Category Archives: Abroad

Wake-up Stories, Summer Residency at Club Solo, Breda

‘Wake-up Stories’ Parkingallery Tehran

Hotel Solo
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’.

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’.

Artists (Iran)
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.

Programme week 31 (week 1, 1 – 7 augustus)
Programme week 32 (week 2, 8-14 augustus)
Programme week 33 (week 3, 15-21 augustus)
Programme week 34 (week 4, 22-28 augustus)

VIDEO-THERAPY, SESSION TWO : Faramoushi [To Forget]

10295499_10155099883455125_3194183658269473526_o
VIDEOTHERAPY, SESSION TWO : Faramoushi [To Forget]
Videos from Parkingallery Archive
Curated by Amirali Ghasemi 
With
Mehraneh Atashi, Amir Bastan, Maede Jenab, Payam Mofidi, Taimaz Moslemian, Nassrin Nasser, Bahar Samadi, Aliyar Rasty & Rambod Vala

Screening dates:
27 January, 30 January and 12 Februrary, 2015
19:00 – 21:00
Gallery of Art
Temple University Rome
Lungotevere Arnaldo da Brescia, 15
000196 Roma

PARISHANI, video screening at Art Cinema OFFoff, Gent

10448242_348891598615278_692135317037349576_n

PARISHANI
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
www.OFFoff.be

 

 

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

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.

Incident Light at Blackwood Gallery, Mississauga

Tara.Hannah.jpg
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.
—————————————————-
Source: blackwoodgallery.ca

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”.

Happy 2014! (with a brief report of 2013)

Parkingallery projects in collaboration with ABAN Gallery Mashhad will be screening THE WANDERING ISLANDS, a part of LIMITED ACCESS FOUR video program curated by Parkingallery Video Archive in Jan 2014.

Parkingallery’s founder and director Amirali Ghasemi, along with Neda Razavipour and Behrang Samadzadegan have been chosen as selection committee of VIDEOARTIST festival in ISFAHAN which will open in 3 venues in the city around mid Feb 2014.

and now a brief report some of our past activities in the 2nd half of 2013 includes projects in New York, Beijing, Sanandaj and Hormoz Island.

“Iran: Making Space for video” and “Unusual Encounters” are  lecture/screening programs which Amirali Ghasemi presented on behalf of Parkingallery Video Archive at department of Cinema Studies: Tisch School of the Arts at NYU. 

10th Beijing Independent Film Festival – Poster

The Invisible Present Tense, the video and experimental film program curated for the 42nd Rotterdam film festival by Parkingallery video archive after being shown at 36th Göteborg International Film Festival found its way to China at 10th Beijing Independent Film Festival in late Aug 2013.

Live program, video still from the recordings by Amir Bastan

“Live program” was designed as a collective live video/performance studio to perform, record and present/broadcast a four hour long program as a part of 4th Sanandaj contemporary arts festival. The crew decided to record interviews with the guests, artists and visitors of the event for archival use and future projects, after facing some technical and logistic issues. Participating artists were Anahita Hekmat, Borna Ahmadi, Amir Bastan, Maryam Oskouei, Amirali Ghasemi, Zarvan Rouhbakhshan & Mohammad Kalantari among others.

4th Hormoz Festival, Nov 2013 – Photo taken from the Group’s Page on Facebook

Hormoz New Art group invited parkingallery projects to collaborate with them in their various programs in Nov – Dec 2013. This has resulted in 3 fruitful events in Hormoz Island, an artist talk, a screening and a panel discussion.

“Documenting Video Art in Iran”
Lecture/Screening program,
The program was previously presented at Tassvir magazine‘s IMAGE OF THE YEAR at Iranian Artist Forum in Tehran and also at a private studio in Sanandaj in early 2013, and finally in Dec an updated version of the program arrived in Hormoz Island during 3rd EXIT, A forum for Artists Beyond Center.

On 2nd day of EXIT forum, Negar Farajiani, Miakil Rahmani and Amirali Ghasemi joined Ahmad Kargaran and Mohammad Banouj and various artists from all around Iran to discuss independent art projects and initiatives in the country and possibilities of collaboration and sharing ideas and experiences.

 

‘THE FOLD’ at CAB Contemporary Art, Brussels

 ‘THE FOLD’
ABSENCE, DISAPPEARANCE AND LOSS OF MEMORY IN WORKS OF 12 IRANIAN ARTISTS

AHMAD AALI, REZA ABDOH, CHOHREH FEYZDJOU, PARASTOU FOROUHAR, BARBAD GOLSHIRI, ARASH HANAEI, BAKTASH  SARANG JAVANBAKHT, MANI MANZINANI, SHIRIN SABAHI, MONIR SHAHROUDY FARMANFARMAIAN, KAMRAN SHIRDEL, HOMAYOUN SIRIZI.

Al Shaab Yourid …* / Barbad Golshiri / 2011-12
Pigment inkjet on canvas, correction pen on paper, book
Each canvas approx. 170 x 115 cm

The CAB is delighted to announce its new exhibition, ‘The Fold’, curated by Michel Dewilde and Azar Mahmoudian, which explores motifs such as absence, disappearance, amnesia and the importance of memory set against the background of modern and contemporary Iran.
Inspired by the French Philosopher Gilles Deleuze’s work ‘Le Pli’ (1988), the curators choose the fold as the leitmotif for the exhibition. The exhibition makes use of the concept of the fold in a variety of modalities including the psychological, historical and political levels.
The fold simultaneously combines the idea of an action as well as a covering. It can be opened or closed: it unfolds itself to the world or can fold up into itself. The fold can also imply the passing of time – it can suggest memory or the loss of it – the interval where time is suspended, while its cracks or fissures refer to the unseen dimensions. The term can open up a different understanding of one’s relationship to oneself, a world where the internal and external or past and present cannot be easily located.
The exhibition ‘The Fold’, favours an intergenerational approach, confronting different aesthetic positions, spanning four decades of art in Iran. Beginning in the 1960’s modernist era, the show combines internationally renowned artists such as Monir Shahroudy Farmanfarmaian who started her career at a time of an imposed modernism, with others who were living abroad or in exile and emerged in the 80s and early 90s such as Chohreh Feyzdjou and Reza Abdoh.  These artists are put together with exponents of the most recent generations such as Shirin Sabahi or Mani Manzinani. The exhibition combines existing art works with site-specific creations by Parastou Forouhar, Homayoun Sirizi and Arash Hanaei.

Arash Hanaei / Behesht-e Zahra (From the Capital Series) / 2013
Diasec print, 250 x 88 x 3,3 cm, Edition of 3 (+2 ap)

Michel Dewilde is a curator and art historian based in Ghent (B).
He curated exhibitions for the MSK & SMAK museums (Ghent), the Art foundation Gynaika (Antwerp), the CC Bruges and worked freelance. Since 1996 he has initiated several projects with Iranian artists such as: Chohreh Feyzdjou, Shadi Ghadirian, BitaFayyazi, Neda Razavipour, SiminKeramati, Khosrow Hassanzadeh, Shirin Sabahi, Sona Safaei, Baktash Sarang Javanbakht, etc.

Azar Mahmoudian is a freelance art critic and curator based in Tehran and London. She was the recipient of the Chevening scholarship and graduated with an M.A. from Goldsmiths in 2009. Her research interests are mainly focused on transcultural circulations and the politics of display. In 2010 she co-curated the archive and documentary series portion of “Iran and co” at Burges, Belgium, which engaged with international representations of Iranian contemporary art. She has collaborated with Tehran based project spaces and works as a researcher, associate editor and university lecturer.

CAB Contemporary Art
www.cab.be
Rue Borrens 32-34  – 1050 Brussels

19 April – 15 June 2013

Opening : Thursday 18.04.2013, 6 – 10pm
Exhibition : 19.04.2013 – 15.06.2013
Open: Thursday, Friday and Saturday : 2 – 6pm
Information : For more information please contact Eleonore de Sadeleer
eleonore.desadeleer@cab.be
+32 477 88 39 46

One: The Forms, Two: The Plural Tense


One: The Forms, Two: The Plural Tense

One: The Forms, Two: The Plural Tense, is a combination of art works which look into contemporary forms of relating, theoretical trauma, part/whole relationships, change in time and duration. These notions will be explored through number of videos installations and physical art objects. There will be two bodies of artworks consisting of different parts that constantly refer to each other and the entirety. Lanie Chalmers attempts to analyze the shaping of unstable identities and Sona Safaei studies the relationship between parts of an incomplete whole questioning how existing parts are related to each other.

Lanie Chalmers & Sona Safaei
Opening: [March 8, 2013] 7 pm- 10 pm
Exhibition dates: [March 7 – 17, 2013]
Hours of Operation:
[Mon – Wed by appointment]
[Thurs – Sat 12-6pm]
[Sun 12-5pm]
NARWHAL Art Projects
2988 Dundas Street West
Toronto, Ontario M6P 1Z4
647.346.5317
Supported by OCAD University