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Visual Arts | News Archive
Iran artists attend Italy global watercolor event
Globally famous watercolor convention in Italy “Fabriano in Aquarello” hosts a group of Iranian artists in 2017 edition of the event.
A salt sculpture festival opened at Kaji wetland, eastern Iran, on Friday 21 April 2017.
Works of art by a number of celebrated Iranian artists will go under the hammer at the Bonhams auction house sale in London set for 26 April 2017.
Maryam Jafari’s first solo exhibition: Welcome to My Age of Anxiety will be held from 15 April to 31 July 2017 at Laveronica arte Contemporanea in Sicily, Italy.
Works by over 25 Iranian and international artists from across the world are currently on display in an exhibition at Iran’s House of Cartoon in Tehran.
The exhibition In Search of Global Poetry: Videos from the Han Nefkens Collection, a collection of 12 videos will run from 16 April to 16 July 2017 at the He Xiangning Art Museum in Shenzhen, China.
 
 
Visual Arts | Articles
What to Make of MoMA’s Stand on Trump’s Travel Ban/A closer look at what the rehang actually means.
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.
 

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