The First Art Newspaper on the Net   Established in 1996 United States Monday, November 20, 2017


Perrotin New York opens an exhibition of works by Farhad Moshiri
View of the exhibition Farhad Moshiri “Snow Forest” at Perrotin, New York, 2017. Photo: Guillaume Ziccarelli Courtesy Perrotin.

by Martha Kirszenbaum


NEW YORK, NY.- Perrotin New York presents “Snow Forest”, the fifth solo exhibition at the gallery by Farhad Moshiri. The exhibition is coinciding with “Go West”, the first retrospective in the US of Farhad Moshiri, currently held at The Andy Warhol Museum in Pittsburg through January 14, 2018.

Fiction and simulacrum appear at the core of Farhad Moshiri’s multi-faceted practice of painting and installation. It most probably all started in Shiraz, where Moshiri grew up, a city nestled in the southern desert of Iran and famously the birthplace of the great Persian poets Hafez and Saadi. Moshiri’s father owned a few cinemas in Shiraz, and the artist spent his childhood watching classic American films, horror movies or spaghetti westerns, all dubbed in Farsi. From Dracula to Laurel and Hardy, from Charlie Chaplin to John Wayne, mythical figures of the Americana accompanied his Iranian upbringing. Years later, in the aftermath of the Iranian Revolution, Moshiri and his family relocated to the suburbs of Los Angeles, a place where fiction and representation does in fact precede reality. During his formative years studying at CalArts in the 1980s, he encountered conceptualists John Mandel and John Baldessari, a pioneer of accumulation and use of language, and electronic musician and synthetizer inventor John Buchla. The art produced in the United States in the next decade would bring Pop, minimalism and conceptual practices together with American consumerism, and artists such as Jeff Koons or Haim Steinbach would express these influences in their work. By 1991, Farhad Moshiri had moved back to Iran, and began developing a practice evoking Iran’s traditions and isolationism, while simultaneously addressing the powerful presence and attraction of Western pop culture and this of a globalized consumerism.

On the one hand, Farhad Moshiri expresses, throughout his work, a visual fascination for a Pop imagery inherited from movies and popular culture— cartoons, films, ads, children’s books, cowboys and Indians—, and frequently utilizes sentences taken from classical poetry and pop songs. On the other hand, he seems to merge this influence with a technical appropriation of traditional Iranian modus operandi such as Persian carpets, tapestries with traditional motifs taken from Persian miniatures or embroidery of traditional adjad calligraphy, an ancient Arabic clerical code associating letters and numbers. Undeniably Moshiri plays with a range of clichés and stereotypes taken from both cultures. In witty and sometimes cruel détournements, he employs lyrics from American songs, famous slogans or sentences taken from Iranian popular love songs and soap operas. In this sense, Moshiri seems to take over in order to better deconstruct the clichés both inherent to Hollywood and to what Iranians have coined as Gol-o-Bolbol—literally “flower and the nightingale”—i.e. two commonplaces of Iranian literature and visual culture, and echoing a stereotyped and saccharine Persian imagery.

Farhad Moshiri’s latest series of works, presented at Perrotin New York and entitled Snow Forest (2017), are inspired by photographs of snow trees taken during the winter in Iran. Hand-embroidered with pearls beads, these new compositions seem to refer to calligraphy, as the black branches traverse the canvas like a quill would mark the paper. This writing form is an abstract one though, and the viewer may feel lost in its absence of meaning, looking at a surrounding ensemble of branches and snow in the middle of the forest. It also evokes a melancholic and abstract visual realm, suggesting a rather minimalist sense of poetry than the shiny and shimmering imagery that usually dominates his practice. These black and white canvases also bring to mind Abbas Kiarostami’s series of winter photographs, “Snow Series”, which the renowned Iranian filmmaker started to produce right after the Iranian Revolution, as he wasn’t allowed to make films in his native country anymore. Similarly, Farhad Moshiri photographed winter landscapes in Iran years ago, recently found them in old boxes and decided to use, for the first time, the photographic medium as the point of departure of a new series. In addition, this body of works seems to express a meditative approach to the essence of things and to nature, as well as a bucolic reflexion on their existence, inducing the presence of an inaccessible place or a lost paradise where the artist might not be able to return.

By evoking images and cultural artifacts that suggest both American and Iranian cultures rather than pointing out the cultural dichotomy between East and West or relating the experience of an individual lost between two worlds, Farhad Moshiri’s practice seems, on the contrary, to convey a certain idea of porosity of cultures, at a moment in history where the weight of borders has become more and more significant. In times of restriction of access to specific population through the institution of a Muslim ban including Iran in the United States, Farhad Moshiri’s work appears as a necessary proof that cultural borders remain open while physical ones may close. He interrogates our definition of cultural identity, and evokes the construction of a memoryscape, or a plural memory made of exile and immigration, of aesthetic exchanges and visual acculturation.






Today's News

November 5, 2017

Rafael Soriano opens at Frost Art Museum FIU: Kicks off Miami's Art Basel season

Harvard Art Museums to receive transformative gift of Dutch, Flemish, and Netherlandish drawings

Galerie Templon reveals a previously unseen series of paintings by Jim Dine

The largest collection of Viking artifacts on display in North America comes to the Royal Ontario Museum

Matthew Marks opens exhibition featuring thirteen recent paintings by Gary Hume

First major exhibition of Korean fashion in U.S. opens in San Francisco

Gavin Brown's enterprise opens 5th solo exhibition by the painter Alex Katz

Museum-wide exhibition examines practice and role of drawing in late Edo - early Meiji Japan

Exhibition of new drawings by Paul Noble opens at Gagosian San Francisco

Exhibition draws together sixteen paintings created by Elizabeth Murray in the 1980s

Survey exhibition tracing the developments of post-war British sculpture from 1951-1991 on view in London

Milestone's auction features finest comic character toy collection to reach the marketplace in many years

First comprehensive retrospective of Mark Tobey's work in 20 years opens at the Addison Gallery

Exhibition at the Saint Louis Art Museum highlights a major new body of work by Thomas Struth

Landmark Hassan Sharif retrospective presented by Sharjah Art Foundation

Live online sale offers paintings, works on paper, photographs & sculpture from the 18th to 21st centuries

"The Time. The Place" focuses on acquisitions to the Henry's contemporary collection

Exhibition presents sculptural work spanning three decades by Swiss-born artist Françoise Grossen

New site-specific installation by Canadian artist Megan Rooney on view at Tramway

Perrotin New York opens an exhibition of works by Farhad Moshiri

Luhring Augustine exhibits a multi-part video and sculptural installation by Mike Kelley

Bouke de Vries puts the finishing touches to his epic, 8-metre ceramic sculpture 'War and Pieces'

Honor Fraser's first exhibition of paintings by pioneer Feminist artist Miriam Schapiro opens in Los Angeles

Option to the Death of Freedom: Casemore Kirkeby opens group exhibition

Most Popular Last Seven Days



1.- Grasshopper found embedded in van Gogh masterpiece at Nelson-Atkins

2.- Scientists discover a mysterious, plane-sized 'void' in Great Pyramid in Egypt

3.- The largest collection of Viking artifacts on display in North America comes to the Royal Ontario Museum

4.- Rafael Soriano opens at Frost Art Museum FIU: Kicks off Miami's Art Basel season

5.- Cleveland Museum of Art releases new strategic plan

6.- Exhibition tells the story of the artists who fled to Britain to escape war in France

7.- Zahi Hawass criticises pyramid void 'discovery'

8.- French court to rule on Nazi-looted Pissarro painting

9.- Clark Art Institute exhibition studies less-explored aspects of Impressionist works

10.- Exhibitions in Germany and Switzerland present works from the Gurlitt Estate



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez


Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful