Videos from Parkingallery Archive
Curated by Amirali Ghasemi
6 till 28 August 2016
Throughout August, Club Solo will host the independent artists’ initiative Parkingallery from Tehran, taking on the name of Hotel Solo to host artists from abroad. This marks the second time a foreign artists’ initiative has been a part of the Hotel Solo programme.
Hotel Solo is Club Solo’s way of reaching out to international artists’ initiatives and providing them with the opportunity to present themselves outside of their own location. They do so according to their own insight.
Parkingallery has presented young artists from Tehran since 1998. One component of its programming is the Iranian New Media Society (INMS), a platform for studying and showing new media art in Iran. Parkingallery will start a new initiative in Breda: ‘The Nomad School for New Media, Sound and Performance’. Nine young Iranian artists will be presenting workshops, events and public projects at Club Solo, under the moniker of ‘Wake-up Stories’.
– When did you wake up?
– I don’t know, a while ago…
– Tell me about it?
– Why? do you wanna ask if I had a dream?
– No, tell me a story, a wake-up story!
Storytelling is an essential part of Iranian culture, and an important aspect of the participating artists’ projects.
‘Wake-up Stories’ will play host to a number of meetings and exchanges centred around the notion of awakening and the transition from sleeping to waking. How does storytelling play a role in this? How can stories feed the imagination and bring about connections and changes?
The artists from Iran will be working together with Iranian artists living and working in Europe and guest lecturers from the fields of visual art, performance, film, audiovisual media, architecture, photography, and cooking., Parkingallery initiator and curator Amirali Ghasemi will act as the curator of ‘Wake-up Stories’.
Sara Saniee (Teheran, 1977), Amirali Ghasemi (Teheran, 1980), Raha Faridi (Teheran, 1980), Allahyar Najafi (Iran, 1980), Nasim Davari (Teheran, 1981), Shahrzad Malekian (Teheran 1981), Maede Jenab (Teheran, 1985), Sajedeh Elhami (Mashad, 1988)
Guests (Nederland, Duitsland en België)
Nazgol Emami (Teheran 1978, woont en werkt in Keulen), Sohrab Motabar en Leonie Roessler (Teheran, 1984 en Duitsland, wonen en werken in Den Haag), Erfan Abdi (Teheran, 1983, woont en werkt in Den Haag), Mahdieh Fahimi (1988, woont en werkt in Gent), Setareh Fatehi Irani (woont en werkt in Amsterdam), Atousa Bandeh (Teheran, 1968, woont en werkt in Amsterdam), Pendar Nabipour (woont en werkt in Rotterdam)
PROGRAMME AND OPENING HOURS (6-28 August)
You can visit Club Solo from Wednesday till Sunday from 11 AM til 5 PM. Besides these regular opening hours, there are events plannend every week which you can find on our Website and Facebook page.
Compiled by Amirali Ghasemi and Mahdieh Fahimi
The program wishes to investigate Mental illnesses and its reflection in a gradient of works by Iranian artists from different disciplines. Using moving images. Ranging from photography to music video, and from fiction to experimental film, works are carefully selected and deal with the issue from various angles self-aware to situations occurs to the human body in transition.
Farid Jafari Samarghandi | Rozita Sharafjahan |Simin Keramati | Neda Razavipour | Anahita Hekmat | Payam Mofidi | Rambod Vala | Amir Mobed | Tala Vahabzadeh | Narges Naseri | Allahyar Najafi | Celia Eslamieh shomal | Amir Bastan | Shirin Mohammad | Rasoul Ashtari | Abtin Mozafari vs B-band | Siamak Janjaali vs Kajart
PARISHANI is made by in collaboration with Parkingallery Projects Tehran, Iranian New Media Society and Art Cinema OFFoff.
Thursday 27 november 2014 – 20:30
Art Cinema OFFoff
Begijnhof Ter Hoye
Lange Violettestraat 237, B-9000 Gent
This Friday No. 6 Gallery will host “New Photographs” the latest Photography exhibition by Mohammadreza Mirzaei.
Mohammadreza Mirzaei (born 1986) is an Iranian photographer. He attended IRIB Art School, in Tehran to study graphic design, when he was 15, but he quickly discovered photography and focused his artworks on this medium. In 2008, his photo series Rewind won the first prize of the 3rd photo feast of Tehran’s University of Art. MIRZAEI has been active as critic and translator of photographic texts for Iranian media and he was also founder and editor of Dide Magazine, an online magazine dedicated to contemporary Iranian photography. He was also one of the jurors at the International Photobook Award 2011. He recently got his degree from the University of Pennsylvania.
WE FIND WILDNESS writes about his works :
MOHAMMADREZA MIRZAEI‘s photos are timeless. His artistic approach to the medium transforms reality into a theater of illusion. His staging of the ordinary creates a simulacrum, and the neutral elements of our daily lives take on new meanings. No matter where they are captured, his images are enigmatic documents that gradually give rise to a sense of uncertainty.
Opening: Friday: Friday 10th October 2014, 4-8 pm
The show continues until 20th October 2014.
Visiting Hours: 4-8 pm.
The gallery is closed on Thursdays.
Ground Floor, No.2, 20th St., Mirza Shirazi St., Tehran
a woman is worth a thousand questions.
Alternative Media from Iran
Mon Oct 27 |8:30 pm|
Tuesday Oct 28 |8:30 pm|
Jack H. Skirball Series
Admission: $11 [members $8]
Presented as part of the LA/Islam Arts Initiative led by the City of Los Angeles Department of Cultural Affairs.
The citywide LA/Islam Art Initiativearrives at REDCAT with two evenings of powerful, eye-opening works that deconstruct and recontextualize women’s complex relationship with Islam in Iranian culture and society. Running the gamut from experimental film to video and performance art, from animation to documentary, the featured projects draw special attention to the ways in which women-and women’s bodies-are posited both within Islam and at its border, with the codes of sexual propriety, veiling and separation functioning as signifiers of a condition fraught with contradiction and hope.
The evening of Monday October 27 will be devoted to experimental media, with a video-performance by photographer Haleh Anvari, an installation and documentation of a public performance by multi-media artist Jinoos Taghizadeh, an experimental animation by Pooya Razi, witty, poignant and visually compelling vignettes by Samira Eskandarfar and Nassrin Nasser and body art by Nikoo Tarkhani. On Tuesday October 28, three documentaries focusing on the bodies of women and their representation will be shown: two shorter pieces by Samira Eskandarfar and Firouzeh Khorosvani and Loghman Khaledi’s award-winning Nessa (2011).
In person: Haleh Anvari, schedule permitting
This program is also of part of REDCAT’s ongoing Jack H. Skirball Series curated by Steve Anker and Bérénice Reynaud.
Launching this fall, the Los Angeles / Islam Arts Initiative (LA/IAI) brings together nearly 30 cultural institutions throughout Los Angeles to tell various stories of traditional and contemporary art from multiple Islamic regions and their significant global diasporas. LA/IAI is the first-of-its kind, wide-scale citywide initiative on Islamic arts producing and presenting programming such as art exhibitions, panels, discussions, and performances.
“Middle Eastern artists do not need heroes. They are tired of sacred portraits and they actively tear them down. They despise halos of sacredness be it based on religious, historical or political ideologies – even if they are based on traditional or modern artistic concepts.” – Jinoos Taghizadeh
If there is a thread that runs through [contemporary Iranian video works], it’s their self-conscious fragility as carriers of meaning. They invoke collectivity only to underscore its absence, and they hint at a historical narrative only to shrug off any shared ideals of progress. – Bidoun
Contemporary art exhibition
Curated by Amir Hossein Bayani, Gohar Dashti and Koroush Golnari
Niavaran Cultural Center
September 12 – October 13, 2014
from the press release …
Although the image of war and tramp of Palestinian in Gaza scare us, the bomb does not fall on our houses. Who can fully understand the ultimate misery and suffering by looking at these photo in a secure and peaceful situation? The mass media coverage of the Gaza Strip promotes passiveness and prostration. A mother who has lost her child and has no choice but grieving. That is the same portrayal of the oppressed’s reaction to the tyrant and it is the subject of melodramas which move us. At this point, what might tears and sigs show outside the geographical boarder of Palestine? Does it have any effects rather that public announcement of prostration and promotion of the desperate oppression? The Gaza Exhibition is the attempt to portray this catastrophe devoid of philanthropic feelings and excitements. Although the purpose of this exhibition is to support Palestinian People, it endeavors to look at them as strong and active people rather than oppressed people who deserve pity. Hence, I have tried to look for works that do not provoke immediate feelings which get subsided quickly. Despite the fact that this exhibition does not soothe the pain of Gaza’s disaster, it is a movement away from common desperation and prostration of today’s shows. It the approach to say we are not indifferent and are able to do something except crying.
more info will be posted accordingly!
Assar Art Gallery presents Cohesive Disorder, an exhibition of drawings and a video installation by Payam Mofidi.
In his second solo show with the gallery, the artist debuts his latest series in his hometown, Tehran, before presenting it in FNC (Festival du Nouveau Cinema de Montreal) in October 2014. A metaphoric narrative on present human conditions viewed from an ontological and social perspective, the series comprises six drawings and three video animations. Narrated in a lyrical aesthetic language, all three parts of the video-installation share a visual and epistemological expression. The paradoxical plot – agony and comfort (Cohesive Disorder1), innocence and impurity (Cohesive Disorder 2) and searching while blindfolded (Cohesive Disorder 3) – as well as the loop in which the characters seem to be trapped, metaphorically signify the social actuality of contemporary man. The hands as an invisible controlling power with the napkin as a healing icon or an instrumental tool play key motifs in all three parts of the trilogy, poetically referring to the global social order in which the very production of people, their bodies and even modes of subjectivity undergo a constant monitoring and control. Payam Mofidi’s drawings and videos are both based on real scenography, captured in time through either staged photography or videography. Using same technique to transfer the photos or his selected video frames onto paper, he artistically manipulates his captured images with his sketches and creates his independent drawings out of the photos or turn the sketched frames back into video using animation techniques.
Born in 1980 in Tehran, Iran, Payam Mofidi has participated in many international group exhibitions and festivals and received several grants. Before moving to Montreal, Canada, where he currently lives and works, he received his Master’s degree in Animation from L’Ecole Nationale Supérieure des Arts Décoratif in Paris and his BA in Graphic Design from Azad University in Tehran.
Click here to see more at Asar Art Gallery’s website
Thanks to the lower temperature (a bit) in Tehran, Galleries are slowly waking up with solo/debut shows by young artists and of course group shows are trendy too, for this time of the year.
Mehrva Gallery with new directors Amirali Golriz & Azin Raad, has been raising a lot of attention lately with their vibrant programming showing a great selection of photographs and drawings.
second half of August will be reserved for photographers;
With “The Emphasized Six” a current photo installation (and interactive ) by Babak Haj MohammadAli, Ghazaleh Zeinalpour & Nima Maghsoudi and the upcoming show by Hamid Janipour & Roozbeh Roozbehani called “Mourning for the dead sister”, and their photographs from Istanbbul, Turkey.
Aaran gallery has hosted Solo Video exhibition ofAliyar Rasti. Titled “PRO.LOGUE”. Opening at Aaran Gallery on 21st August.
Questioning notion of time, Aliyar Rasti will present six video art works that have been in making for almost two years. These works are a play between staged and documentary image-making; by documenting real time events in Long Takes and deluding the essence of time, he attempts to create loops. Continuous moving images that are trapped in time.
He writes : Occurrences do not begin but are a continuous eternity
In passage of time we arrive to a point of occurrence and experience it. Based on our experiences we categorize occurrences and create borders. Borders break down the polarity of Being and credence repetition.
check Rasty’s online portfolio, here
Sara Dehghan is showing her Paintings in a solo Exhibition at Dastan’s Basement : “Pathological Life” Aug 22 to Sep 1 2014
Click here for more info on the gallery website.
June 25, 2014, 6 p.m., CCA Laboratory Building
The presentation is held in English.
“Iran. Making Space for New Media”
The Tehran of the nineteen nineties was not really acquainted with new media; the handful of galleries preferred to stick with the norms and dedicate themselves to showing painting, sculpture and, much more rarely, photography. Using images, posters and video extracts, the presentation sets out to shed some light on the progress of new media art in Iran.
The talk begins with the belated emergence of media art toward the end of the last decade of twentieth century and looks at the reason why it blossomed in the early two thousands before languishing, forgotten, for several years. The forces behind its recent powerful and independent comeback are then addressed. In the absence of funding from either the government or abroad, the development of the new media art scene has only been possible thanks to collective efforts and organic self-organisation. The presentation takes video art in Iran and the way it has forged its own way ahead over the past fourteen years as a case study.
Tehran’s new media scene is expanding into other cities, such as Isfahan, Sanandaj and Mashahad. At the same time, a few independent initiatives are try to push the back the boundaries in order to open up the space to more interdisciplinary practices by organising exhibitions and running festivals geared toward video art, sound and interactive projects and digital art, as well as holding regular audiovisual performance events.
Amirali Ghasemi is a Tehran-born artist, graphic designer and curator who currently lives and works on the move. He graduated with a BA in graphic design from Central Tehran Azad University in 2004, his emphasis having been on research into digital art history. In 1998, he founded Parkingallery, an independent project space in Tehran and then built on this by setting up Parkingallery.com, an online platform for young Iranian artists, in 2002. His photography, videos and designs have been shown at a range of international festivals and exhibitions, winning him awards and recognition. As a curator, he has directed a host of exhibitions, workshops and talks for Parkingallery’s projects. He co-curated “Urban Jealousy”, the 1st International Roaming Biennial of Tehran (2008-2009) and four editions of the Limited Access Festival for Video and Performance (2007-2013). This was followed by his involvement in myriad projects for institutions, project spaces and universities in Germany, the Netherlands, Serbia, Great Britain, Egypt, Turkey, the United States, Brazil, Canada, France, Sweden, Belgium, China and India. Ghasemi has been a guest lecturer at the Berlin University of the Arts, the University College of Arts, Crafts and Design in Stockholm, the Malmo Academy of Arts, Ohio State University, the Delfina Foundation in London and the ICI in New York. He was selected as the guest curator for the CCBRUGGE in 2010 and Devi Art Foundation, India in 2012. Along with his independently curated programmes, such as The Invisible Present, (Brazil, USA) and Part of me ( France- Tehran), he served as a guest organiser, programming the video art section for the Rotterdam Film Festival and Göteborg International Film Festival in January and February 2013.
Ghasemi works with photography, video, installation and interactive projects, as well as writing about the local arts scene and contemporary Iranian art for a number of magazines and on his own blog. He has a long-term curatorial project, IRAN&CO, which consists of an ongoing exhibition and an archive devoted to the representation of Iranian art beyond the country’s borders.