![]() During the past years he has been creating mostly grave markers.īabak Golkar (1977) grew up in Tehran and immigrated to Vancouver at 19. Golshiri has also been portrayed as a critic of the current socio-political situation in Iran, hegemony of the new art market of the region and the living doxas. ![]() His major approach towards plastic and visual arts has been described by himself as ‘Aplasticism’ a plasticism that tends toward sightlessness, a visual art that negates visual perception yet still remains a plasticism. Most of his works are language-based and contend with art and literature’s plane of the feasible. Also, he is a translator and editor of Samuel Beckett’s dramatic works into Persian. As an artist, critic, curator and tombstone maker, the medium he works with varies from video, installation, photography, documented performance to critical writing. Slavs and Tatars is nominated for the prestigious German Preis der Nationalgalerie 2015.īarbad Golshire was born in 1982, Tehran. The fact that it is not exactly clear who are the members did not hamper a fast growing impact of Slavs and Tatars in international media and the artistic discourse, resulting in recent exhibits at MoMA New York, Kunsthalle Zurich, Vienna Seccession, Tate Modern and the 9th Gwangju Biennial. Beyond History presents richly embroidered and decorated, transnational banners and flags belonging to the Slavs and Tatars’ project ‘Friendship of Nations: Polish Shi’ite Showbiz’. Through installations, books and lecture-perfomances Slavs and Tatars focuses on an oft-forgotten sphere of influence between Slavs, Caucasians and Central Asians. Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. SLAVS AND TATARS – Friendship of Nations: Polish Shi’ite Showbiz Highlights of Crisis of History #3: Beyond History Exhibition and lectures with contemporary approach about art of the Middle East will break the boundaries and prepare the possibility of real dialogue between the various narratives, entering new space that we have named Beyond History. What do you hope to achieve with Beyond History?įor Robert and me, providing a good platform for thinking and discussing is very important. By collecting different narratives we tried to deconstruct the historical Meta narrative. It was also important for Robert and me to gather personal narratives of artists from social, cultural, political and historical points of view. I tried to select the artworks for the exhibition based on the subject, space and audiences. Which criteria were especially important for the choice of the artists/works for Beyond History? I think the best curatorial method is to use the discourse of uncertainty and place the audience in the same situation. It is this position specifically that artists, too, sincerely aim to explore in their work. In the end it is not necessarily the artists individually, however, who transport us ‘beyond the history’ – it is the exhibition as a whole which attempts to achieve this, by bringing together and juxtaposing a variety of artists. Nevertheless, we are not well aware of its existence and live in the state of uncertainty. ![]() It is clear that all of us live within the framework of the historical meta-narrative theoretically and practically. In fact, the exhibition aims to venture beyond all the definitions and historical narratives we have known to this moment.Ĭan you give some examples of the methods artists use to ‘undermine the ideological edifice of history’? ![]() It challenges the modern description of the “Middle East”, exposing this prevailing description as a factor isolating the Middle East from the ‘real world’. “Beyond History” has a different outlook on the uncertainty of contemporary life. Although these narratives proliferate and metamorphose, they remain within the framework of the historical meta-narrative. We live in an era marked by a multiplicity of narratives, whose only common feature is the fact of being discursive. She explains the chosen approach.Ĭan you describe what makes Beyond History extraordinary? For Beyond History, the final and most challenging part the tryptich, Kluijver invited the Iranian curator Elham Puriyamehr to join forces. The outcome is an impressive curatorial deconstruction of Western perceptions of the Middle East. Since 2010 curator Robert Kluijver has been the initiator of the exhibition-triptych Crisis of History, supported by Framer Framed. Interview: Elham Puriyamehr about the exhibition 'Crisis of History'Ĭurator Elham Puriamehr about the exhibition Crisis of History#3 – Beyond History
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