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address: No.12, Dey St., North Kheradmand Ave.,Tehran, Iran
Kaveh Kazemi The Revolutionaries- The First Decade Exhibition and book Launch by same title, by Nazar Art Publication Opening at Aaran Projects on 19th May 2017 On view until 9th June 2017 Revolutionaries covers a tempestuous decade in Iranian contemporary history. Return of Kaveh Kazemi to Iran coincided with the beginning of revolution in autumn of 1978 and he found himself among masses demanding the end of Shah’s Regime. Images chosen for this book and exhibition are part of a substantial archive of black and white photographs that tell the tale of a very difficult time in our history. The obvious dynamism and tension in these images are self evidentiary. The interplay of conflicting elements and the suspense and the constant movement of photographer are part of the magnetism of this selection. More than three decades later these images can still evoke emotions and remind us of truth and of sorrows that we can not name. Artists’ unique vision and his obvious passion for photography, next to major events and upheavals in this exceptional decade, will certainly be an important and valuable addition to the visual memory of the country. Kaveh Kazemi was born on October 1952, in Tehran,Iran. His photographic career started in the beginning of Iranian revolution in 1978 and has spanned for more than three decades covering Iran , the region and the world working with major international Media as a freelance photojournalist . His pictures have appeared notably in Time, Newsweek , New York Times , Stern, Der Spiegel , Paris Match, L 'Express, Figaro Magazine and Geo. The Crying Soldier picture taken in the early days of Iran -Iraq war on the western front gained international …
In carpets of Hadis Fakhr, ardent flames, next to gaily blooms and splashing fountains and rippling cascading pools are cool retreats for sore-wearied limbs and tired hearts. In this organized chaos there is the promise of fertility and abundance, of invisible and elusive realities. In her suggestions for Contemporary carpets, the young artist gathers her fanciful creatures and crafts a unique playful and joyous world. Hers is a fantasia of enchanting rhythms; emerging, retreating and reversing. In her wild compositions her visual dynamism takes shape and the fairy land becomes real. Within these dream like foliages, and sparking tones, magical creatures reside in an everlasting spring. In super charged panels an exceptional imagery is formed, where her creatures resembling Japanese Manga characters, dwell on Persian carpets and mischievously act in sequences, moving from one panel to the next one. In a back drop of utopian themes, Hadis Fakhr successfully blends her imagination with the classical lines and compositions of legendary Garden Carpets of Iran. In each panel artist weaves her own concept in to the fabric of the carpet: in “Heaven and Hell”, the two worlds change place; hell becomes this enjoyable place and heaven is a supremely boring place. Our young Bard tells the story of changing of seasons, with dragon wrestling matches and peacock dancing competitions and the ever present naughty and wildly free Fox. At the end all conflicts are reconciled, all creatures in confederation blendlike a chorus singing, rejoicing, floating; yet anchored in eternity and in the safety of the Garden. Hadis Fakhr is the supreme story teller. She lives within her stories, a wondrous …
Presenting three sets of recent works, Nastaran Safaei reveals her probing mind and restless quest in her artistic endeavor. In the series, Monument To That Which is Forgotten, she echoes words that are important to her; tranquility, silence, instant, and intuition. She builds monuments to these words to remind herself of importance of what is essential and ought not be lost in the hustle and bustle of everyday life. She coats these Totem like sculptures with cement and sacred soil of her land, wishing them to become eternal and to inspire others as well.
In her second series Above And Beyond, ink transfers body impressions on to canvas fabric. Emotions and unconsciousness are registered through the thinnest of mediums; the Skin. The impact of texture of body, at first pallid and then defined, tranquility and movement and the repetition of the cycle, reveals the connection and disconnection of self with the outside world.
In the series Body Impressions, the dots and dotted lines, register and connect the path of evolution of artist. The intimacy and playfulness in these three sets of works are indicators of her perseverance and maturity and are the fruit of her labors in the last one decade.
In her second series Above And Beyond, ink transfers body impressions on to canvas fabric. Emotions and unconsciousness are registered through the thinnest of mediums; the Skin. The impact of texture of body, at first pallid and then defined, tranquility and movement and the repetition of the cycle, reveals the connection and disconnection of self with the outside world.
In the series Body Impressions, the dots and dotted lines, register and connect the path of evolution of artist. The intimacy and playfulness in these three sets of works are indicators of her perseverance and maturity and are the fruit of her labors in the last one decade.
For a whole generation of Iranians, childhood was a passage between bewilderment and awakening. The experience of living through years of revolution and the imposed war, exposed them to images, emotions and vocabulary that was not supposed to be part of their childhood. The fears and conflicts of those years has had its profound effect on every day decisions and desires. At the same time the insecurity that a nation has felt for many years has evoked fundamental human craving for life; for color, patterns, and flight of fancy.
In her first solo exhibition Roghayeh Najdi pictures a past that is shared by millions of other children. By painting Negative images of children, with a backdrop of unrest and inherent violence, she speaks out against imposed war and violence and the ever increasing threats of war and hostility in her home country as well as in the region .
The illusionary quality of what she remembers is a tangible shroud that covers the paintings. In these layers of reality, dream, and illusions a unique formation takes shape. Vivid colors are in contrast with the grey years of life in Iran and the astounding beauty of the wild flowers are a reminder that ultimately nature can’t be restrained and eventually human spirit is capable of overcoming a great number of obstacles.
The Versus of Oblivion is a collection of wondrous imagery by a young female Iranian artist who is trying to recall all of the past, and today she is determined to live her life to its fullest, despite the past; defiant stand of an artist who is committed to renounce darkness and ultimately to defeat spite.
In her first solo exhibition Roghayeh Najdi pictures a past that is shared by millions of other children. By painting Negative images of children, with a backdrop of unrest and inherent violence, she speaks out against imposed war and violence and the ever increasing threats of war and hostility in her home country as well as in the region .
The illusionary quality of what she remembers is a tangible shroud that covers the paintings. In these layers of reality, dream, and illusions a unique formation takes shape. Vivid colors are in contrast with the grey years of life in Iran and the astounding beauty of the wild flowers are a reminder that ultimately nature can’t be restrained and eventually human spirit is capable of overcoming a great number of obstacles.
The Versus of Oblivion is a collection of wondrous imagery by a young female Iranian artist who is trying to recall all of the past, and today she is determined to live her life to its fullest, despite the past; defiant stand of an artist who is committed to renounce darkness and ultimately to defeat spite.
Excerpt from Catalogue by Sohrab Mahdavi
The technique and compositions that Akhavan employs leave us with no other way of seeing them. His creatures are not meant to evoke a sense of nostalgia. They are not “beautiful” in the classical, nature sense. We won’t get a chance to regret having lost what used to be. We find ourselves in an art gallery in the middle of Tehran, faced with pixelated images that from a distance can form an impressionistic whole. Tehran, in turn, is a pixelated ecology that draws insatiably from its natural surroundings. It attracts resources from near and far. It is a city connected to the planet in direct ways. As citizens of this city, we have access to products that come from all corners of the world, neatly packaged in a promise of good things to come. We, citizen, it, Tehran, want more – food, comfort, and the promise of good things to come. So on and so forth…
Persian Wildlife Heritage Foundation is an Iranian not-for-profit non-governmental organization funded by the public. It operates under license granted by Iran’s Department of Environment and is supervised by a Board of Trustees that sets the policies and budgets and oversees all financial activities.
Goals and mission PWHF was established to help safeguard our natural heritage, with a clear focus on wildlife and natural habitats. It is our mission to improve the conditions of and reduce pressures on wildlife habitats by conducting biological and social field surveys, direct conservation actions on the ground, raising ecological awareness amongst local communities.
Join to Save the Wild .
The technique and compositions that Akhavan employs leave us with no other way of seeing them. His creatures are not meant to evoke a sense of nostalgia. They are not “beautiful” in the classical, nature sense. We won’t get a chance to regret having lost what used to be. We find ourselves in an art gallery in the middle of Tehran, faced with pixelated images that from a distance can form an impressionistic whole. Tehran, in turn, is a pixelated ecology that draws insatiably from its natural surroundings. It attracts resources from near and far. It is a city connected to the planet in direct ways. As citizens of this city, we have access to products that come from all corners of the world, neatly packaged in a promise of good things to come. We, citizen, it, Tehran, want more – food, comfort, and the promise of good things to come. So on and so forth…
Persian Wildlife Heritage Foundation is an Iranian not-for-profit non-governmental organization funded by the public. It operates under license granted by Iran’s Department of Environment and is supervised by a Board of Trustees that sets the policies and budgets and oversees all financial activities.
Goals and mission PWHF was established to help safeguard our natural heritage, with a clear focus on wildlife and natural habitats. It is our mission to improve the conditions of and reduce pressures on wildlife habitats by conducting biological and social field surveys, direct conservation actions on the ground, raising ecological awareness amongst local communities.
Join to Save the Wild .
NATIONAL
Amir Hossein Radaie
Opening on 4th November 2016 on view until 18th November
At Aaran Gallery
By 1960s and 70s Iran underwent major industrial changes. Famous merchants built factories to substitute imports with domestic products, particularly in field of household appliances such as radio, TV, fans, meat grinders, refrigerators, carpet, and tiles. These new products represented the desires and demands of the society and possessing them was an indicator of having achieved a certain social standing. Now half a century later, these products have produced history and memories and posses their own social identity. With changes in consumer patterns and industrial production, the question is when does a certain product become useless?
In this series of works, outdated and useless appliances are recycled and things that were once valued are redefined. The series is an illusory demonstration of changeable identity of objects and a society that is in state of flux.
Amirhossein Radaie, was born in Hamedan in 1986. He began showing his works at an early age in 2007. His work has been exhibited in a number of group exhibitions in Iran and outside the country. Most notably at Sixth Biennale of Sculpture in 2011, and at Opera Gallery London, as well as MENA Arts foundation in Toronoto.
Amir Hossein Radaie
Opening on 4th November 2016 on view until 18th November
At Aaran Gallery
By 1960s and 70s Iran underwent major industrial changes. Famous merchants built factories to substitute imports with domestic products, particularly in field of household appliances such as radio, TV, fans, meat grinders, refrigerators, carpet, and tiles. These new products represented the desires and demands of the society and possessing them was an indicator of having achieved a certain social standing. Now half a century later, these products have produced history and memories and posses their own social identity. With changes in consumer patterns and industrial production, the question is when does a certain product become useless?
In this series of works, outdated and useless appliances are recycled and things that were once valued are redefined. The series is an illusory demonstration of changeable identity of objects and a society that is in state of flux.
Amirhossein Radaie, was born in Hamedan in 1986. He began showing his works at an early age in 2007. His work has been exhibited in a number of group exhibitions in Iran and outside the country. Most notably at Sixth Biennale of Sculpture in 2011, and at Opera Gallery London, as well as MENA Arts foundation in Toronoto.
