On June 1, 2019, Museum of Contemporary Art Yinchuan (MOCA Yinchuan) will hold an exhibition entitled Silent Narratives, which tries to break the restrictions of time, space as well as region. The Curator Huang Mei cooperated with MOCA Yinchuan and invited 24 (group) artists from various countries along the Silk Road, such as China, Iraq, Israel, Iran and Turkey to present their contemporary works of art together with some ancient historical documentation about the Silk Road in the same space. The exhibition, with the combination of ancient documentation and contemporary works of art, will create an abstract space which ignores the limitations of time, space, culture, history and geography, making possible the cultural and historical exchanges between ancient and modern works in a silent manner…
Spring/Break feels a bit different this year, which might have something to do with its location in the United Nations complex in midtown.
It’s supposed to be spring, with daylight savings time finally arriving this weekend to give us a reprieve from the dark days of winter. It’s supposed to be a break — from the jet fuel-fueled commerce of Armory week in New York City. It has been, but last year, the Spring/Break Art Show had rooms and installations that were wild, hallucinatory concoctions, fairy tales with the sharp incisors left in. I recall a room that featured a forest with trees festooned with books, spilling out into a hallway so that the whole looked and felt like runaway fecundity. But this year’s fair doesn’t quite feel as free spirited as that, not as fanciful and experimental either…
Iran-born painter Arghavan Khosravi creates surreal scenes that blend historical Persian motifs and pop cultural iconography. The artist’s own statement says that she is “deeply connected to her own personal experience of the culture and politics of her homeland of Iran that probe both personal and political experiences.” Much of her recent work has been crafted as acrylic on found textiles.
Curator: Mei Huang
“The title Silent Narratives was taken from Chaim Potok’s novel The Chosen, in which he describes: ‘I’ve begun to realize that you can listen to silence and learn from it. It has a quality and a dimension all its own,’” explains Mei Huang in an interview about her curated exhibition Silent Narratives. The exhibition displays the archive of ancient artifacts of the Silk Road in the same space as the contemporary works of 25 artists from various countries along its route, such as China, Iraq, Israel, Iran, Palestine and Lebanon. Silent Narratives makes the cultural and historical exchanges possible between ancient and modern work silently, ignoring the limitations of time and space. As Roberto Mangabeira Unge has stated in The Self Awakened: “Any social theory that would escape the illusions of false necessity without surrendering to the fantasies of an unrestrained utopianism must make sense of this clash between the self-fulfilling prophecies and the recalcitrant facts.” Silent Narratives is not only related to the past, but also takes the present into account, creating narratives among the different struggles faced by the existing societies along its path. Hence, the ancient Silk Road is just an introduction, which invites us to view the world from the perspectives of the history, culture and politics of globalization.
What are some of the best presentations you’ve seen so far? I always find incredible new artists and I love the “generations” section, it’s my favorite. It tells you how well managed and curated the fair is. The design section has also come along nicely, it’s improved a lot since the beginning. It’s well integrated. It’s not big but they picked great galleries.
The emergent section is also very interesting, I always find something for me as well. I really liked this younger artist from Iran, Arghavan Khosravi, at a Brussels gallery, Stems. In recent years we’ve lost the appreciation of mastery of technique, which is really the case with her paintings. Whenever I find a new artist at fairs I’m really very excited. It’s not easy to be surprised nowadays, or to be impressed either.
“Four” is on view at Yossi Milo Gallery in New York through Saturday, April 27. The group exhibition includes work by Felipe Baeza, Julia Bland, Arghavan Khosravi, and Oren Pinhassi.
Although most work at SPRING/BREAK was somewhat lacking in artistic quality, Arghavan Khosravi’s painting, “She Lived a Dream,” 2018, acrylic on found wood, block printed fabric, acrylic on canvas mounted on two wooden panels, part of “Within/Without,” curated by Kristen Smoragiewicz, stood out. The beautifully painted, photorealistic painting shows a female figure, wrapped in a Persian patterned hand-printed, wooden stamped Ghalamkar fabric, covering her face and expression, playing with the trope of hiding and revealing.
She Had a Dream, 2018
Curated by Kristen Smoragiewicz
Born soon after the 1979 Islamic Revolution, Iranian-born artist Arghavan Khosravi watched her country transform from a Western-friendly monarchy into a suppressive republic. Her paintings reflect her experience as a child and teenager living what she felt was a "double life," one that required her to adhere to strict Islamic Law in public, and in private, allowed her the freedom to think and act freely, according to the press release. In She Had a Dream, the artist incorporates an actual rug, cut and applied to the painting, its fringe hanging around the edges of the canvas. Says the press release, "Compositionally the work draws influence from the tradition of Persian miniature painting; utilizing stacked perspective, cutaway views of architecture, bold color, rich detail, and frontal or three quarter views of faces." Khosravi earned her MFA from RISD last year, and has previously exhibited at Fridman Gallery, the Newport Art Museum, and the Seattle Art Fair, among others.
عکس و نقاشی زنان ایرانی در آمریکا: مد، سکسوالیته و تهران دیجیتالی
پانته آ بهرامیروزنامه نگار
سیمای پرندگان نام نمایشگاهی است که با آثار ۱۹ هنرمند از ۹ کشور در خاورمیانه و شمال آفریقا هم اکنون در موزه هنری نیوپورت در آمریکا براگزار می شود. از ۱۹ هنرمند شرکت کننده ۹ نفر آنها ایرانی یا ایرانی - آمریکایی هستند.
فرانسین وایس طراح نمایشگاه معتقد است، هر چند نگارخانه ها و نمایشگاه های زیادی در آمریکا به آثار هنر اسلامی یا هنر در دنیای عرب و ایران پرداخته اند، امااین نمایشگاه در ابتدا پاسخی به حوادث ۱۱ سپتامبر و سپس بهار عربی بوده است. او ادامه می دهد: "اگرچه تمرکز نمایشگاه بر روی یک منطقه است، اما به این مفهوم نیست که هنرمندان شرکت کننده دارای هویت یا تجربیات یکسانی هستند، بلکه تمرکز آثار بر روی تکامل هنری در پیش زمینه تاریخی، فرهنگی و جغرافیایی است و به ویژه آنکه نظری هم بر هویت فرهنگی، مرزها و مهاجرت که موضوعی روزآمد هست نیز دارد."
سمیرا علی خانزاده، گوهر دشتی، مینو امامی، شادی قدیریان، پوران خنجی، ارغوان خسروی، آزیتا مرادخانی، سمن سجاسی و هایده شفیعی هنرمندان ایرانی این نمایشگاه هستند. دیگر هنرمندان از کشورهای عراق، لبنان، کویت، فلسطین، عربستان، سوریه و جمهوری آذربایجان هستند.
In meeting and greeting the new Fine Arts Work Center fellows, both visual artists and writers who have arrived in October for their winter term from all over the U.S. and the world, something very down-to-earth becomes immediately apparent: How difficult it has become to live and work full-time as an artist. The opportunity afforded to the 20 fellows that’s most precious to them is a chance to devote themselves entirely to the work they love. No matter how welcoming the town is, and how beautiful a place it is, for most of them that economic reality transcends all other concerns.
Over the past few decades, the Middle East and North Africa have experienced immense political, ideological, and sociological changes. In 2010, the world watched as the Tunisian Revolution became the “Arab Spring.” With the use of social media, activists and protestors organized protests, resisted their governments, and made the world aware of crimes against humanity. In the art world, recent years have brought an unprecedented number of exhibitions devoted to Islamic art and art of the “Arab World and Iran” or the “Middle East.”Read More
Asya Geisberg Gallery is pleased to announce its late summer exhibition Counter Narratives: Geographies of the Unfamiliar featuring ten recent graduates of Rhode Island School of Design’s MFA Program in Painting. With a diversity of aesthetics and approaches to painting as a practice, the artists in the exhibition represent a unique range of possibilities afforded by painting. A number of artists in the exhibition use photography as a starting point – referencing family photos, images of quotidian objects and interiors – in order to document origin stories, political struggle, and personal journeys that have led to unexpected places and experiences.Read More
Fridman Gallery presents Strange Beach, an exhibition featuring the work of Arghavan Khosravi, Nate Lewis, and Tajh Rust. Each artist uses the human figure to highlight tensions and vulnerabilities symptomatic of our times.Read More
Number 3 on the Editors’ Picks was Strange Beach, a group exhibition at Fridman’s Spring Street gallery featuring Arghavan Khosravi, Nate Lewis, and Tajh Rust. Each of the artists address the human figure, sometimes as a metaphor, sometimes as a literal vessel that bears the marks of life experience. All three artists will be present for the opening reception.
Opening: “Strange Beach” at Fridman Gallery “Strange Beach,” which brings together work by Arghavan Khosravi, Nate Lewis, and Tajh Rust, considers different ways to consider the human body. Figurative works abound, though each artist’s approach to the style is quite different. Lewis’s works on paper often center on social histories; Khosravi’s paintings, influenced by Persian miniature and Surrealism, grapple with notions of citizenship; and Rust’s portraits address perceptions of race.
Summertime is a time for going to the beach, but that’s not what this group exhibition at Fridman Gallery is about, despite the name. Rather, it’s a “metaphor for the body,” framing one’s physical form as a vessel of sorts that can advance, retreat, swallow up others, be intruded upon, amass debris and valuable items alike over timeRead More
Fridman Gallery is pleased to present Strange Beach, an exhibition featuring the work of Arghavan Khosravi, Nate Lewis, and Tajh Rust. Each artist uses the human figure to highlight tensions and vulnerabilities symptomatic of our times. Strange Beach is a metaphor for the body—as a surface that exhibits and retains memories and social biases, as a unique algorithm that constructs behaviors on behalf of the self.Read More
Home has emerged as a powerful symbol during our present period of uncertainty. It’s a universal yet nebulous ideal that can migrate and adapt with us across continents. I couldn’t help but think about that unique but enigmatic sense of belonging that’s at the core of human relationships while looking at the work by these young artists, all of whom have infused their work with a notion of home.Read More
Arghavan Khosravi is the youngest artist featured in issue #2, but her grasp of art history, and her will to activate it within her practice, is no less thoughtful than the others. An MFA Painting student at RISD, I found this work, Fath-Ali Shah Qajar, in her class’s current exhibition at Morgan Lehman. The show was strong, but this particular work, I dare say, was the strongest.
Fath-Ali Shah Qajar is part of a larger series that the artist has undertaken to appropriate and subvert the most ubiquitous portrait in the United States: that of George Washington on the one dollar bill. Moreover, Khosravi couples this desire with her careful study of the Ottoman, Persian, and Mughal traditions of miniatures, and more generally, Persian portraiture.
We find here a crisp one dollar bill that Khosravi has surgically dissected. A seal mid-right is overpainted in a decorative motif. One of the “1”s has been replaced with beautiful calligraphic script (Persian calligraphy, in fact, that spells out the Shah’s name). And in lieu of America’s first president we find Fath-Ali Shah Qajar himself, the second Shah of Iran who ruled from 1797 to 1834. Though forty years separated the men, their ascents to power occurred only a few years apart.
Arghavan Khosravi, a native of Tehran, Iran, explores aspects of identity and political experience in a series of works on paper. Among the works on exhibition are four meticulously adorned wooden boxes that each encase an authentic Iranian passport intricately elaborated with imagery reminiscent of Persian miniatures. Upon closer look, a viewer- constructed narrative emerges from the juxtapositions of disparate traditional and contemporary figures and objects — for example, a group of veiled women, a gun, a soldier’s camouflaged legs, a peering eye from an opening in a mihrab. Four large paintings continue the passport theme, inviting the viewer to reflect on the president’s Muslim travel ban. The artist is a second-year student at the Rhode Island School of Design (RISD).