TEHRAN.(Iranart) – An exhibition of artworks by 33 Iranian artists and two Canadian and French artists is currently underway at Soo Gallery
In this collection, artists present examples of mutual and multi-aspect impacts use of painting media, photography, and film.
The artists present in this exhibition are:
Sasan Abri, Morteza Pourhosseini, Homa Delvaray, Raoof Dashti, Shantia Ameli, PooyaRazi, Leili Rahidiraof, Melika Shafahi, Peyman Shafieezade, Kourosh Shishegaran, Mohammad Ghazali, Parnian Ghorbani, Daryoush Nehdaran, Dana Nehdaran, Sogol Ahadi, Nazanin Aharipour, Razie Iranpour, Shameel Basiri, Mona Janmohammadi, Ahoo Hamedi, Sahar Kheitan, Sara Sadodin, Paniz Sohrabi, Terme Ziaee, Mahsa Tehrani Kazhal Fakhri, Niki Falahfar, Amir Karimi, Ghazal Marvi, Afroz Vadodi, Ghazal Majidi, Golnaz Behroznia, Maxim Corbeil-Perron, Remi Boulnois.
To introduce the photogenic exhibition, this text has been published by Soo Gallery:
As in the past, there used to be a discussion about the mutual impact of the model and painting on each other, invariably from a particular period on a debate between photograph and painting and the correspondence between their elements was born. In pop culture, the word photogenic refers to a subject with a glowing face when photographed. Though originally, it refers to anything provoking the inclination to be sketched or registered.
The recent exhibition, by such standards, encompasses examples of mutual and multi-aspect impacts resulting from artists’ use of painting media, photography, and film. These effects reflect in the artists’ view from one part and in their register, style, and technics from another; in a way that the penetrations of the flows and even basic notions of other media are clearly seen in the theme, material, and the artists’ works’ discourse.
Over the course of collecting such artworks, some artists, on one hand, have recounted their contemporary subjects as a witness/narrator, and some on the other hand, through diverse technics and working on the photographed picture or realizing the performance and recording the event, have retouched the events and consequently created the narrative. As such, we are dealing with works that performance technics aside, prevail some resemblance between present, past, and the deed of the painting. To study these perceptual procedures represents neither a substitute for history, nor a comparison of eras, but could be to make do with the present time and confront with actual circumstances.
The exhibition will run until 29 December.