Alternative Media from Iran At REDCAT

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

Gaza-cover

Salvation, GAZA at Niavaran Cultural Center – Tehran

Salvation, GAZA
Contemporary art exhibition
Curated by Amir Hossein Bayani, Gohar Dashti and Koroush Golnari
Niavaran Cultural Center
September 12 – October 13, 2014

Salvation, Gaza | poster designed by Hamid Nikkhah

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.
Gohar Dashti

 

more info will be posted accordingly!

 

Cohesive Disorder by PAYAM MOFIDI at Asar Art Gallery, Tehran

PAYAM MOFIDI Cohesive Disorder
12 September -3 October, 2014

Cohesive Disorder
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.

Payam-Mofidi-2014

From Cohesive Disorder by PAYAM MOFIDI – 2014 Image courtesy of Artist and Asar Art Gallery

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

3rd Friday of August – Tehran Gallery Scene

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.

 The Emphasized Six - Merva Gallery -Babak Haj MohammadAli, Ghazaleh Zeinalpour, Nima Maghsoudi

The Emphasized Six – Merva Gallery -Babak Haj MohammadAli, Ghazaleh Zeinalpour, Nima Maghsoudi

Mourning for the dead sister| Hamid Janipour & Roozbeh Roozbehani | Mehrva Gallery | Aug 24 – Sep 8

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.

Cradle | Aliyar Rasty | Video still

Cradle | Aliyar Rasty | Video still

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 | Pathological Life

Sara Dehghan | Pathological Life

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.

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RE-DIRECTING: EAST Conversations | Amirali Ghassemi “Iran. Making Space for New Media”

RE-DIRECTING: EAST
Conversation # 19
Amirali Ghassemi “Iran. Making Space for New Media”

June 25, 2014, 6 p.m., CCA Laboratory Building 
The presentation is held in English.

Amirali Ghassemi
“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.

Three Minutes of Headless Life at Azad Art Gallery – Tehran

tara-ahmadi

The great news is Tara Ahmadi is in town, for those in Tehran don’t miss her show at Azad Gallery, opening Today.
Three Minutes of Headless Life | June 20-25, 2014  | 4-8pm

Three Minutes of Headless Life is a video screening, which is comprised of three pieces with concerns about culinary consumption of the cultural products. Productive Frustration III, Gut Theory and Measuring the Level of Resistance all focus on the moment that art morphs into digestible commodities for the society of spectacle. The Lebanese-Canadian artist, Jayce Salloum, addresses the artist’s everyday struggle with such exasperating tension as a “productive frustration”. Combining different mediums such as stop-motion animation, 16mm film, HD video, still image and voiceover, Three Minutes of Headless Life hinges upon the ups and downs of remaining productive in a frustrating cultural moment. The title is also an homage to the standard length of the soon-to-be-out-of-market 16mm film roll, which is three minutes.

Tara Najd Ahmadi

Videos:
Productive Frustration III-2012: 3 min

Measuring the Level of Resistance-2011: 4 min

Gut Theory-2011: 5 min

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Incident Light at Blackwood Gallery, Mississauga

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Tara Najd Ahmadi & Hannah Darabi, Studio DCI – attempt 1, 2014 Laminated black and white photo 8 x 12 inches. Courtesy of the artists.

Incident Light:
Gendered Artifacts and Traces Illuminated in the Archives
Curated by Leila Pourtavaf
Tara Najd Ahmadi & Hannah Darabi*, Ala Dehghan* Maryam Jafri, Jumana Manna, Nahed Mansour, The Otolith Group & Tejal Shah
May 25 – July 27, 2014

*works commissioned by Azar Mahmoudian in collaboration with the curator

Opening Reception
Sunday, May 25, 3 – 6pm
A FREE shuttle bus will depart from Hart House (7 Hart House Circle, University of Toronto) at 3pm,  returning for 6pm.
Join us at 4pm for a tour of the exhibition with curators Leila Pourtavaf, Azar Mahmoudian, and artistNahed Mansour

I’ve Heard Stories
A Film program curated by Azar Mahmoudian
Wednesday, May 28, 7 – 9pm
City of Toronto Archives, 255 Spadina Road, Toronto
FREE and open to the public
I’ve Heard Stories presents five international short films, each exploring the intersection of art and documentary practices:

I’ve Heard Stories 1 by Marwa Arsanios (Lebanon, 2008)
Swede Home by Shirin Sabahi (Iran/Sweden, 1966/1973/1975/2009)
Sans Titre (Untitled) by Neil Beloufa (Algeria/France, 2010)
Everywhere Was the Same by Basma Al Sharif (United States, 2007)
Why Colonel Bunny Was Killed by Miranda Pennell (UK, 2010)

 Blackwood Gallery
University of Toronto Mississauga 3359 Mississauga Road Mississauga, Ontario L5L 1C6, Canada
Tel: 905-828-3789 

For more information, please click here.
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Source: blackwoodgallery.ca

“There are no foreign lands. It is the traveler only who is foreign.”Interactive Video Installation
By Ila Firouzabadi & Payam Mofidi

“There are no foreign lands…” Darbast Platform – Mohsen Gallery

“There are no foreign lands. It is the traveler only who is foreign”*
Darbast Platform – Mohsen Gallery

payam-ila

Interactive Video Installation by Ila Firouzabadi & Payam Mofidi
Script by Elyas Alavi, Afghan Poet & WriterOpening: May 16, 2014 | 4:00 To 9:00 pm
The exhibition will be continued up to May 23, 2014
Visiting Hours: 04:00 to 08:00 pm
Darbast Platform / Mohsen Gallery
Gallery is closed on Thursdays.

“There are no foreign lands. It is the traveler only who is foreign.”Robert Louis Stevenson, The Silverado Squatters 

Leonardo da Vinci wrote, “Art is never finished, only abandoned.” Leonardo of course was contemplating the concept of art from an artist perspective, and thus the second part of the quote seems very apt and relative. Artists virtually every time are forced to abandon their work because they cannot envisage taking any further steps to improve their work, and thus they are said to have left the work. Yet, one must ask: can an artwork ever be finished? Is completion realistic? Life of an artwork depends not on the hands of the artist, but on the gaze of the viewer. The viewer, which in the first instant is the artist, absorbs and engages with the piece, and through his or her interpretation gives significance and meaning to the work. Art is alive only through the audience, and every time new pair of eyes views it, they bring the artwork into present. We like to look for an origin, but with art, a piece is in constant state of rebirth. Art cannot have a conclusion, it can only have existence. Emmanuel Kant argued that a “work (ergon)” cannot exist “without an outline (parergon) for definition”, thus there must be a limit to all that exist in order for it to open up for description and examination. The 20th century French philosopher Derrida, in contradiction to Kant, argued that frames fall into a “liminal” space when it comes to a painting. Yet, more often we see that the artists include the frame as part of the work, and thus there is no outer edge dividing the work from outside, because even the framed painting is framed further by the walls surrounding it, by the building housing and so on.

Interactive artists certainly know of this condition, and they seek the audience to play an active role in the life of an artwork. Ila Firouzabadi and Payam Mofidi in their installation, do precisely that. They include the viewers, who seek the images by ritualistically stretching out their open hands. The audience brings the piece into life, and they become part of the work. Limits no longer apply here. There are no edges, just like there are no divisions between people, nationalities and countries. The installation causes all elements to merge into one, creating one existence. One work and you are included in it. The space is essential for the life of the piece, however it is not confining you, because you shall take the experience with you, and through it become more inclusive yourself. If you consider everyone as part of the same world and universe, then what would be the reason for any animosity, prejudice and hatred for your fellow man? Why would you seek to harm anyone or anything? If you experience existence as an all encompassing feeling, then you must allow yourself to be fair and compassionate. You will become the artwork yourself, and there are no ends. Death cannot be found. Only constant rebirth. Only constant equality for all shall be found. Nothing will be foreign to you, and no land shall exclude you. Isn’t that the beauty of life, and that which art has always sought to show us?  Taymaz Valley / Art Historian

Music: Nima Alizadh
Cast: Naim Jebelli | Naghmeh Sharifi | Sahar Mofidi | Mahereh Jalilsedighi
Sound: Sam Vafai
Camera: Payam Mofidi, Pirooz Nemati
Special Thanks to: Alborz Arzpeima, Pirooz Nemati, Nima Balazadeh, Parisa Mohit, Sara Reyhani, Ali Panahi
* by Robert Louis Stevenson
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Wolfgang Knapp (Berlin University of the Arts – UdK) – Lecture at Aaran Gallery

Art practice: self branding and experimental settings
Collaborations between artists and scientists

Lecture and presentation of projects by
Professor h.c. Wolfgang Knapp
Berlin University of the Arts (UdK)
Institute for Art in Context (post graduate program)
and Chair of Commission for advances Studies in Art and Sciences at UdK

Parkingallery projects in collaboration with Aaran Gallery – Tehran

Saturday, April 26th, 6:00 pm

No.12, Dey St., North Kheradmand Ave.
Tehran, Iran
Postal code: 158591115
Tel: +9821 88829086-9
Fax: +9821 88841412
E-mail: info(at)aarangallery.com

About Wolfgang Knapp

As a social and educational scientist, and after graduating in Art/Visual Communication Wolfgang Knapp has been teaching and doing research since 1988 at the Institute for Art in Context at the University of the Arts in Berlin. His main focus is on interdisciplinary projects on the interface of art and science (since 1993), minorities in art and the media, artist identity, international project cooperation, curatorial activities  and publications. („Missing Link- art meets biomedicine“,  „Fettes Archiv“ (Fat Archive) „Sensing the Street“,  „sterben wollen-Denkraum suizid“ (Desires to dies_ Rethinking Suicide) „Valldigna- Cultural Continuity in a Mediterranean Valley“ „Forschen und Ausstellen“ Researching and Exhibiting). Wolfgang Knapp is chairperson of the Commission for artistic and scientific projects at the University for the Arts in Berlin and a professor h.c. at the Department of Fine Arts and Design at Zhejiang Commercial Technical College in Hangzhou/China.

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Breath from a warm locale at Croxhapox, Gent

breath-from-e-warm-locale - Poster designed by Hooman Alizadeh & Amirali Ghasemi

Poster designed by Hooman Alizadeh & Amirali Ghasemi

Breath from a warm locale
Film, video art and more
23 March – 20 April 2014
Opening on Saturday march 22d at 18:00

Parkingallery projects –Tehran in collaboration with Asayeshgah projects – Kerman
Curators Nima Bahrehmand ( Kerman) & Amirali Ghasemi (Tehran)

Houman Alizadeh | Shilan Borhani |Shahram Entekhabi | Negar Farajiani |Anahita Hekmat |Arash Khakpour/Arash Radkia | Arash khosronejad | Saman Khosravi |  Tala Madani |Arash Mobarrez/Ramin Rahimi | Amirali Mohebbinejad | Pouya Razi |Tara Najd Ahmadi |Jafar Sadeghi |Sona Safaei Sooreh | Zarin Salahi | Bahar Samadi

Croxhapox, Gent

A Persian expression “Nafas az Jay-e garm” literally translates “Breath from a warm locale” in English and often used to describe where one is distanced from the reality because of his/her financial and/or political standpoint. In most cases these individuals do not encounter the common day-to-day experiences of a society simply because they have lived overseas.

Often this expression has been used as an irony. Dehkhoda writes in “Amsal o Hekam”, his encyclopedia of Iranian Proverbs: it can be pretty much unrealistic to accept an individual’s opinion that takes his/her breath in a warm locale. Warm locale here refers to a comfortable place.

We borrowed the expression to address a situation where artworks with no references to exotic elements, political issues, and etc. – are less likely to be selected for exhibitions of contemporary Iran. Despite their qualities and significance, they have been constantly filtered out and undermined for not being newsworthy or direct enough to be consumed together with an ideal news hour spent over dinner. With this expression we also refer to EU decision-makers in politics – specifically in relation to Iran – as spectators who “breath from a warm locale”.

Independent art space for new media | Tehran | Iran