagnated form of the lion is specifically emphasized through the still object hanging from underneath its belly.

The crown on top of the dummy’s head has been perceived by the viewers to be reminiscent of the character of Don Quixote and the Little Prince.

Behind the lion there is an architectural form, like a corridor, that leads forward to a door, before which a deep hole is located. The tip of the tail, which is shaped like a dragon’s head, is in harmony with the lion’s head. The lion has no facial features so that the open mouth, the teeth and its tongue are brought into focus.

The texture of the paint layer of the statue was created in such a way that makes it look rain-washed.

169

170

171171

NO. 5 “CLUE-SCRATCH” series 2014 Fiberglass, bronze 90 x 100 x 59cm Edition of 3 + 2AP

In this work the lion has been decapitated. The head is placed beside the lion, while a horse head has been attached to the lion’s body via a stick. The lion is saddled – just like a horse – as if prepared for a ride. A seal is in fact riding the lion. The playful seal is in one way an instrument of satire and is at the same time in harmony with the theme of visual delirium that dominates the collection.

The lion’s head is being threatened with a gun and it is defending itself by sticking out its tongue, which is the only weapon it has now. This part of the work is a focused display of violence. The gun form was broken into three pieces. This was meant to defamiliarise the image of the gun, which has been overused in art works.

This is the only work in the collection that is being presented in the form of two separate pieces.

172

Sona Safaei-Sooreh B. 1981

172

174

Sona Safaei-sooreh

EDUCATION

Bachelor of Fine Arts, Sculpture/Installation, OCAD University, 2013 Bachelor’s Degree Course of Studies, Painting, Islamic Azad University, 2006

SOLO EXHIBITIONS

V+1, Solo Exhibition, 8eleven, Toronto, 2014 ASSIGNMENTS, Solo Exhibition, Artspace, Peterborough, 2014 PERPETUUM MOBILE: THIS TEXT IS A SCULPTURE, Hamilton Public Library, Canada, 2014 ONE: THE FORMS, TWO: THE PLURAL TENSE, Narwhal Art Projects, Toronto, 2013 DECENTER: PERFORMANCE + INSTALLATION, Parkingallery, Tehran, 2012 SOMETIMES Y, Adam David Brown and Sona Safaei @Al Green Gallery, Toronto, 2011 TIME, Nuit Blanche @Gallery 1313, Toronto, 2010 ALEPH, Gallery 1313, Toronto, 2010

GROUP EXHIBITIONS

TADAEX, Mohsen Gallery, Tehran, 2014 BREATH FROM A WARM LOCALE, Croxhapox, Gent, Belgium, 2014 A REVIEW OF A DECADE OF VIDEO ART IN IRAN, Iranian Artists Forum, Tehran, 2014 THE THIRD SPACE, Harbourfront Centre, main Gallery, Toronto, 2013 REMEMBERING THE THINGS PAST/THINGS I HAVE NOT DONE, Dragon Academy, Toronto, 2013 HAZELTON LANES ARTS FESTIVAL, Oval Square, Hazelton Lanes Mall, Toronto, 2013 AUGMENTED CINEMA FILM FESTIVAL, The Royal Cinema, Toronto, 2013 (B)ORDERS, ORDERS, (DIS)ORDERS, dna projects, Sydney, 2013 Video series curated by Jennifer Simaitis, Xpace (External Space), Toronto, 2013 LIMITED ACCESS FOUR, Aaran Gallery, Tehran, 2013 TALKING TO OTHER PEOPLE (IN A REALLY LOUD ROOM), Xpace Cultural Center, 2012 (B)ORDERS, ORDERS, (DIS)ORDERS, Raf Gallery, Tehran, 2012 SCRIPTURE, De Bond, Bruges, 2012 IRANIAN PULSE, Sesc Vila Mariana, Sao Paulo, 2012 PART OF ME, Cité internationale des Arts, Paris, 2012

175

IN OTHER WORDS (THE BLACK MARKET OF TRANSLATIONS), NGBK & Kunstraum Kreuzberg/Bethanien, Berlin, 2012 IRAN VIA VIDEO CURRENT, Thomas Erben Gallery, NY, 2011 IRANIAN PULSE, Oi Futuro, Rio de Janeiro, 2011 TVDINNER, IM International, NY, 2011 IRAN INC., GALERIE ANNIE GENTILS, Bruges, 2011 IRAN & CO, La Bourgeoiase, Bruges, 2010 ART GALLERY OF HAMILTON WORLD FILM FESTIVAL, The Factory Media Arts Centre, Hamilton, 2010 TWITTER/ART + SOCIAL MEDIA, Diane Farris Gallery, Vancouver, 2010

GRANTS & AWARDS

Ontario Arts Council Exhibition Assistance grant (For exhibition @Artspace), 2014 Visual Art Project Grant: Toronto Arts Council (with NoYo residency program), 2014 Ontario Arts Council Exhibition Assistance grant (For performance/workshop @Akin Collective), 2014 Project 31 Sculpture/Installation Award, 2013 Honourable Mentions: 401 Richmond Career-Launcher Prize, 2013 Wayne Lum Memorial Scholarship, 2012 Sully Corth Memorial Fund Sculpture Scholarship, 2011

PUBLICATIONS

ASSIGNMENTS, Shift 7: Exchanges, OCAD U Student Press, Oct 2014 ASSIGNMENTS, Exhibition essay written by Jacob Wren @Artspace , Sep 2014 WRITTEN ON THE BODY/ POLITICS OF POETRY: Iranian Artists & the Power of Script, Mixed Bag Mag, online publication, July 2013 LIMITED ACCESS FOUR, Exhibition Catalogue, Published by Parkingallery, Tehran, Jan 2013 CONVERSATIES-CONVERSATIONS (part I), Published by The Cultural Centre Bruges, Exhibition Catalogue from 1995-2012 PROJECT 35 VOLUME II, Published by Independent Curators International (ICI), New York, DVD, Sept, 2012 IN OTHER WORDS (THE BLACK MARKET OF TRANSLATIONS), Exhibition Catalogue, published by NGBK: Berlin ISBN: 978-3-938515-46-4 March, 2011 LIMITED ACCESS III, Exhibition Catalogue, Published by Parkingallery, Tehran, Mar 2011

176

Sona Safaei-sooreh

GENERAL STATEMENT In my earlier work, I explored the notion of self and otherness and the impact of immigration on my practice through a series of videos and installations. More recently, I have become interested in the institutionalisation of art in relation to the world market and in creation of my work; I have taken an interdisciplinary approach, where concepts often unravel themselves through parody and or irony.

The contrast between Iranian and Canadian education is the backdrop for my thoughts: former with emphases on expression and creation of rare artifacts and latter with provoking theory. I find myself consenting to both of them and neither of them at the same time. They both set a series of rules that eventually turn into sellable conventions. I usually refer to these conventions, whether it is in the art world or the quotidian. In my work, cultural and academic conventions, art world tropes and institutional structures operate as sources of material to raise questions such as: What is the individual’s relationship to the institution? Is it necessary to develop a common knowledge with the state apparatus? What happens if one cannot find anything in common with the dominant art discourse?

Capitalism turns artistic experience into a commodity and art adapts to capitalistic techniques. On the one hand, many artists appropriate advertising strategies to brand themselves via creation of websites, business cards, catalogues, etc. On the other, institutions create member-based programs to ensure future financial and community support, similar to the retail industry, which tries to gather customer’s information for future sales. I am currently exploring this symbiotic relationship between the art and the business world.

I realised, the art market absorbs those who criticise it, however, at the same time, not only artists adapt commercialisation techniques but also a fair amount of artists create artworks in response to the markets’ demands. Similar to the advertising world, the art world tries to create a marketplace for its products.

In my work, V+1 participates in the very economic model that artists, dealers and collectors are both perpetuating and resisting. This project includes a series of unlimited multiples (coffee mugs) that every time an item is purchased, the individual value of the remaining pieces goes up in price. Engaging in the ‘art game’, I intend to explore art’s standpoint in a world where any kind of experience is tradable.

177

Bibliography 2013 Digital print on vinyl Dimension variable Edition of 3

178

Sona Safaei-sooreh

ALPHABET

2010 Video installation Dimensions variable Edition of 5

In this two-channel video work the sound of writing refers to the unification and amalgamation of two different alphabets, where the video presents their borders and distinction. The alphabet becomes a tool with which to discuss the differences between two cultures. The panel on the right shows a close-up of my hand writing out the Persian alphabet from right to left with a drawing pencil, and the panel on the left shows my hand writing the English alphabet from left to right. The sound of each pencil in motion fuses. The unified sound of the video, and the border between the two videos that distinguishes them, emphasises the paradoxical relationship between the two as it relates to my personal experiences as a culturally displaced individual.

179

Border

2011 Video installation Dimensions variable Edition of 5

Border is a work that uses the structure of a room to refer to the subjectivity of rules and regulations in different cultures. The duality and ambivalence that one experiences in a transcultural situation is reflected in the viewer’s experience of the work. The two panels of the video meet at the corner of the room, giving the viewer the impression that the videos are merging into one another. The corner of a room is where one wall interferes with the other, much like when one culture interrupts the other. The texts are moving towards each other in a way that makes it impossible for the viewer to read, because of the fact that the last part of the sentence is always missing.

180

Bibliography 2013 Digital print on vinyl Dimension variable Edition of 3

Biblographyis a press-backdrop covered in logos made to advertise theorists that I was inspired by, such as Jacques Lacan, Roland Barthes, Jean Baudrillard and others. The backdrop is displayed as an interactive installation, and viewers are invited to take photographs in front of it, to reference celebrity and corporate culture. The names referenced, perhaps, substantiate the project and integrate the work into the theory-driven art discourses such as academic environments.

Many artists, including myself, keep referring to well-known thinkers to stay relevant to the art world, which creates a repetitive circulation of content that perhaps leads to homogenisation of the contemporary art canon. It was not a surprise for me to come across names of these theorists, Jacques Lacan for instance, in conversations in a Tehran art gallery. This is very similar to the advertising world that tries to create a desired marketplace for its products. In the food market everybody knows CocaCola so as in the art circles everybody knows Hans-Ulrich Obrist.

181

Highlighter

2010 Installation Video projection (material: found rolling rack, yellow clear plastic sheet) 107 x 133 x 38cm

Highlighter accentuates the subjectivity behind the habit of highlighting the important parts of text in order to make sense of an overwhelming amount of information. I am curious about how and which ideas become significant for us. The interests and concerns of my local peers in Toronto are quite different from those in Iran. What makes some ideas more important than the others? How do we choose what is trendy to wear, what art magazine to subscribe, and which curator to follow on twitter?

I asked my fellow artists to submit passages that inform their practice to project on to the wall. Highlighter used to be a rolling-rack in a clothing store that displayed significant clothes to the customers; now it holds a yellow clear plastic sheet and viewers are invited to reposition it in order to highlight their chosen block of text and perform their subjectivity.

182

Sona Safaei-sooreh

182

"

Arts Associate 2012 Performance Dimensions variable Edition of 3

Arts Associate was a performance for which I hired four performers to perform as sales associates. They approached viewers as customers in a retail store, and tried to sell the idea of the artwork, as opposed to a physical thing. Each performer started their conversation with greeting sentences, for example: “Hello welcome, has anybody helped you today?” Each associate delivered the following information: - Arts Associate refers to the history of dematerialisation in the art world, where artists create nonsalable works.

- Essentially, the works that went objectless to create institutional critique.

- References the object of desire, in Lacanian sense: the thing that we can never have.

- Therefore, introducing the work is ‘the work’.

184

Mamali Shafahi B. 1984

"

185

186

Mamali Shafahi

EDUCATION

Photography, Beaux Arts of Lyon

SELECTED SOLO EXHIBITIONS

Broken SD, Video Installation, Dastan Basement Gallery, Tehran, 2014 Daddy Sperm, Video Vnstallation, Galerie Nicolas Silin, Paris, 2013 Occidental Icons, Painting Exhibition, Galerie Nicolas Silin, Paris, 2012 Wonderland (2,500 years celebration), Video Installation, Galerie Nicolas Silin, Paris, France, 2010 Mamali and his doves in art?! Installation, Aaran Gallery, Tehran, Iran, 2009 Blonde descending a staircase, Video Performance, “Urban Jalousie” biennial, Istanbul, Turkey and Berlin, Germany, 2008 Freedom, Performance with Behrouz Rae, Art Athina Contemporary Art Fair, Athens, Greece, 2008 Everybody needs a show, Performance series, ENSA Paris-Cergy art school, France, 2007 Light boxes, Wochdom Gallery, Paris, France, 2007 In search of stolen Jesus, Video installation, Limoges, France, 2006 My Magic Box, Exhibition of light boxes, Tarahan Azad Gallery, Tehran, Iran, 2005

SELECTED GROUP EXHIBITIONS

Only for export, Shulamit Gallery, Los Angeles, 2014 Dixit, Galerie Nicolas Silin, Paris, 2013 Iranian arts now, Cité internationale des arts, Paris, 2012 Good city for dreamers, Nicolas Silin Galerie, Curator and exhibitor, 2011 Carte Blanche, With his multiple reflections he feels secure, Art Video Film Festival, Cannes, France, 2011 I. U. (Heart), The Third Line, Dubai. Curator and exhibitor, 2010 Collection Dubai, SMART Project Space, Amsterdam, Netherlands, showing 60 collages from the Wonderland series, 2009 Ashura, Aaran gallery, Tehran, 2009 Everybody needs a show, Photographic installation, “Lion under the Rainbow,” Athens, Greece, 2008 SLICK ART FAIR, Focus Gallery, Paris, 2007 Radical Drawing II, Tehran Gallery, Tehran, Iran, 2007 Karaoke Poetry, Performance with Alexandros Georgiou, parallel project of Athens biennial, Athens, Greece, 2007 Eraser Head, 9th biennial of Tehran, Iran, 2004

187

PRESS AND PUBLICATIONS

BROWNBOOK magazine, No.92, “I.U.Heart”, 2010 Artasiapacific magazine, No.71, “I.U.Heart”, 2010 Time out magazine, I.U.Heart”, 2010 “Different Sames: New Perspectives in Contemporary Iranian Art,”

by Hossein Amirsadeghi. Thames & Hudson. 2009 Mother Magazine, No.5, Spring, “Mamali needs a show”, 2008 Highlight Magazine, No.34, May, “Lion under the rainbow”, 2008

OTHER

Magic of Persia Contemporary Art Prize 2011 Shortlist Magic of Persia Contemporary Art Prize 2009 Shortlist Thirty Years On: The Social and Cultural Impacts of the Iranian Revolution, conference at the University of London’s School of Oriental and African Studies.

Invited as guest speaker on “Art and the representation of masculinity.” 2009 UNESCO-Aschberg Bursaries for Artists 2009: winner, 2008

188

Mamali Shafahi

GENERAL STATEMENT After studying photography and film in Tehran I pursued studies in Fine Arts in France. I first exhibited in Tehran in 2005, with My Magic Box at Azad Gallery. My work brings together diverse media: drawing, painting, photography, film, installation and performance, in long-term themed projects. As a project progresses, it may give rise to intermediate exhibitions in various media at different stages of the project.

My work in France includes the videos In Search of Jesus (2006) and Blonde Descending a Staircase, a video-performance filmed at the Centre Pompidou (2008). At the Art-Athina International Art Fair in 2008 I participated in an exhibition of Iranian artists, Lion Under the Rainbow.

This and other works were selected for the book Different Sames: New Perspectives in Contemporary Iranian Art, published by Thames & Hudson in 2009.

I then mounted Mamali and His Doves in Art? in Tehran in 2009 and Wonderland: 2500 Years Celebrations, shown first at the Smart Project Space in Amsterdam in 2009, then at the Nicolas Silin gallery in Paris in 2010, where the exhibition included a video installation on four screens.

I curated the collective exhibition I. U. [Heart] at the Third Line gallery in Dubai (2010) and in Paris, Good City for Dreamers: Contemporary Iranian Photography (2011). More recently, at the Nicolas Silin gallery, I put on two solo exhibitions: Occidental Icons (2012) and Daddy Sperm (2013).

189

Broken SD 2014 Print on plexiglass 50 x 70cm

190

Mamali Shafahi

191

Broken SD 2014 Print on plexiglass 70 x105cm Edition 3 of 3 +AP

Broken SD, a 22-minute video, is part of Daddy Sperm, a project I have been working on since 2011. Daddy Sperm is a reflection on the “miracle” of life: how a simple drop of liquid becomes a human being; on the artistic, creative cycle and the cycle of life; and on the relationship between parents and offspring. Broken SD leads the viewer on a dreamlike, semi-autobiographical journey from darkness, through brightness, to colour, in reference to the three fundamental elements of the visual image: black, white and colour.

The journey weaves together the themes of passing time, of repetition over time, and of changing sentiment: we may take the same road to work every morning, stuck in the same traffic, but depending on the weather, the music we’re listening to, our mood, the experience and the way we feel it is never twice the same. Like the pendulum movement of the tyres or the feet walking over a tomb, the rotating images of my parents refer to the passage of time. At each turn, they express a different human sentiment. My parents are silent actors in the video. Just as parents, as “creators” themselves, decide to bring their children into the real world, I decided to bring my parents into my own imaginary one to make new characters of them.

Visually, the video reflects my current interest in new media, the 3D aesthetic, ready-made images, animated gifs, etc. It evokes the world of my parents, in which I grew up, in Iran, though a variety of objects, architectural elements and script. The images I selected are “coded” stereotypical, clichéd and familiar to the point of banality. But – almost like a decoy or trap – I use this banality to draw the viewer into an unfamiliar, surreal world. Conceived like a collage, the soundtrack plays a key role in marking the different stages in the journey and underlining changes in atmosphere and feeling.

192

Mamali Shafahi Broken SD 2014 Print on plexiglass 70 x 105cm Edition 3 of 3+AP

192

Broken SD 2014 Print on plexiglass 50 x 75cm Edition 2 of 3 +AP

194

Mamali Shafahi

Daddy Sperm 2014 Video installation 22 min Edition 2 of 3 +AP

Daddy Sperm, an installation combining multiple videos with related objects, is the culmination of two years’ reflection on the “miracle” of life: how a simple drop of liquid becomes a living being; on the cycle of life and the cycle of artistic creation; and on the relationship between parents and offspring. The videos involve the artist’s parents directly in the artistic process, and during the project Shafahi persuaded his father to take up drawing for the first time, so they could compare their creations side-by-side; the installation includes some of these drawings.

In the videos, Shafahi carries his parents off into an imaginary world so far from their everyday reality that they, Shafahi’s creators, are re-created by him, their son, as virtual characters in a self-portrait of the artist.

195

196

Melika Shafahi B. 1984

"

197

198

Melika Shafahi

EDUCATION

M.A. Visual Art (DNSEP) École Nationale Supérieure des Beaux-Arts de Lyon, France, 2010-2012 B.A. Visual (DNAP) École Supérieure des Beaux-Arts de Montpellier, France 2008- 2010 B.A. of Photography, Art University of Tehran, Iran 2002-2007

SOLO EXHIBITION

Untitled, photography, Bagneres de Bigorre, France, 2014 Tehran project & Emperor’s new clothes, Rira Gallery, Dubai, UAE, 2012 Photography Exhibition: Igreg Gallery, Tehran, Iran, 2011 Autoportrait, Photography and installation, Gallery de l’ESBAM, Montpellier, France, 2010 1001 nights, Private show,Tehran, Iran, 2009 Tehran project, Harandi Gallery,Tehran, Iran, 2008

GROUP EXHIBITIONS

Les enfants du Sabbat n°14, centre d’art contemporain Le Creux de l’Enfer, Thiers, France, 2013 Prix ICART, espace Pierre Cardin, Paris, France.2012 A Men, Aun Gallery ,Tehran, 2013 On the other side of the mirror, le cadre Septembre de la photographie, Lieus, Lyon, 2012 Iranian Arts Now, Cité internationale des Arts, Paris, 2012 Respect to time, Rira Gallery, Dubai, 2012 Ciphers, Tension with tradition in contemporary Iranian photography, SAW Gallery, Ottawa, Canada, 2012 Charivari ‘s FREAKS, Curiosities & Realities, performace & photo, Berlin, 2011 Irma 6 p: m : Igreg Gallery, Tehran, Iran, 2011 The 2nd contemporary art exhibition in Sanandaj: Sanandaj, Iran, 2011 Iran Incorporated: West beyond 51””40 Gallery Annie Gentils, Anvers, Belgique, 2011 Iran & co: 11 Emerging Artists, ‘La Brugeoise’ Brugge, Belgique, 2010 Melika and Mamali Shafahi: Château de la foret, Paris, 2010 June Begins May, Laleh Juin Gallery, Bâle, Suisse, 2008 Green, Photography Exhibition, Mehrva Gallery, Tehran, 2006

199

GENERAL STATEMENT

"

Iranian photographer Melika Shafahi was born in Tehran in 1984. She works and lives between Tehran & Paris. After studying photography in Tehran, she continued her academic education at Beaux Arts of Lyon.

Shafahi’s artistic career began in 2006 when she began showing her artwork in Tehran galleries. In her photographic work she wants to show a hidden part of life in Iran, the private life of her generation who were born after the 1979 revolution, a generation far from religious fundamentalism.

Her artistic focus is on the contradictions between the public and private life of the Iranians. She reveals a part of Western culture injected into the lives of young Iranians.

200

Melika Shafahi Follow the White Rabbit 2013 Digital photography 100 x 130cm Edition 1 of 5 +AP

201

Leyli & Majnon 2013 Digital photography 130 x 110cm

202

Melika Shafahi

Snow White The classic animated tales and their timeless characters are for me, like so many, intrinsic elements of my childhood. I created the Snow White series based upon my infant nostalgia and the shared youthful heritage of my generation. I changed the details of this classic story and created my own contemporary Persian Snow White. My 21st century Seven Dwarfs have matured, grown up, and are no longer innocent and are stripped their ingenuousness. The relationship between Snow White and her Seven Dwarfs has been augmented and now the wicked Queen wants as much to be a part of their gang as to usurp it. The combative quest for dominance has been removed; as the moral lines between good and evil are blurred and the idea of being ultimate distorted, the notion of supremacy subverted.

In recent times my generation in Iran has gone through what could be described as a social journey, as relationships and friendships are restructured. The sense of unity and trust that existed in childhood is now indicative of a period of innocence and relegated to the past.

For my generation it would seem that the concept of a friend has lost its emotive meaning and become a tool for a person to merely use as stepping stone towards achievement or fulfillment of desire. The human connection is lost in favour of advancement, and in a sense we are simply using each other as opposed to connection with one another.

With my work I hope to not make a statement but pose questions.

How did this happen? The maternal symbolism of Snow White is removed and the dwarfs exposed half naked. What is this saying about our contemporary philosophies and our views on purity? Is purity something lost the more one is tainted by maturity, our outlook forever marred by the destruction of childhood virtue? Is this ultimately the cornerstone and beginning of immorality? Is this destructive or, as the realities of the world open themselves up to us, as it should be - the realisation of adulthood and the loss of ignorance? Which is tangible and which transient? Which meaningful and which imagined? I let the audience decide and in doing so allow a question mark to hang in the air like a poisoned apple or a kiss from a prince.

202

Snowwhite 2011 Digital photography 70 x 100cm

204

Melika Shafahi Tehran 2008 Digital photography 70 x 100cm

Tehran is a city of contradictions; behind the eyes of its people is a yearning for freedom. Observing the complicated relationship between this and their outer limitations is the founding concept for the series TEHRAN from 2007-08, exploring notions of constraint, social barriers and mandated behaviour.

When conveying the image of Iranian society in foreign media, the emphasis is on social restrictions and cultural clichÊs –women wearing the hijab, governmental rallies, the Iraq war and other such archetypal imagery.

However, from a social perspective, there is a different face to Tehran and I was encouraged to showcase this without resorting to stereotypes or the same overwrought clichĂŠs.

The ambience and message of this series is inspired by, and similar to, my own life and my generation, the underground culture and the fine line for the youth between the real and the fantasy, the blurring of the distinction between reality and the dreamlike. My collaboration with a professional costume designer and make-up artist provided me with the creative autonomy to stage my own fantasy vision of life, in which the choices are all mine: the stories, the models, the costumes and even the feelings they evoke.

205

Last Dinner 2013 Digital photography 140 x 160cm

Snowwhite 2011 Digital photography 70 x 100cm

206

"

Peyman Shafieezadeh B. 1982

207

208

Peyman Shafieezadeh

EDUCATION

B.A. of Arts in Painting, Art & Architecture Faculty, Tehran, Iran, 2002-2006

SOLO EXHIBITIONS

Notes by a Carbon Paper, Mohsen Gallery, Tehran, 2013 Baudrrduab, Mohsen Gallery, Tehran, 2011 Burda, Mohsen Gallery, Tehran, 2010

GROUP EXIBITIONS

Ghaza, Curated by Amirhossein Bayani, Niavaran Museum, Tehran, 2014 Ja be ja, Azad Gallery and Unpack Studio, Tehran/Toronto, Iran/Canada, 2014 Happiness (Curated by Saeed Ensafi),Homa Gallery, Tehran, 2014 Zoo (Curated by Iman Safaee), Shirin Art Gallery, Tehran, 2014 Short Stories, Dar Al-Funoon Art Gallery, Kuwait City, 2014 Open Source (Merxout Project), Shirin Art Gallery, Tehran, 2013 4th facade video festival, Plovdiv, Bulgaria, 2013 4th Guanlan International Print Biennial, Guanlan Original Printmaking Base, Shenzhen, China, 2013 Speak Your Peace, SOMARTS Gallery, San Francisco, 2013 Endless (Curated by Farid Jafari), Mohsen Gallery, Tehran, 2013 SCOPE Miami, SCOPE Pavilion, Miami, Florida, 2012 The 5th Beijing International Art Biennale, National Art Museum of China, Beijing, China, 2012 Group Painting Exhibition with Iranian Contemporary Artists, Museum of Contemporary Art, Ahwaz, Iran, 2012

209

General Statement It has been always interesting for me, whenever I analyse my manner and think of its reasons, I always see that the origin of the formation of every behaviour is engraved in my subconscious like a pattern. We are living in a century when you’re not able to see and validate yourself as a mere individual. Social life and its conventions have been perforated in our substructure and became a part of it.

With the development of science and technology, these conventions have been enhanced to an extent that finding a pure behaviour is somehow impossible. Now only these patterns and conventions are ruling our behaviours.

Patterns can be anything; from tiny habits of our father, to a glamorous capitalist architecture, or everything and anything that we taste and sense and remember, even if we haven’t chosen it ourselves. We are drowned in concepts that have been imposed to us by social and relationship criteria.

But me, I don’t intend to save the world, but I search for myself in me, maybe I am still alive. I try to understand the patterns with which I encounter in my society in my artworks. This means that understanding them is a way to cross over, because in fact, I am trying to reach my originality through understanding these patterns, a matter that seems somehow impossible or complicated in our time.

I know the patterns; I reproduce and merge them. Just like paper dressmaking patterns, which appear to be chaotic and disorganised to those who don’t know their reading rules.

And I also tried to demonstrate these patterns as so chaotic that the would become an abstract feature. But as I said, only for people who don’t know the rules of these fusions. The rules for reading these patterns are difficult and exhausting even for me, and I know their fusion rules!

210

Peyman Shafieezadeh Untitled 2013 Pencil and gold leaf on cardboard with collage 144 x 231cm

211

Untitled 2013 Pencil and gold leaf on cardboard with collage 149 x 226cm

212

Peyman Shafieezadeh

Statement of “Notes By a Carbon Series�

It is my feeling that any act of contemplation begins with the important subject of existence. In the early years of my career, I was always seeking an answer to this query in my mind. A little while after, I found out that this type of contact is on the tip of the iceberg of self-analysis and can only have an abstract answer. I then decided to shift this question to the living environment. Consequently my works subconsciously found a sort of interactive relation with aesthetic and social issues.

I came to the conclusion that human existence is, to a great deal, the result of being exposed to encompassing atmospheres and environments, and all these influential elements turn into models for humanity. Soon I discovered that my living environment is nothing but amassing, producing and reproducing these models continuously.

Therefore, the major challenge for me is the re-recognition and separation of these models from one another. The next question to me was this: do these models make my existence, or is it me who gives them life?

Paper dressmaking patterns are the best structure for my idea because of their form and function. In my old collections, I put them together separately. Then I combined multiple patterns because of the complexity of my plan, and the result was an extremely intertwined and chaotic collection.

Generally speaking, the principal focus of my works is on choice.

What things are worthy of selection? Do we generally select patterns or do they impose themselves on us? Apparently, it seems they impose themselves on us. What is originality?

212

Why do people seek originality? What is the relation between a historical event, mobility and change with originality? What is the status of originality in the mobility of history? Do we make the environment or owe our current age to the environment?

Continuing my work, I ended up with carbon paper. This is because carbon paper has a few notable characteristics: it is a simple thing that lays its impact on another thing. It is not the carbon paper that decides what to copy; it is selected to show its impact. Carbon paper keeps for itself the things it copies and preserves it until the next impact. Carbon paper is generally the proof of a historical incident, but at the same time it is an example of praxis. Without light, it is merely a simple thing with a dark substance on one side that can be read in the light only.

Carbon paper is a mediator between the subject and the object. It is the concept of mediation. Dressmaking patterns take form through a simple printing process and their complexity and confusion is chiefly based on the preliminary idea. However, the identity of carbon paper is based on history. In brief, carbon paper is the historical form of dressmaking patterns.

Struck one by one —- three matches at midnight The first one to see your full face The second one to see your eyes The last one to see your mouth And the absolute darkness to remember them altogether While warmly I’m taking you in my arms.

- Jacques Prevert

214

Peyman Shafieezadeh Untitled 2014 Pencil and gold leaf on cardboard with collage 146 x 229cm

215

Untitled 2013 Pencil and gold leaf on cardboard with collage 144 x 231cm

216

Peyman Shafieezadeh Border 2012 Pencil and gold leaf on cardboard with collage 135 x 235cm

217

218

Alma Sinai B. 1989

"

219

220

Alma Sinai

EDUCATION

M.F.A Parsons the New School of Design, New York, NY, 2015 B.F.A Rhode Island School of Design, Providence, RI, 2009 Art University of Tehran Candidiate for B.A. in Cinema (transferred to RISD), Tehran, 2007

GROUP EXHIBITIONS

Lumpy Discourses, 25 East Gallery, Parsons, NYC, 2014 FE: BODY, 25 East Gallery, Parsons The New School for Design, NYC, 2014 Small Photos Exhibition, Arya Gallery, Tehran, 2013 This Placement: Race, Identity, Culture Shock, The Roots Cultural Center, and Providence, RI, 2013 The Atrium, Memorial Hall Gallery, Providence, RI, 2013 Painting Senior Show, Woods-Gerry Gallery, Providence, RI, 2013 White Tie Show, RISD Expose, Providence, RI, 2013 RISD Mostra Finale, Palazetto Cenci, Rome, 2012 WI-FI Art Exhibit, Circolo Degli Artisti, Rome, 2012 Elephant in the Dark, Devi Art Foundation, New Delhi, 2012 The World to Where I Adhere, by Sinai’s Family, Silk Road Gallery, Tehran, 2010

AWARDS

The Iranian- American Scholarship Fund (IASF), 2013 RISD EHP (European Honors Program), 2012

221

GENERAL STATEMENT The foundation for my previous and present art practice has been the subject of displacement. I work on different topics that in some way are linked to the matter of immigration, some of which are the fluxes and errors within the function of memory and the issue of exemption from military training.

So far I have worked in different mediums such as drawing, painting, printmaking, photography and video (film/animation). Regardless of the medium I choose, my works always embody a compressed narrative in which I talk about my own experiences and expand the lives of other people in similar situations.

222

Alma Sinai The here and after 2012 Mixed media

222

224

Alma Sinai

Reversed Echoes 2014 Animation

This project is rooted in an everyday sound habit of mine. The initial idea for this piece came from when I started to have sound-flashbacks from the sounds I heard in my apartment in New York resembling the sounds of my home in Iran. For example if the doorbell rang and my roommate said: ”I’m coming” I’d hear the voice of my father saying the same words in Farsi. After a while I started to take control over this unintentional habit and spent time to focus and see how much I could remember the subtle everyday life sounds and noises from home such as my father’s footsteps, the birds singing outside of my window or the sound of my door being shut and etc. (a more complicated version of this habit is with smell.)

I was originally aiming to select specific sounds from the videos that I have recorded back home, and the idea was to select certain sounds from those videos. Also the title Reversed Echoes is based on the fact that since I moved to America, I’ve watched those videos so many times that I know in advance what frame I’m about to see and what sound I’m about to hear in those recorded moments. To emphasise on that, I played with this idea in the way I animated the piece, meaning that one can see the upcoming frames before they are actually there, a ghost like appearance I would say, and in a way one could see/hear their echoes before they appear and this is how they become the “Reversed Echoes”.

The figure (self-portrait) is supposed to be listening to those sounds just like her audience. She’s wearing her everyday winter outfit. Despite the fact that I’m still willing to actualise the discussed idea, because I did not have access to the main and original sound source I needed to use, I decided to use a transition sound which fills the gap between home and here, the sound of an airplane.

The fact that the changes in the sound of an airplane affect the movement of the light on the figure and also herself, implies an idea which I believe is a very short summary of the experience of displacement.

225

226

Alma Sinai

Amputee with no Phantom Memory 2014 Animation

This piece is about the absence and presence of Phantom Memory in the context of displacement. In this video which is titled Amputee with no Phantom Memory, I’m using the notion of “Phantom Limb” as a metaphorical tool for visualising a compressed version of an immigrant’s experiences throughout the time of displacement. In order to visualise the type of memories that can’t be perceived by vision, I tend to use pictorial codes to suggest certain senses. An example for this would be fingerprints that simultaneously refer to scanning foreigners’ fingerprints at airport customs and represent the sense of touch and bodily interactions. Other visual codes that refer to memories are immigration-related images such as flight numbers, passport stamps, letters given to me before I left my country, and colorful patterns which allude to the short times of returning home.

Throughout this piece, the woman (self-portrait) is distracted by the appearance of consecutive memories (Tattoo-like patterns) on her right arm, which is a fundamental part of her body, and a definitive quintessential member for her actions, reactions and movements.

However, this distraction doesn’t lead to any attempt for preserving this agency. The figure is leaning on her right arm in a way that she would fall without having it. In a sense the idiom “giving the right arm for something“ would perfectly fit into this story, “something” being the experiences and events that have taken place after the advent of displacement. In other words, destroying the archived memory that has been rigorously and obsessively built through time, which was meant to deliver the promise for the future, and the immigrant would much rather have it vanished than carry its heavy weight. Through this I’m tending to articulate a contradictory occurrence, which points to the importance of those memories while simultaneously proving that things are doable in the absence of those memories, and mainly their origins.

227

228

229

MILITARY ESCAPE 2013 Mixed media Dimensions variable

Mandatory military training is one of the factors keeping the lives of many young Iranian males in a suspended state. Although there are many paths that will lead to exemption, they are difficult for many individuals. These methods include family (father’s death, father older than 65, divorce) or medical excuses. Some people spend plenty of money to fake an excuse for their sons. One such option is to cause temporary epilepsy by taking specific pills. This can cause serious side effects, with no guarantee that the money spent or the attempts made won’t go to waste. Also, despite the fact that homosexuals are condemned to death if caught in action, they can have their way out of military training once they prove their sexual orientation to the people in charge for exemption. Other efforts to create medical exemptions include causing damage to one’s eyesight by staring at the sun with a magnifying glass, or proving clinical depression by attempting suicide, alongside other evidence. In some cases twins can get the exemption for each other. On the other hand, some people like elite students are fortunate enough to get their exemptions more safely.

My work addresses these strategies for gaining exemption in addition to some of their potential side effects. My main focus has been on different codes and signs that would reveal each of the routes leading to exemption, e.g. in the case of homosexuals, I picked lipsticks that could be mistaken as gun shells. In another piece of this series I overlap the portraits, which results in an unrecognizable composite portrait that is also unified in the same manner as the quilt-like piece with the portrait of conscripts sewn together.

An autobiographical part of the project that includes a life-size self-portrait is about the family members, friends, and lovers of the conscripts. Issues regarding the ways that lead to exemption are knit into the daily lives of the prospective conscripts, and the people close to them (living abroad or in Iran) will suffer from this process as well.

In Military Escape I intend to address the massive impact of conscription on the young generation’s future. In other words I discuss how the mandatory military service limits the options for choosing specific lifestyles after young males turn 18.

220

Alma Sinai

Illegitimate offspring are often exceedingly unfaithful to their origins 2013 Mixed media 43 x 27cm each Edition of 5

This series contains hybrid, mutilated creatures that associate with my unconscious/conscious mind and include my history, fears and nightmares. These ink drawings are made with very fast gestures, with the least amount of pausing and thinking. I didn’t have any pictorial reference for them, thus they’re all imaginary and somewhat automatic drawings. Through this, I tend to access my unconscious, however each decision made is considered as a conscious act.

The initial motivation for this series was to find a way to visualise my dreams, nightmares and happenstance inside my brain. To me, interpreting the mutilated inventions of my mind is somewhat like a game where I can never find the correct answer. In other words their uncanny aspect is accentuated due to the lack of ability for tracking back to their original sources and see where exactly they belong to, who their parents are, or as Freud would say ”We must content ourselves with selecting those themes of uncanniness which are most prominent, and with seeing whether they too can fairly be traced back to infantile sources.”

This series of works also includes scripts, which at first seem to be writings with Arabic roots, likely to be Farsi as well. However once one takes a closer look, they appear as an unknown script that reveals nonsense, just like creatures, they carry elements from different cultures and hence they seem to be familiar but just like the hybrid creatures, their origin isn’t clearly known.

The series is meant to resemble old manuscripts and animal fables. I describe this series with a quote by Donna J.Haraway from the Cyborg Manifesto: “Illegitimate offspring are often exceedingly unfaithful to their origins.” I believe this sentence can be a precise explanation for what I’m tending to channel out through my project. In a way I would say that these hybrid beings are a way of animating my suppressed and dusted memories that I no longer have access to. For me they function as a long bygone reality that will always maintain its effect on my life without me even realizing it.

221

222

"

222

224

Siavash Talaei

EDUCATION

Masters of Fine Arts, Visual Arts and New Forms of Expression Florence, 2014 Bachelor of Fine Arts, Diploma di Academia di Belle Arti di Florence, 2010 Bachelor of Fine Arts, Painting from Azad Art University, Tehran, 2006 Graduation from High School in Graphic, 2000

GROUP EXHIBITIONS

The Grand Cypher: Hip Hop, Iran & Syria, Rush Art Gallery, New York, 2014 Deportation Memorial Project (the collective exhibition of finalists), Florence, 2013 Spazi Urbani Contemporanei delle Murate, Florence, 2013 The Medici Family Palace “The Palazzo Medici”, Florence, 2012 Voices From Iran, Galeria Arte & Memoria, Brasil, 2011 Fashion Paper, Milan, 2010 Azad Art Gallery, Tehran, 2005

GENERAL STATEMENT The style of Siavash Talaie’s singular paintings, echoing academic classicism, nineteenth-century genre painting and even totalitarian art, are the result of several years of continuous exploration and effort.

His work shows static and serene subject matter imbued with a deeply symbolic mode of representation, with figures that appear to be carved from stone and separated from the world by their impermeable shell. These figures have an air of oppressive, stifling stillness. The palette is generally muted – sometimes colourful, but never expressive, the brushstroke is invisible and the drawing dominates.

The enigmatic character and indirect references of the paintings, as well as the increasing ambiguity of their titles suggest that his inspiration comes more from other works of art rather than nature. Although he takes much inspiration from Jasper Johns and Joseph Beuys, he consciously distances himself from them. Placing enormous value on the material act of creation, he exploits available creative means to fashion a pictorial world whose superior harmony carries great yearning and longing. Rather than creating a ‘new’ art compatible with our contemporary, digital world, technically these works represent an indictment of our modern alienation and a plea for universal reification.

The viewer is drawn into a pictorial world heavy with memory, but also critical of schematic notions and suggested narratives, disturbingly populated with images at once familiar but unknown, in stark contrast to our comfortably familiar surroundings.

225

Embedded in this art is a manifestation of the mindset of classicism, in particular the embrace of the art and mythology of old, possibly exhausted and over-refined, long defunct cultures and civilizations.

Whilst this could be considered an avoidance of current challenges, it could also be the artist taking a stand and working to acquire insight into himself: a sort of romantic longing to become one with the universe, but also hinting at enigmatic connections which remain unknown.

Talaei acknowledges the difficulty of recognising intent in his work, but sees value in the difficulty and obscurity of his statements. He is interested not so much in striving for generally greater epistemological or philosophical awareness, but merely in giving form to his own self-expression.

This is an art bearing profound doubts about man’s self-image and worldview, as well as his faith in the future. It may be particularly apt to quote Giacometti here when he said: “I have the impression or the illusion that I make progress every day. That motivates me.”

The work could echo the environment of absolute rule and subjugation, a trauma experienced by the artist, but the conclusions drawn from this are uncertain. The paintings are poised, promising no more than they can deliver and proud of their sobriety, but otherwise obscure, hinting at interpretation rather than denial of any narrative.

Whilst not disavowing doubt, neither does the artist advance clarity or certainty, leaving indeterminacy, ambivalence and obscurity as his defining features: narrative content remains concealed and the work becomes a riddle.

But if the work is to endure, it must always provoke fresh attempts to read its narrative, even if that narrative remains unsolvable. As long as it is clear that the work contains meaning, no matter how incomprehensible, it will yield expressive force and continue to stimulate the viewer.

The artist also explores the fundamental issues raised by his painting in theoretical texts. These texts are not easily read, betraying the conflict of an ambitious intelligence prepared to elucidate ideas to a point, but not bring them to clear definition, preferring instead to leave them in an indeterminate state. They do, however, give some insight into the intellectual work that has accompanied his creative processes.

The work of Siavash Talaei gives expression to his defence mechanisms, articulating his acceptance of doubt, where the experience of uncertainty transcends being a mere threat and instead becomes the precondition to his own freedom. By avoiding direct engagement with ideas of ‘progress’ or political narrative, he creates effectively expressionless works which sidestep competitive confrontation with other artists. In so doing, he evades the possibility of both defeat and victory, protecting himself from failure and guilt at the same time.

226

Siavash Talaei

The All-Seeing Eye Version 1 2012 Acrylic on canvas 210 x 220 cm, polyptych

This piece is the first in a group of three paintings all sharing the same title.

Siavash Talaei’s artistic approach seems like an archaeological excavation, with an aim to reveal the lost remains of some unknown and incomprehensible, long-forgotten sequence of events.

His strategy appears to provocatively disregard every expectation of the viewer’s by adopting the figure, extracting it from its context, and reproducing it with the same emotional indifference; this characterises his unromantic style.

One of the victims from the Sardasht chemical bombardment is pictured, in this painting. The direct and calmly dispassionate way in which the victim regards his invisible viewer, which his gaze may be, amounts to a refusal to be somehow “significant”. It seems that he addresses the war by avoiding it, and he avoids it by addressing it.

227

228

229

The All-Seeing Eye Version 2: Now I become Death, the destroyer of worlds 2014 Acrylic on canvas 200 x 180cm, polyptych

This series of paintings, with masterful etchings, are the result of several years of continuous effort. Talaei’s deep interest and curiosity in modern history was the reason of his relocation to Florence, Italy for his postgraduate education; to study the origins of Modern Art. He is interested in the idealisation of progress on the one hand, and

by Duchampian nihilism on the other hand. He frequently refers to the early history of art in the naming his works. He is inspired by three contemporary artists: Joseph Beuys and his Shamanic Art type, Jasper Johns for the importance of material creation in his works, and Malevich.

It seems that Siavash’s artworks are trying to exhibit the ideal, and they are founded in the romantic longing to wed oneself to the universe, to unify oneself through union and represent an effort to close the void that modern men feel. They are trying to act as a catalyst of confusion of consciousness, tension of consciousness and possibly shifts of consciousness. He himself admits that it can be difficult to recognise the intent in his works, but also says that he sees a value in the sheer difficulty of his statements. His entire oeuvre is aimed at suggesting unknown and obscure contexts of significance. Maybe a special, ‘secret’ knowledge appears necessary to understand it. It seems that he is trying to express his ideas in the form of a riddle. If his work is to endure, the riddle must remain unsolvable, and yet always provoking new attempts to solve it. While the riddle itself remains impenetrable, the fundamentally enigmatic character of the work becomes transparent.

It does not want to say anything: it wants to be interpreted. By creating expressionless works he sidesteps direct competitive confrontation with other artists, evading the possibility of defeat, but also of victory. His indifference protects him from both failure and guilt.

240

Siavash Talaei

241

Crossing The Black Square 2013 Acrylic on canvas 180 x 210cm, polyptych

By wrenching the image of the Kaaba out of its context, turning it into a painting, and using it as the background of a horseman figure suspended in space, Siavash Talaei makes his most puzzling and controversial artwork real.

The significance and meaning of this work is puzzling. While the veil of the Kaaba points out the negative presence of the unexpressed statement, such an ambiguous title can be interpreted as him being more influenced by artworks and less by the nature.

It may not be easy to recognise if his work is trying to express ironic skepticism or make the absolute claims of a mystic who sought to become one with the absolute. The Kaaba and those artworks which might be addressed by Crossing The Black Square will stand for a whole range of abstract and concrete ideas and concepts, but it seems hopeless to try to understand how these are present in this painting.

Siavash desires that the viewer bring his work in contact with the external world by deciphering and interpreting its inner qualifications, thus he lets the viewer complete the work for him.

242

Siavash Talaei

242

The Bride Stripped Bare By Her Bachelors 2014 Acrylic on canvas 140 x 180cm, polyptych

“The oldest among us are not yet thirty and yet we have already squandered great treasures, treasures of energy, of love, of courage and eager will, hastily, deliriously, countlessly, breathlessly, with both hands.

Look at us! We are not out of breath…. Our heart is not in the least tired!

For it feeds on fire, on hatred, on speed!… You find it surprising? That is because you do not even remember having lived! — Up on the crest of the world, once more we hurl our challenge to the stars!”

- From the Futurist Manifesto

244

Siavash Talaei

Platform 16 Holocaust Memorial Project 2013 3D 240 x 180 x 180cm

This piece explores the development of the ideas of Siavash Talaei, enabling the creation of a symbolic piece of artwork in honour of Italian citizens deported from Florence during World War II. The Platform 16 Project, which is stylistically neo-shamanistic and mystical, is comprised of a symbolic and ritual statue, which meets contemporary artistic strategies. The artwork’s context is based on the location and geographical coordinates, meaning that the semiotics of the artwork would be only visible from above and by Google Earth.

The artist, by calculating the various geographical coordinates, attempts to create a symbolic link between the three geographic locations: 1. The destination of the victims of the Mauthausen Concentration Camp, Austria.

2. The original location of the statue of David by Michelangelo in the Signoria square in Florence.

3. The origin of the victims of the area of platform 16 in the Florence central train station.

In this way, two aspects of modern culture and history, meaning the statue of David as a symbol of the civil citizen, and the concentration camp as a symbol of the destructive power that lies in modernity, encounter one another.

Some features from two iconic figures are obviously seen in this sketch. At first the “Vitruvian man” by Leonardo Davinci, which is to be a symbol of the relation between humanity and nature. Secondly, the “Iron Maiden”, the classic form of medieval torture devices. The statue resembles a classic form of torture machines in the Medieval age alongside a symbol of relation between man and nature. Somehow it’s a metaphorical reference to the Inquisition; the artist tries to further highlight this creepy procedure of dehumanizing and isolating the minorities so systematically, by means of modern cultural tools, subsequently devitalising the empathy between us and the victims of Holocaust.

The statue, with its shocking and biting form and aesthetics, attempts to challenge the issue of a lack of ethical vision in contemporary life, regarding individual and social aspects, and to intensify the sense of responsibility to the ideal of freedom. Perhaps it would be a step in the direction of the awakening of consciousness, and community education for today and tomorrow.

245

246

"

Pezhman Zahed B. 1988

247

248

Pezham zahed

EDUCATION

M.F.A Public Artistic Strategies, Bauhaus University, Weimar, 2013-Present B.A Photography, University of Brighton, Brighton, 2010-2013 Foundation Diploma in Art & Design, Bellerby’s College Brighton, 2009-2010

GROUP EXHIBITIONS

Bauhaus Goes South-East Europe, National Gallery, Sarajevo, Bosnia & Herzegovina, 2014 SOAK 17, Motorenhalle Centre for Contemporary Art, Dresden, Germany, 2014 Keine Panik, Jakobskirche, Weimar, Germany, 2014 Salon/13 – Photofusion, London, 2013 2G13 - Walk of Art- Fotothek, Weimar, Germany, 2013 Circus Street: BA Photography 2013, Graduate Show, Sallys Benny Gallery, Brighton, 2013 Brighton/Ryerson Image Exchange, Ryerson University, Toronto, 2012 Frame, Shape and Shift: BA Photography 2013, Interim Show, Sallys Benny Gallery, Brighton, 2012

FEATURES

Elephant Magazine, Artist Q&A, July 2013 Photoworks, Showcase, July 2013 aCurator – Showcase, July - Aug. 2013 Squaremag vol. 4.3, Oct. 2013 Orta Format – Issue 12, Nov. 2013 UnlessYouWill - Online Feature, June 2013 9213: 21 Years of Photography at the University of Brighton, Publication, July 2013

249

GENERAL STATEMENT Zahed’s practice has previously involved examining the possibility of transforming non-visual data (such as economic figures) into visual forms. In a conceptual and technical shift from this approach, more recently he works with staged imagery and is particularly interested in semi-autobiographical fiction with absurdist overtones.

250

Pezham zahed

251

‘1919’ From the BLOWBACK series 2013 Silver-gelatin print mounted on aluminum 51 x 51cm Edition 1 of 8

252

Pezham zahed

‘ Blowback Series Portfolio Box 2013 27 x 27 x 4cm Edition of 3

252

Blowback Series In 1908, seven years after the signing of the D’Arcy Concession, the exploration group eventually found oil in commercial quantity in Masjed-Suleiman, Southern Persia. ‘So began the industry, that was to see the Royal Navy through two world wars, and to cause Persia more trouble than all the political maneuverings of the great powers put together.’ (L.P. Elwell- Sutton, historian) This project looks back at the financial records of the Anglo-Iranian Oil Company (now BP) prior to the nationalization of oil industry in Iran, which led to the overthrow of democratically elected Prime Minister, Mohammad Mossadegh, in a CIA/MI6-backed coup d’état, coded Operation Ajax.

The growing anti-western sentiment stemmed from five decades of struggle with the Anglo-Iranian Oil Company and the reluctant involvement in two world wars, followed by a plot to topple the undoubtedly most popular government in Iranian contemporary history, resulted in an outburst, which showed itself in form of 1979 Islamic Revolution.

These photographs demonstrate excited fluids under the effect of sound waves with particular frequencies. The figures used to generate the frequencies correspond to the company’s net profits, royalties to Iran and (if applicable) British taxes, in the nine most critical years of the company’s forty-two year long activity in Iran prior to the nationalization.

Accompanying the photographs are excerpts from declassified documents and found images related to the events immediately before and after Operation Ajax.

254

Pezham zahed ‘1942’ From the Blowback Series 2013 Silver-gelatin print mounted on aluminum 51 x 51cm Edition 1 of 8

‘1950’ From the Blowback Series 2013 Silver-gelatin print mounted on aluminum 51 x 51cm Edition 1 of 8

256

Pezham zahed ‘1949’ From the Blowback Series 2013 Silver-gelatin print mounted on aluminum 51 x 51cm Edition 1 of 8

257

258

Mohsen zare B. 1980

259

260

Mohsen zare

EDUCATION

B.A. in Graphic Design, Sooreh Art University, Tehran, 2004

SOLO EXHIBITIONS

Drawing Exhibition, Neshaneh Gallery, Shiraz, 2004 Drawing Exhibition, Tandis Gallery, Shiraz, 2003

GROUP EXHIBITIONS

For Photography, Silk Road Art Gallery, Tehran, 2014 GifBites (Gif&Sound Exhibition), Shiraz Art House, 2014 All the City’s Artists, Painting Group Exhibition, Vesal Gallery, Shiraz, 2013-2010 Shiraz National Poster Festival, 2010, 2009, 2008 Khark Art Gallery’s Reopening, Tehran, Iran, 2009 6th Image of the Year Festival, Tehran, 2008 when we are young, when we get old (installation), Shiraz Art House, Iran, 2007 8th Tehran International Cartoon Biennial, Saba Galley, Tehran, Iran, 2007 2nd International Poster Biennial of Islamic world, Saba Gallery, Tehran, Iran, 2007 9th Contemporary Iranian Graphic Design Biennial, Saba Galley, Tehran, Iran, 2007 9th Tehran International Poster Biennial, Saba Galley, Tehran, Iran, 2007 Man Repeating Man (Drawing Exhibition) Aria Gallery, Tehran, Iran, 2006 Selected Posters of 5th Generation of Graphic Designers of Iran, Saba Gallery, Tehran, Iran, 2006 7th Tehran International Cartoon Biennial, Saba Galley, Tehran, Iran, 2005

261

GENERAL STATEMENT I was born in 1980 in Shiraz. Since that time I have lived with the magic of colours and my heart beats like a fountain of images. In childhood the appearance and inner features of cartoons enchanted me. From the time I was 8 until the time I entered college at the age of 20, I considered myself a real cartoonist. My work was published in the local press, proving my talent and capacity.

In 2000 I began my studies in carpet design but after few month I decided to change my major to graphic design in Shiraz. The skills I achieved from painting and graphics in my teenage years soon made my works well-known among artists in Shiraz. In the last year of my studies I moved to Tehran to look for better and more professional opportunities.

During my studies I had a few individual art exhibitions and also participated in some group art exhibitions. I was bound to graphic design all these years mainly for financial reasons. My work during these years mainly consisted of typography, posters, etc., based on cultural and artistic projects that I have received in recent years. At the same time, I never stopped working on my personal projects.

I don’t appreciate the current atmosphere in Iran’s contemporary art scene. Therefore I have preferred not to think about holding any exhibitions. I have decided to live in Shiraz and I think Mahsa my wife, and all the professional artist friends of mine that I have in this city, have affected the quality of my work, more than any teacher I can think of.

Nowadays in my work, I am concentrated on documents from the past.

I think I can show my understanding of the society I live in through my work, and for me, this is happiness itself. I do love my work and I think on whatever level it might be, it truly is an honest display of my today, of what I think about, and of what I am capable of doing.

I will try, however it might not be appreciated by anyone.

262

262

Cenotaph

2014 112 x 152cm Laser carving on original photos

The monument of Shahyad Tower, meaning the king’s memorial tower, which is the symbol of the city of Tehran, was built in 1970 in memory of Mohammad Reza Shah Pahlavi. In fact the monument took its inspiration from his idea of ‘a gateway to ancient civilization’. Only nine years later, with the 1979 revolution, the square and monument were renamed to Azadi (Freedom). This change, however, couldn’t make any shift to the original intention of its architecture as a memorial. Changing the name of a monument that has already been designed and built, in order to alter its intention, is never enough. A public architectural monument can be destroyed if it is used for the benefit for irrelevant ideas.

In this work I have built different layers of fully detailed photos, transferring them through carving and burning the original documented images by using a laser. Without changing the colours of the photos, or other major details of them, I’ve scratched and destroyed and demolished old documents (containing documentary photos printed in 1979).

I have tried to explain that the revolution and the names that changed with it, have made this old tower the symbol of more deaths, a memorial to more than one man, a cenotaph as big as Tehran.

264

Mohsen zare

265

Revolution after revolution 2014 27 x 27cm Laser cut on offset printed posters

Revolution is not a simple and invariable fact. Constant manipulation, applied viewpoints, alterations and exploitation for the benefit of an individual or a group; the impairing and alteration of all revolutions’ documents make it so hard to trust any revolution’s remaining documents. Document management and targeted alteration, which commonly occur during revolutions, are my main focus in working on documents (documentary photographs which are printed and published as propagandistic posters) in the Revolution After Revolution series.

266

Mohsen zare

267

Salt Lake

2014 Digital print and spray paint on photo paper 100 x 170cm Edition of 6 +1AP

Gender is never evident and simple. It cannot give you a particular and fixed identity. In the time and place that you live your life, being female or male is not the only question! As long as you are able to experience life in other geographical coordinates, you can reach a different perception of what you are; a perception which is made by you from beliefs, religions, and governments, and a perception which a community, with all its details, has of you in the body of a woman or a man.

The story is short: I live in this city and have no idea how a woman can survive in it! Can an image, a quadrangular motionless image, show all the hatred and indecency in the look to a woman and all her loneliness before gnawing eyes and ripping tongues?

268

Mohsen zare

Part 1: Ayatollah Khomeini’s Funeral Iranian Records 2013 Ink & marker on original photos Unknown photographer 22 x 33cm

The funeral of Ayatollah Khomeini in 1989 was the largest funeral in history. According to media reports, about 10 million people attended this ceremony. I was 8 years old at that time and deeply felt the flow of great grief in the streets. In the first series of Iranian records I recall this event and try to re-narrate it by working on documents (original documentary photographs).

269

270

Mohsen zare

271

Happy Flowers 2013 Digital print 170 x 170cm

Every year many of my countrymen check how lucky they are, by applying for the USA green card lottery; eager to leave or escape somewhere. Many people that I know are among these applicants: my friends and family members. Each applicant is ready to join a large group of those people that I knew, who aren’t around anymore.

Forever gone. The images in this collection are a recreation of the original photos that my friends and family used in their visa lottery applications. They are turning in to a forever virtual creature, dissolving in a new world and becoming a stranger in a strange place. They are disintegrating, becoming images, and there wont be any return.

0272

0213

0274

Special Thanks MOP Foundation is indebted to HE Sheikh Nahyan Bin Mubarak Al Nahyan, for his distinguished role in facilitating the work of MOP in the UAE and his infinite support of MOP’s mission to promote Iranian art and culture.

Saghi Oushal, of Chelsea Interiors and Consultancy, has dedicated her unwavering friendship, time and expertise in assisting MOP Foundation to find the most appropriate venue for the exhibition.

The design of the exhibition has been expertly executed by Morris Associates, the internationally recognised, award winning design practice. We are forever grateful to Colin for his ongoing generosity.

With immense gratitude to Samer Wahbe and Satwa Automatic Mosaic Tiles & Marble Factory for their immeasurable generosity in providing the space for this exhibition.

Last but not least we would like to extend our special thanks to the Selection Committee and the Judging Panel. Without their time, professionalism and expertise MOP CAP 2015 would not be possible.

0211

Acknowledgements Fiza Akram Jananne Al-Ani Art Dubai Parul Arya Sanaz Askari Massi Atabay Dr. Sussan Babaie Shiva Balaghi Thoraya Bartawi Antonia Carver Matthew Collings Lela Csaky Ian Fairservice Mahya Fatemi Harper’s Bazaar Art Arabia Ehsan Hosseini Haadi Javadi Isaac Julien Hamid Keshmirshekan Samar Lebada Michael Michael Arsalan Mohammad

Sohrab Mohebbi Fereshte Moosavi Colin Morris Morris Associates Motivate Publishing HE Sheikh Nahayan bin Mubarak Al Nahayan Andrew Patrizio Elisabetta Pisu Print Pro Media Shadi Rezaei Seyed Azin Roshan Seyed Hassan Roshan Ramin Salsali Satwa Automatic Mosaic Tiles & Marble Factory Ali Sobati Asal Sobati Noor Soussi Tandis Magazine Vivel Patisserie Samer Wahbe

0276

Trustees Shirley Elghanian - Founder & Director Shirin Elghanayan - Secretary of the Board of Trustees Vajihe Soleymani - Treasurer of the Board of Trustees Sara Ameri - Trustee Asal Sobati - Trustee

Committee Shirley Elghanian - Founder & Director Fereshte Moosavi - Art Director Alexandra Terry - Curator & Art Director Sharareh Naghibi - Bookkeeper/Treasurer Thoraya Bartawi - Volunteer Elisabetta Pisu - Intern Noor Soussi - Intern

Catalogue Design Shadi Rezaei MA fine art shadi.r.art@gmail.com

Printed by Print Pro Graphic Media www.printpromedia.com

MOP Foundation www.mopcap.com www.mopfoundation.com

16A Lowndes Square London, SW1X 9HB, UK +44 (0) 207 235 8026 Shirley@mopfoundation.com

0211

Index Selection Committee Judging Panel Abdolreza Aminlari Azi Amiri Negar Jahanbakhsh Amirnasr Kamgooyan Nader Koochaki Shahrzad Malekian Nafise Mighani Pendar Nabipour Hani Najm Mahdieh Pazoki Farnaz Rabieijah Hamed Rashtian Sona Safaei-Sooreh Mamali Shafahi Melika Shafahi Peyman Shafieezadeh Alma Sinai Siavash Talaei Pezhman Zahed Mohsen Zare

6 8 16 28 42 54 66 78 94 104 120 122 142 154 170 182 194 204 216 220 244 256

0278

0219