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هنر معاصر Contemporary Art
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  • Book on contemporary Iranian art introduced in Tehran

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    c_250_165_16777215_0___images_stories_nov01_14_16_rm39.jpgTEHRAN -- A pictorial book on contemporary Iranian art and artists entitled “Amidst Shadow and Light” was introduced during a ceremony held at Tehran’s Mohsen Gallery here on Saturday.

    Compiled by the Iranian Art Tomorrow Quarterly chief editor Hamid Keshmirshekan, the book contains 15 articles delivered at the 2005 Oxford conference along with 350 images of artworks by Iranian artists, the Persian service of ISNA reported on Sunday.

    In October 2005, St. Antony's College of Oxford hosted a panel of experts in the art world to discuss the lines of continuity between modern and contemporary art in the last half a century in Iran.

    At the conference, Keshmirshekan delivered a speech on Iranian contemporary art; many other Iranian and foreign artists also talked about Iranian art.

    Keshmirshekan had observed new traditionalism in the art of the 1960s and 70s and in the saqqakhaneh movement of the period, an artistic movement that began in Iran during the 1960s. This movement sought to integrate popular symbols of Shia Muslim culture in art.

    The book developed out of the conference held at Oxford but most of the material in this volume has been thoroughly updated and in some cases rewritten. 

    Prominent sculptor Parviz Tanavoli who was among the participating guests regarded Keshmirshekan a critic who seriously follows criticism in art.

    He added that many reviewed and discussed Iranian art in the conference including Aidin Aghdashlu who talked about the murals after the Islamic Revolution in Iran.

    "But I believe this can be the first book published on Iranian contemporary art," Tanavoli said, hoping that the book will be translated into Persian soon.

    Keshmirshekan also said, "Since these articles were only offered at the conference, I decided
    to compile them in a book to make it more accessible to interested readers."


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  • Life Through a Kaleidoscope: Iran’s Queen of Arts

    “Iran was a very peaceful country before the revolution” says Monir Shahroudy Farmanfarmaian who at 87, still has the art world shimmering.

    Against the backdrop of the Second World War and the Iranian Revolution, Iranian born Monir Shahroudy Farmanfarmaian has led a colorful life, to say the least.  At our meeting place in a London hotel lobby, she sits surrounded by an entourage. As two generations of family members—who have travelled with her from America to show support during her stay—are thoughtfully introduced, one by one, an added reason for Farmanfarmaian’s widespread appeal becomes apparent.

    A veteran of the 1950s New York art scene, Farmanfarmaian’s charm secured her the close friendships of the likes of Andy Warhol and Milton Avery, among numerous other contemporaries. Today she still displays those strong Persian features, at that time an exotic look that captured the imagination of many—including the sculptor Alexander Calder who once trailed around after her at a party in his impatience to meet her. “Finally he said ‘I am following this young lady for 15 minutes nobody has introduced me to her—Introduce to me to this girl!’ So I was introduced to this fat and white haired man and he was … ho ho ho… laughing like this” she reveals mischievously.

    Now 87, Farmanfarmaian, still adventurous as ever, quoted as saying that she is on a “constant quest for the new,” is enjoying a renewed prominence. Widely recognized as one of Iran’s most influential working artists, with a permanent collection in New York’s Metropolitan Museum of Art (MOMA), she was this year among ten contemporary nominees for London’s Victoria and Albert Museum’s (V&A) Jameel prize. Simultaneously she released her second book Monir Farmanfarmaian: Cosmic Geometry, a first, extensive monograph of her work ( published on 31 October 2011, Damien Editore & The Third Line). With one of her pieces having soared past bidding expectations at the UK’s Sotheby’s October 2011 auction of Arab and Iranian contemporary art, she is certainly maintaining her exhaustive mission.

    Well-earned prestige and an intimidating repertoire of friends does nothing to prevent one from feeling at ease around Farmanfarmaian, whose art, as an imitation of life, is distinctive in its captivating use of colors and dazzling mirror work. She has grandmotherly warmth, a contagiously husky giggle—and is unexpectedly unassuming. Recalling her time in New York in the 1940s as a young woman straight out of Iran she says: “I became very friendly and very popular to the social life of art in America because I was very…” her companion has to interject “…beautiful, young, exotic!” And relaying a rather frosty meeting with Jackson Pollock, she says: “once, we talked and he thought most likely I’m very stupid and ignorant, and left”—but freely declares her admiration for his art.


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  • Tehran Times Art Desk

    TEHRAN -- The Shirin Gallery is hosting the second edition of the Iran sculpture expo that began Friday. 

    At the opening ceremony of the expo, renowned sculptor Parviz Tanavoli spoke briefly calling the event a “historic scene” and expressed his happiness over the number of sculptures on display. 

    The art of sculpture making has developed over the past 200 years, especially in recent decades in Iran, and this is an improvement for a country that has not had this kind of art for several centuries, he said. 

    He asked collectors to support the expo saying that young artists holding exhibitions need their help to continue their activities. 

    Then, Shirin Gallery director Shirin Partovi expressed her thanks to the supporters of the expo as well as to expo secretary Behdad Lahuti. 

    A total of 140 sculptures made from bronze, ceramics, glass and other materials created by 135 artists are on sale at the expo. 

    On the first day of the expo, 15 sculptures were purchased mostly by public visitors and a few gallery owners who bought artworks in advance. 

    “Public visitors bought artworks that are priced less than 5b rials (about 5000 $),” the secretary of the expo Behdad Lahuti told the Persian service of Fars News Agency. 

    He said that representatives from the Tehran Contemporary Museum of Arts, the Academy of Art and the Iranian Artists Forum visited the expo to evaluate prices. 

    The sculptors initially priced their artworks, after which prices were finalized by the gallery owners. We are looking forward for our principle customers, he added. 

    The price of the items ranged between wooden sculptures by Mohsen Vaziri-Moqaddam priced at 45b rials (about 4.5 m$) to bronze fruits that are being sold at 2.5m rials (250 $) per kilo, he said. 

    Lahuti also talked about the variety of artworks at the expo saying the tallest sculpture on display is about 2.8 m and the shortest is about 12cm. 

    Artworks created by renowned sculptors including Jazeh Tabatabaii, Farshid Mesqali, Yasamin Sinaii, Behdad Lahuti, Kambiz Sabri, Reza Yahyahii and Mohsen Vaziri-Moqaddam are on sale at the expo. 

    The expo runs until July 19 at the gallery located on 145 North Salimi St., off Andarzgu Blvd. in the Farmanieh neighborhood. 

    Photo: A group of art lovers visits the second edition of the Iranian sculpture expo at the Shirin Gallery on June 24, 2011. (Photo by Mehdi Tajrishi) 

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  • به گزارش presstv.ir:
    Iran Land of Glory, that is the name of a new exhibition at the Canadian National Arts Centre.

    The one-day cultural event displays Persian miniature, paintings and handicrafts and includes several short lectures on historical and contemporary Iranian art. 

    The exhibition, which is open to the public, gives a glimpse of over five thousand years of Persian culture and civilization. 

    One interesting attraction of the exhibition is a live display of Marquetry by a young Iranian artist. 

    Another theme of the event is Persian music. On display are traditional musical instruments such as the Santur, Tar, Setar and Tonbak. 

    Persian art is renowned for its roots in mysticism as well as its uniqueness and colorful details. This exhibition gives Canadians a good opportunity to see this first hand.
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