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Norouz, the New Year
Celebrating the commencement of the New Year is amongst the oldest and the most universally observed festivals, and has a long history in the Middle East and Mesopotamia. The Sumerians, the founders of some of the oldest city-states in ancient Mesopotamia (bain al-nahrayn 3000BC, present day southern Iraq), celebrated their new year by growing barley in the first month of their calendar in March/April and....
In Iran Norouz marks the beginning of the year and symbolizes nature’s renewal and rebirth after the passing of winter. It is a time when humans escape their doldrums and renew their ways by engaging in social activities and group efforts in work outside the home in the fields. Held at the beginning of the first month of spring, Farvardin, according to the Persian Calendar, Norouz as stated by Abu-Rayhan Biruni is the day of ‘new birth’ and...
Not only celebration and joy is necessary for having a normal hopeful human life, but there is a meaning in attending the beginning of the year; its meaning for us is to know that a year of our life is over and another year is beginning; a year is gone and another year is coming. It is to remember the year passed and evaluate our good and evil deeds; to make plans for the coming year and to bring to mind good benevolent thoughts, accompanied with good benevolent feelings as well as joyfulness and hope...
Iranians knew that the sun has two major cycles. One is that it returns to the first minute of Aries after three hundred and sixty five days and a quarter of a day, but it cannot return on exactly the same day and time because the duration decreases continuously each year...
With spring beginning in winter Warming up our icy hearts
Some people say that it’s the 5,778th time that Iranians across the world are celebrating the ancient Persian New Year festival, Norouz. However, some history experts believe that Norouz has been enshrined and observed for more than 15,000 years, well before the official establishment of the Persian Empire.
This week, New York’s Museum of Modern Art (MoMA) rehung its prized Modern galleries, swapping out works by greats like Henri Matisse and Pablo Picasso for works by artists from the Muslim-majority countries affected by President Trump’s travel ban.
British Museum is holding a small exhibition of works by Iranian artists titled: "Iranian Voices." The modern and contemporary art of Iran tells a multiplicity of stories. Made by Iranian artists of different generations, the works in this display include a variety of media from collage to artist books and photography. The narratives highlight an engagement with Iranian history from the legendary tales of the Shahnameh or Book of Kings (an epic in verse written by the Persian poet Ferdowsi in about AD 1010) to insights into the politics of recent decades. Between them, they present a series of vivid snapshots of the art and preoccupations of some of Iran’s most significant artists.
In times of uncertainty, art and culture become free spaces to transform cultural differences and political conflicts. “Uncertain States”, the Academy’s main autumn programme, opens up a space of artistic resistance to the loss of cultural memory, and to violence and xenophobia. .
Recently we have seen a growing interest in realism, which for a long time seemed historically passé. But the notion of realism is not as obvious as it seems. One often understands “realism” to mean the production of mimetic images of “reality.”
Tactically, conceptualism is no doubt the strongest position of the three; for the tired nominalist can lapse into conceptualism and still allay his puritanic conscience with the reflection that he has not quite taken to eating lotus with the Platonists.
One of the consequences of globalization and the deterritorialization of financial capital has been that the decisions that affect world citizens are now made by representatives of a corporate oligarchy untethered from the direct interests of nation-states. Secret negotiations and treaties have taken the place of constitutions and other forms of social contract, becoming the dominant method for managing natural resources, transnational security, copyright, privatization, food autonomy, financial fluxes, drug patents, and so forth.
Preserving historical fabrics in Iran in comparison to western countries is a newly established endeavor. This concern grew in Europe from several years ago and synchronous to modernization of societies. Technological developments in the twentieth century, providing the possibility to generate multiple copies of artworks firstly heralded a new age, in which Art, previously available only to the elite, was taken and brought among the ruck.
In the 1960s and ’70s, politicization meant taking a position, establishing and following a political program, taking up armed struggle, putting one’s skills (including art) at the service of the revolution, fighting in the name of the horizon of state socialism, and acting in solidarity with anti-imperialist and decolonization struggles.
Painters may view scenes in a way that's similar to how the world really is: A mishmash of colors, lines and shapes.
In recent years, in celebration of the Persian New Year, the Tehran Municipality and the Organization of Tehran Beautification have been organizing an annual spring urban art event comprised of art exhibits and installations in public spaces around the city. With each coming year the event has grown larger with a greater number of participating artists and encompassing a wider range of art forms...
 
 
 
 

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