Presenting series “Beyond And Above”
April 21, 2017 to May 12, 2017
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 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.
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 .
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.