Untitled - Aaran Gallery

33 Pages·2015·1.28 MB·English

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I Iranian contemporary art has been The modern movements of Iranian art began
considered the powerhouse of Middle during the 1940s; at the time of increased
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Eastern art, and one of the most unique relations and contact with the West and right
T forces within the global art scene. In after the death of Iran’s master painter Kamal-
making modern Iran, art has played a ol-Molk (1852 – 1940) that symbolically ended
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fundamental role to break the rules of the rigid adherence to academic painting. For
O conventions, to crack open cemented the first time Iranian artists and intellectuals
opinions and has challenged and looked began to openly question authority and push
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at the world and its own society with a boundaries, and this resulted in the creation
U critical eye. Iran’s modern history is of a group of artists dedicated to creating a
full of segmented episodes of artistic uniquely Iranian and modern idiom. As artistic
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inquisitions for creating a native, yet a expectations gradually evolved, teaching
T modern artistic language. establishments began to also transform;
shifting their teaching methodologies from
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what were long traditionally practiced and
O began to encourage innovation instead of
copying.
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The three decades before the 1979 revolution
saw the opening of Iran’s first galleries
and Iranian artists becoming active in the
international art scene by participating in solo
and group exhibitions and art fairs around the
world. Iran also gradually became the cultural
hub of the region, regularly holding events and
festivals and attracting the most well-known
and most influential artists, collectors and art
patrons of the world. The infamous Shiraz Art
Festival for example was held annually in the
city of Shiraz between 1967 until 1977 hosting
and celebrating an array of avant-garde
artistic productions and performances from
around the world.
Many of the country’s most important art The war years also highly influenced certain most prestigious museums and galleries in These days, despite the country being home
centres, cinemas, theatres, concert halls, visual developments in urban art, graphic arts, the word have acquired and presented some of to dozens of active art centres, museums and
national galleries and museums were built cinema and music all at work to foster national the best of what Iran has artistically produced. government funded institutions; it is dominantly
between 1950s and the end of 1970s albeit support and to commemorate the many lives Iranian art has also dominated and has highly the privately funded galleries and institutions
having been directly inspired by the west, to lost. Logistically however, Iran’s museums, art influenced the art market of the region, holding that discover and promote the vibrant side of
encourage and flourish the domestic artistic centres and independent galleries were some record sales numbers and prices. A sculpture Iranian art, carry out quality presentations,
and cultural scene. Tehran’s Vahdat Hall of the most hardly affected units no longer by Parviz Tanavoli sold in 2008 for $2.8 million exchange programs, collaborate worldwide
(initially Roudaki Hall) constructed during supported or funded and no longer allowed at the Christie’s in Dubai still holds the record and develop and fund cultural ideas. Tehran
the 60s for example, was home to Tehran’s the freedom of artistic exploitation the way of a highest price ever achieved for a work of is an interesting example of a city that has
Opera Company, Iranian National Ballet they had experienced during the years prior art at an auction in Dubai and a world auction managed to organically develop its own unique
Company and Tehran’s Symphony Orchestra to the revolution. For some time and despite record for a piece of art by any Middle Eastern artistic scene using its available own capacity,
that regularly produced and held opera, dance many artists working independently inside the artist, and this trend although bumpy at times, talent and format for doing so. Galleries of
and music performances. Tehran’s Museum country developing a whole new vocabulary has continued. Tehran promote such a diverse range of art
of Contemporary Art (TMOCA) that opened in suitable for this challenging atmosphere, it The attention to Iranian art and its rising to such a wide range of the city’s audiences
1977, is still home to some of the world’s most was mainly Iran’s new wave cinema and some prices at auction houses around the world has today.
important and finest collections of Iranian and visual artists on exile who gained most of the subsequently greatly influenced the art scene The demand for art has never been this high
Western art. world’s attention and defined Iranian art. inside the country and the domestic market. post revolution and as the diplomatic mood
The revolution of 1979 however, opened a Iranian artists on exile unlike their peers These days, the number of first time buyers are is shifting and Iran is once again on the verge
whole new chapter in the history of Iranian inside the country were the group who could on the rise and the established and emerging of a positive political and economical change,
art and even though it put the breaks on the explore the effects of revolution and war Iranian collectors are eager more than ever to focusing on Iranian art and the future of its
modernist and subversive artistic movements freely and be outspoken about their inner acquire works of art for investment or for love. market seems favourable. In this edition of
of the pre-revolutionary Iran, it ultimately emotional upheavals as Iranians. They could The newly established Tehran Auction (2011) Contemporary Istanbul, the fair is especially
gave birth to a whole new era of socially and also be able to openly criticise traditions and and many active art galleries in the capital focusing on Iranian art through collaboration
politically engaged art. Today, what is referred effects of religion without the need to censor are also the testimony that the business of with some of Tehran’s most active and upbeat
to as “Contemporary Iranian Art” is what has their views. art is booming and the demand for art rising. galleries showcasing an interesting range of
been produced after the 1979 revolution, Limitations inside Iran however, ultimately Today, art galleries in Tehran are fulfilling the art by some of the country’s established and
during the Iran-Iraq conflict and the post war contributed to the birth of a highly unique increasing demand and interest in modern emerging artists.
period up until now. and astonishing artistic language. Literature, and contemporary Iranian art. They act as What is presented in this event will be a
For the first few years after the revolution, music, films and all of the visual arts produced facilitators for not only the acquisition of the unique chance for global art lovers to get
Iranian art was dominated and highly during this time in Iran’s history have best of art the country has to offer but also closer to the allure of the diverse range of art
influenced by the after shocks of the revolution predominantly managed to act as frontiers to support and promote the best of artists in represented in Iran today and to get closer to
and the Iran-Iraq conflict that lasted eight of opening horizons and of social psyche. It need of agents. the art of a country that has never failed to
long years (1980 – 1988). Many Iranian artists is also during this time that art eventually Iranian galleries today go beyond being just influence and touch its viewers, and to speak
directly covered the war or were inspired by the came out of its elitist shell and interacted and businesses. They have a long history for having of messages universal yet consequential.
atrocities this conflict caused and left behind. engaged with a much wider audience because a central role in stimulating imagination, This event will also be a rare opportunity to
it dealt with relevant key issues affecting all desire and continuity despite receiving little present what Tehran’s alternative artistic
Iranians. support from authorities. scene has managed to achieve with this hope
Despite domestic challenges and limitations, For years, Tehran art galleries were the only that such public platforms will pave the way
and the country’s poor relations with the world available public spaces in the country for artistic for new beginnings in cultural collaborations,
and especially the west, attention to Iranian presentation, dialogue, experimentation and education and future of the art market in the
art began to really flourish after the revolution promotion. It is not far from the truth to claim region.
because of its deeply moving content, unique that the history of art galleries in Tehran for
approach and representational technique in the past 35 years or so has been the story of Leila Sajjadi
such critical times in its history. overcoming extraordinary challenges, and of Tehran, October 2015
From the late 1990s up until today, Iran has survival.
seen an explosion of artistic activity and
production. There have been numerous
exhibitions and festivals held highlighting
Iranian contemporary art globally. Some of the
A Aaran Gallery was established in 2008 with a Represented artists:
special focus on representing young and emerging Sasan Abri (b. 1984)
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Iranian artists. The gallery has been active ever Hadi Alijani (b. 1987)
since introducing and promoting some of Iran’s Mojtaba Amini (b. 1979)
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most important and vibrant emerging artists to Nasser Bakhshi (b. 1982)
the global audience. Dadbeh Bassir (b. 1978)
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Situated in downtown Tehran and in the city’s Majid Biglari (b. 1986)
N cultural district, the gallery holds regular Nasim Davari (b. 1981)
exhibitions of the works of some of the Shahram Entekhabi (b. 1965)
country’s most interesting selection of young Reza Eshlaghi (b. 1986)
and emerging artists working with a wide range Amin Eskandari (b.1986)
A of mediums. Aaran is also an avid supporter Mohammad Eskandari (b. 1982)
of cultural exchange programs and embraces Siamak Filizadeh (b. 1970)
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interdisciplinary initiatives in different forms. Korosh Ghazimorad (b. 1969)
Aaran Projects, a new branch of the gallery was Barbad Golshiri (b.1982)
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opened recently to accommodate Aaran’s group Shahryar Hatami (b. 1983)
shows, special installations and projects. The Amir Nasr Kamgooyan (b. 1982)
new exhibition space is located within vicinity of Behdad Lahooti (b. 1976)
G Tehran’s major theatre and concert halls in the Mandana Moghaddam (b. 1962)
city’s historic district and in a recently renovated Amir Mousavi (b. 1979)
A building. Aaran gallery is also a regular presence Aliyar Rasti (b. 1988)
in the international scene where most of its Behrang Samadzadegan (b. 1979)
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in-house artists hold regular exhibitions and Baktash Sarang (b. 1981)
participate in cultural projects all over the world. Arash Sedaghat Kish (b.1972)
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Newsha Tavakolian (b. 1981)
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Exhibiting Artists:
R Mojtaba Amini (b. 1979)
Nasser Bakhshi (b. 1982)
Aaran Gallery Tehran (Founded 2008) Aaran Projects (Founded 2015) Y Barbad Golshiri (b.1982)
No 12 Dey St. North Kheradmand Ave. Tehran Iran. No. 5 Lolagar St., Neauphle le Chateau Ave. Shahryar Hatami (b. 1983)
Tel [phone] Tel [phone]
www.aarangallery.com www.aarangallery.com
[email protected] [email protected]
Joint, 2013 Cenotaph of the Crimson Zunnar (eleuthe`romane), 2015
Installation - charcoal and metal joints Stone, iron, steel, vinum and gore. Epitaph: Arabic, early Kufic
245x70cm H: 105.5cm, Ø: 19cm
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Devoid of All Desires, 2015 Study for a Fall, 2015
Installation - drawing and paintings in a found suitcase Installation - pencil and chalk, steel mirror panels and mirror
87x47x24cm as closed suitcase Drawing: overall width: 180cm and overall height: 180cm (with 2 steel mirror panels)
Main panel: 180cmx90cm and two Mirror panels, one is convex mirror and the other concave.
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A With a large collection of modern and Represented artists:
contemporary Iranian art and 11 well-known visual Alireza Adambakan (b. 1976)
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artists in attendance, Assar Art Gallery plays a Iman Afsarian (b. 1974)
significant role in Tehran’s artistic landscape. Samira Alikhanzadeh (b. 1966)
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Founded in 1999, Assar remains to be one of the Reza Azimian (b. 1977)
leading galleries in Tehran, regularly highlighting Mohammad-Hossein Emad (b. 1957)
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works by its representing and some of Iran’s Reza Lavassani (b.1962)
R most notable emerging and established artists. Roxana Manouchehri (b.1974)
Assar is a regular presence in international art Payam Mofidi (b. 1980)
fairs promoting contemporary Iranian art and Ahmad Morshedloo (b. 1973)
showcasing selected works by its representing Babak Roshaninejad (b.1977)
A artists to a wider audience. Mojtaba Tajik (b.1966)
With a particular focus on the Iranian Modern Art
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and years of experience in the art market, Assar is Exhibiting Artists:
also specialized in consulting and advising private, Alireza Adambakan (b. 1976)
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institutional and international clients with regard Samira Alikhanzadeh (b. 1966)
to formation, development and management Mohammad-Hossein Emad (b. 1957)
of their art collections. The gallery has been Babak Roshaninejad (b.1977)
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of clients and collectors about the trends within
A the market and encourages collectors to quality
practice in professional sourcing, research and
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documentation of their collections.
Being focused on cultural and educational
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programs, Assar is committed to make some of
the country’s best-kept collections accessible to
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growing audiences. The gallery is also dedicated
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and has been actively supporting and sponsoring
Assar Art Gallery (founded 1999) Y various related projects.
Assar Art Gallery’s mission is to engage artists
16 Barforushan Alley, Iranshahr St., Karimkhan Zand St., and audiences through an ambitious program of
Postal Code: 1583666115, Tehran-Iran quality exhibitions, collections, collaborations and
www.assarartgallery.com publications both domestically and internationally.
T: [phone] It also identifies and supports the most significant
E: [email protected] works of art within the Iranian cultural scene
and aims to bring 20th century Iranian art to the
attention of the rest of the world.
In this very recent painting from his renowned Haftad-o-du-Tan series - Illusions Appear Sub Rosa - Alireza Samira Alikhanzadeh’s (b. 1967) latest work is the second from her new series Glorious Decay made using damaged
Adambakan (b.1976) once again reflects his innermost feelings juxtaposed with religious narratives. Through or disposed photographs she has found on the streets or in trash. Being fascinated with the issues of identity and
his expressive visual language, he portrays his critical approach towards current human conditions intermingled reality in relation to past and present and finding inspiration in the melancholic and humoristic quality of old images,
with the religious stories he has brought up with. Alikhanzadeh uses old found photographs, mainly family photos of the 1940s and 50s to create her artworks.
Adambakan lives and works in Tehran and has participated in more than 50 national and international exhibitions. Samira Alikhanzadeh has been part of many national and international exhibitions and art fairs in North America,
His work has been exposed in several art fairs and is in some important private collections. Europe and the Middle East since 1995. Her work has been acquired for important collections and museums such as
In addition to painting, Adambakan teaches and has over the years collaborated with art magazines and newspaper LACMA (Los Angeles County Museum of Art).
as a researcher and writer.
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No.2 from the Glorious Decay series, 2015
Illusions Appear Sub Rosa from the Haftad-o-Du-Tan/ha series, 2015 Digital print, acrylic and mirror fragments on board
Ink, pencil, acrylic and chalk pastel on canvas Triptych, 120x180cm overall, 120x60cm each panel
200x150cm Unique