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«Artification and the Aesthetic Regime of Art
The author discusses “artification” and attempts to ascertain whether some common features can be found between artification and Jacques Rancière’s aesthetics, especially his notion of the “aesthetic regime of art.”
Often a question arises when I am talking about my work... it might be hostile or just as often, simply curious. "Do you really think that art can change the world?"
According to Parvaneh Etemadi, she has acquired Bahman Mohassess’ taste and Jalal Al-Ahmad’s courage. She is Frank. Yet, frankness is just one of her personality. She challenges the current form of knowledge and cognition and expresses far-fetched concepts with new modules, which provokes positive and negative reactions to her approach.
Alexander Kluge and Hans Ulrich Obrist Hans Ulrich Obrist: It is the beginning of 2017. What will happen? Alexander Kluge: It has been one hundred years since the Russian Revolution. Five hundred years since Martin Luther. Be careful of Silicon Valley. They’re the flower children of 1968, so to speak...
It has influenced Star Wars and Game of Thrones – and characters as diverse as Voltaire, Nietzsche and Freddie Mercury have cited it as an inspiration. So what is Zoroastrianism?
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...
Abstract A discerning trait of Persian painting, which differentiates it from the Western style of painting, is the irrefutable resemblance between the male and female figures. Persian painting is closely entwined with Persian poetry and therefore, the primary focus of this study are the illustrations accompanying poems which narrate Persian folklores in order to have portrayals of culturally well-known male and female figures. An attempt is made to compare and demonstrate the similarities between the studies done on Persian literature and metaphor, and the studies done on Persian art...
 
 
 
 

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