Parkingallery.com featured on Neshan Magazine

Neshan Magazine Cover no 22
Cover of Neshan Magazine Issue 22

We are happy to let you know that Parkingallery website has been featured in 22nd issue of Neshan magazine in an article showcasing a selection of Iranian websites, Sasan Bahzadi in his bilingual review “Design with objectives” writes :

… Designing websites, even the advanced ones, has long been prevalent in our country but just recently has taken on a more professional appearance and evolved from being exhibitory to being more applicable.
The reason for this advancement is the new collaboration between web designers and programmers. In the past, aesthetics were the only key aspect to web design but with the Internet’s gradual change (from a mere visual medium to a multi-media network) other qualities such as site efficiency, innovation and dynamism have become more prominent in prompting designers and programmers for teamwork.
In the last few years in Iran, by comparing the quality of multimedia, website development with global advancement and development of the Internet, though remarkable, but far from maturity.
The following introduced websites were selected based on 4 qualities: design, innovation, applicability and content attribution.

Behzadi also briefly reviews Parkingallery website along other outstanding examples like the website of Aun Gallery , to a more minimal informative one page portal Tehraner and a conceptual web project like Bloob :

The Parkingallery website is a showcase to introduce young Iranian artists. Simple design and thorough contents have turned this site into a reference source to assess the pulse of unconventional artists. The site’s English-only version indicates its owners’ tendency to introduce artists to galleries abroad. Personal web logs giving it an informative nature inspire the design. The existing links on the right side of every page provides easy navigation to different sections such as projects, exhibitions and the artist’ sites. Users can write their opinion about every project but unfortunately only in English. Parkingallery, with its simple but beautiful design and up-to-date materials, is worth spending some time browsing through.

Browse the website of Neshan magazine here for more info and here to read the full article.

Seeing Studies, workshop and book release

Seeing Studies
Seeing Studies Book Cover designed by Farhad Fozouni
Seeing Studies Book Cover designed by Farhad Fozouni

Natascha Sadr Haghighian & Ashkan Sepahvand for the institute for incongruous translation

Taking shape in three chapters:
Spoken workshop sessions: 19-22 January 2011
Printed book release: 19-22 January 2011
Spatial through 13 February 2011

Casco invites you to four days of presentations, discussions and screenings as part of the project ‘seeing studies’. The sessions accompany the release of the publication ‘seeing studies’, edited by Natascha Sadr Haghighian and Ashkan Sepahvand for the institute for incongruous translation and produced by dOCUMENTA (13) with Casco and published by Hatje Cantz. These four days are seen as a communal gathering in which discussions and fields of inquiry explored in the publication will be extended and reflected upon, with interlocutors from ‘seeing studies’ coming together at Casco to present their work and converse with one another and guests (see the programme below). Continue reading Seeing Studies, workshop and book release

Barbad Golshiri at Aaran Art Gallery

“And I Regurgitate And I Gulp It Down ”
Barbad Golshiri‘s Solo Show Opens at Aaran Gallery Tehran on 21st January 2011.

“ Aktion “
“ Aktion “. ( Distribution of…). C.Print.31x47 cm. photograph by Olka Hedayat.

In a deserted place in Iran there is a not very tall stone tower that has neither door nor window. In the only room (with a dirt floor and shaped like a circle ) there is a wooden table and a bench. In that circular cell , a man who looks like me is writing in letters I cannot understand. A long poem about a man who in another circular cell is writing a poem about a man who in another cell…
The process never ends and no one will be able to read what the prisoners write.
Jorge Luis Borges.

“A Dream”, The New Yorker,

AAran Art Gallery. Tehran.
No 12 dey street. North Kheradmand ave.
Tel +9821 88829086- 9
www.aarangallery.com

“Selfdom, a personal project” at Haftsamar Art Gallery

Selfdom, a personal project
Selfdom a personal project, poster designed by Amirali Ghasemi

Selfdom / a personal project

Curated by Yashar Samimi Mofakham
Artists:
Ali Alavi | Azarakhsh Asgari | Sahand Behrouzi | Amirali Ghasemi | Alireza Ghazi | Sahand Hesamiyan | Baktash Sarang Javanbakht | Tarlan Rafiee | Nastaran Safaei | Yashar Samimi Mofakham |

21-26 jan 2011, 4-8 pm

I sing because — I am a singer. But I use you for it because I — need ears
Max Stirner

It is more likely that an artist knows his own selfdom more than anybody else. such a vast realm – in his own presumption- which is the centre of the world and affected by the outside world and everything around it. This is the most vulnerable place of all, since the beginning of mankind and will be so, till the end of time.

Probably, there is no king as conscious to his kingdom as him and in the same time, there is no place as unknown as the labyrinth of ego. It is a place that only one person knows its every sheltered spot and obscure corner and it’s him who can let the others inside and show them as much of his selfdom as he likes them to see.

In this exhibition, we decide to show you some of this realm, this is one of those corners that we thought is in need of eyes, to be seen by others. It was an opportunity to show some of the highlights of our minds, a personal project to show our selfdom.

Yashar Samimi Mofakham- Curator
2010

Haftsamar Art Gallery
Add: No.8, 5th Alley,Kooh-e Noor st.,Motahhari Ave. Tehran, Iran
Tel :+9821 88731403

TELEVISION at Mohsen art Gallery

Television Groupe exhibition
Television Groupe exhibition, Designed by Aria Kasaei

TV
Mohsen Art Gallery
Curated by Peyman Shefiezadeh
Artists:
Omid Mehdizadeh, Iman Safaie, Nastaran Safaie, Peyman Shafieezadeh, Vahid Danaifar, Mehran Mohajer, Safaeddin Emami, Yaser Mirzaee, Amin Davaie, Hamed Rashtian, Sohrab M.Kashani, Babak Kazemi, Farshid Tafaroji, Amirhossein Biparva, Amirali Ghasemi, Mohammad Fatehi, Mahmood Nouraie, Peyman Hooshmandzadeh
Jan 14 – 24 2011, 4-8 pm
discussion panel: Jan 24th, 6-8 pm
Gallery is closed on Thursdays.

From the Exhibition Catalog:

The initial idea of this exhibition came into my mind when I looked at the well-known art work of pop art er titled “Just what is it that makes today’s home so different, so appealing?” by Richard Hamilton. I asked the same question from myself and the answer to this contemplation was Media. The common indicator of all the media is Television which undoubtedly almost all the people of the world deal with it by some means.

Television, as the most powerful medium, is considered as the common language of people all over the world. After a little consideration we cloud conclude that this little but impressive box has occupied our mind with too many patterns and samples so we are not able to connect with the real world anymore. This magic box dominates every small or big decision of ours, so avoiding it, means to evade the whole world and its people.
This collection attempts to acquaint us more with this old member of the family, so maybe this crack on its body cloud reveal the inner reality of it.

Peyman Shafieezadeh

Mohsen Art Gallery
Address: No. 42, East Mina Blvd, Farzan Street, Naji Street, Zafar, Tehran
Telephone: 22255354

Iran&Co. The Archive and the Documentary installation

Iran Beyond Borders
IRAN&Co. 5 channel Documentary Installation . Oct - Nov 2010 Brugge

Iran&co departed from a recent international phenomenon in the art world: the rise since 2005-2006 of a so-called ‘Iran Boom’, leading to hundreds of exhibitions and publications dealing with art from Iran and the Middle East, with again an emphasis on Iran.

This ‘new artistic wave’ brings to mind memories of the ‘sudden apparition’ of contemporary art from China, India or Eastern Europe, in the nineties.The curatorial team of Iran&co analysed this phenomenon, emphasizing the specific Iranian condition, both within Iran and the diaspora, and its different representations in exhibitions and publications produced for a mainly ‘western context’.

For the first exhibition stage in Bruges, ‘the Archive’ is focused on case study of over 100 exhibitions presented art from Iran to theinternational audience between the years 2000 and 2010. Catalogs, press releases, reviews, installation shots, and other documentation of anyof these shows, has been brought together gradually and progressively through online material, as well as contacting organizing institutions,curators, and artists themselves.

Along with personal narratives of contributors in the documentary part, the archive aims towards making a platform to study the underlying relations at stake in representation of Iranian contemporary art outside Iran.

Video installation in five screen, is made up of numerous interviews with artists, curators, collectors, art managers, and critics discussing their visions over the increasing attention on ‘Iranian’ art in the past decade. Talking about their experience of working under various socio-political circumstances and fluxes of art market, or in their wider cultural analysis of current situation, contributors make some historical references to the backdrops of modern and contemporary art in Iran.
In that respect, what has been proposed as the title, ‘Iran beyond borders’ (1960- 2010), is just an implication towards subjective references of contributors; Though it also indicates the massive scale of the project through the next stages.

For the first exhibition stage in Bruges, ‘the Archive’ is focused on case study of 100 exhibitions and auctions presented art from Iran to theinternational audience between the years 2000 and 2010. Catalogs, press releases, reviews, installation shots, and other documentation of anyof these shows, has been brought together gradually and progressively through online material, as well as contacting organizing institutions,curators, and artists themselves.

Along with personal narratives of contributors in the documentary part, the archive aims towards making a platform to study the underlyingrelations at stake in representation of Iranian contemporary art outside Iran.

Video installation in four screen, is made up of numerous interviews with artists, curators, collectors, art managers, and critics discussing theirvisions over the increasing attention on ‘Iranian’ art in the past decade. Talking about their experience of working under various socio-politicalcircumstances and fluxes of art market, or in their wider cultural analysis of current situation, contributors make some historical references tothe backdrops of modern and contemporary art in Iran.

In that respect, what has been proposed as the title, ‘Iran beyond borders’ (1960- 2010), is just an implication towards subjective references ofcontributors; Though it also indicates the massive scale of the project through the next stages.

I’ll never be the same…Iranian videos from Tehran and elsewhere

I’ll never be the same…
Iranian videos from Tehran and elsewhere
Curated by Amirali Ghasemi

Sona Safaei | Alphabet | 1:30

Payam Mofidi | Shaer Koshi (Poèticide) | 10:45
Farid Jafari Samarghandi | Lips & Crazy Eyes (for Series 1234 for love) | 5:52
Amirali Navaee | As I Was Leaving My City | 3:00
Elham Doust Haghighi | One Stupid Idea | 5:17
Ahmad Zolfagharian | Under Destruction | 2:00
Nassrin Nasser | Untitled | 3:43

Toronto, Paris, Tehran, London and Stockholm. These are where the creators of these videos and short films are geographically located in, what ties them together? The journey begins with letters; A moment of suspense, while we know it won’t last long, leads us to fragile moments of a young girl’s dream, driven to a trance where its performers are only known by their lips and their eyes; The trip continues with a cheerful and at the same time tragic dance moves of a restless soul transporting us along the sidewalk of an unknown city. Moving back in time, we encounter an alternative story of Creation while we long for a solution of our own everyday crisis. Playing it cool for 2 minutes, the wicked joy of an endless computer game is enough to bring us back to the reality of the virtual world. Where we are free to choose to get on board surfing the waves of a music video or to get hypnotized like its character’s daily struggle with death. We will never be the same…

Amirali Ghasemi, Nov 2010, Tehran

Video Cube at Contemporary Istanbul
Nov 25-28, 2010
For more information, address and visiting hours
Please visit : http://www.contemporaryistanbul.com/

Saroseda at Aun Gallery


Saroseda
will be performing a new series of Audiovisual performances
at Aun Gallery on Tuesday Nov 23rd and  Wednesday 24th 2010.
Don’t miss it if you are in Town and here is the program :

Nov. 23rd :
5-6 pm
Hesam Ohadi – Laptop / Quartz Composer
Siavash Abdi – Tombak
Amir Bahador Ashrafzadeh – VDMX/Modul8

7-8 pm
Arash Salehi – Laptop / Lemur
Ali Ettehad – Avaz
Amir Bahador Ashrafzadeh – Modul8
Saman Tehrani – Processing ( programing language )

November 24th :
5-6pm

Hootan Farzadpoor – Laptop
Mojtaba Alanjari – Divan
Arash Razzazian – Resolume
Aidin Zolghadr – Processing ( programing language )

7-8pm
Arash Salehi – Laptop / Lemur
Golnoosh Salehi – Tar
Arash Razzazian – Resolume

Contemporary Notes at Assar Art Gallery

Contemporary Notes
A drawing show, curated by Vahid Sharifian

Image: Drawing by Setareh Shahbazi

Nazgol Ansarinia, Kamrooz Aram, Ali Banisadr, Ala Dehghan, Tala Madani, Arash Sedaghat kish & Setareh Shahbazi.
opens on Friday, 19th November, 2010 from 5-9 PM. The exhibition will continue through Thursday, 2ndDecember, 2010 and visting hours are Sunday – Thursday 11 AM-8 PM. not that the  gallery is closed on Friday, 26th November, 2010

Contemporary Notes is, more than anything, a critique of situation. It questions the situation we are in, while honestly depicting that which we could be in; and that situation is all about art; it is between what is real and what seems real. Crises, their mere existence and sheer diversity, distort thought and obscure reflection making mental isolation and idled creativity seem justified. Meanwhile, deceptive hands of seeming power, encouragingly and outwardly compassionately, attune the artist’s mind from a state of ambitiousness to idleness. Those hands could extend from the social status quo, or represent the interests of those who recklessly drag Middle Eastern art to a local market. The situation in the Middle East is such that instability in the social, economic and political realms causes artists not to reflect on their own world but become tools to – at best – analyze the status quo – in the simplest way possible – and represent it – in a general light. And in the third world, when this exercise in telling the told and stating the obvious takes on the form of photography, or painting or video, it is called art. There is nothing wrong with protesting art but things start to get suspicious when the art leaves the artist behind to turn into a banal manifesto for the political self-expression of people who in these situations merely play the role of a morally sound disgruntled citizen/artist. In these circumstances, rather than reflecting on taste and emotion, and thinking the situation anew, the mind becomes a paragraph of political and social memoire that is framed and sold.

In any case, Contemporary Notes is a group with no political posing and posturing whose significance is not because of the position they take, nor because they express their position, but because of the tone with which they express their situation and play a role, however small, in the international art scene. For they express their thoughts and reflections (or their day-to-day art) in the language and the mood of today’s art. In this exhibition, we are saying that an artist can say new things through the most basic media and in the simplest form regardless of the place from which or in which he or she speaks. All of these seven young artists express themselves unbounded by the place they belong and seek not to market themselves but to be the artists they truly are. So without intellectual self-expression, they see their instinct as the source of the need to think and reflect. And they think according to instinct in a way that taste and emotion, and not their situation (as Iranians) make their work appealing not to the controversies of their times, but to their day.

The idea of this exhibition materialized around last January and it would not have been possible without the help of friends. I wish to thank Afarin Neysari, Jason Reza’ian, Lombard Freid Gallery, Omid Tehrani and Mahdis Keshavarz. And I especially wish to thank my friends Kamruz Aram, Ali Bani-Sadr, Tala Madani, Setareh Shahbazi, Ala Dehghan, Arash Sedaghatkish and Nazgol Ansari-Nia and their galleries for trusting me and leaving their works in my possession to exhibit.

Vahid Sharifian – November 2010

Assar Art Gallery
16 Barforoushan Alley
Iranshahr St. Karimkhan Zand Str.
15836 Tehran – Iran
T/F: +98 21 22 60 72 84
www.assarartgallery.com