Ag Galerie Artists Eslewhere |
Abbas Kowsari, Reds and Greens, 2016
عباس کوثری و علی زنجانی
در نمایشگاه «زیبایی نبرد»
موزه ی کودا، اپلدورن، هلند
گشایش، یکشنبه ۸ مهرماه ۱۳۹۷ – ۱۵:۰۰ تا ۲۱:۰۰
نمایشگاه تا یکشنبه ۱۴ بهمن ماه ۱۳۹۷ ادامه دارد
Ali Zanjani: Just Between Us, 2012
Abbas Kowsari and Ali Zanjani
"Beauty of the Battle"
Coda Museum, Apeldoorn, The Netherlands
Exhibition opening, Sunday September 30th, 2018.
The ehxibition continues thru Sunday March 3rd, 2019.
We
have a natural aversion to violence, strife and hatred. Yet there is
beauty to be found in battle and combat, for instance when they are
incorporated in a dance performance or depicted in a painting. In Beauty of the Battle, CODA Museum Apeldoorn confronts its visitors with this apparent contradiction. Commissioned by CODA director Carin Reinders, guest
curator Wim van der Beek selected works by 22 artists for this
exhibition, which explores the boundaries of hate and love, danger and
beauty. Beauty of the Battle is an impressive presentation that connects painting, sculpture, video
art, performance art, installations and dance. The exhibition is staged
in CODA Museum Apeldoorn from 30 September 2018 to 3 February 2019
inclusive.
The
exhibition leads visitors along the broad spectrum of violence in
visual art. Searching for the motives of mankind, which has always been
fascinated with battle, historical
depictions of fierce Japanese
warriors by Hokusai are shown alongside
rare Indian miniatures of
hunting horsemen. Heroic art is the prelude to
the contemporary works
that address topical themes.
In
our modern-day society, displaying violence has become all but normal.
On a daily basis, we are confronted with brutal violence in the media
and with its glorification
in video games and films. Closer to home,
there are personal conflicts
related to identity and sexual preference
or sexual violence, themes
that also frequently feature on social
media. Other examples are the
confrontations in sport, which delight
the audience.
To the artists in Beauty of the Battle, these
types of
violence or battle are a source of inspiration. However, they
represent
them in other forms than the ones we are used to
encountering in the
media. Using various materials, they incorporate
violence and battle in artworks in which beauty and stylising are
predominant. Sometimes as a reaction to what is happening in the world,
sometimes, conversely, springing from an inner, personal conflict.
Barbara
Broekman, for instance, makes monumental, woven paintings in which she
shows enlarged photos from newspapers depicting tragic images of war
that are also stunningly
beautiful. Jens Pfeifer tricks the spectator
with the fragile beauty of
his glass hand grenades and guns. The
Russian artist collective AES+F
uses the attractive aesthetics of
computer games and the innocent beauty
of children to depict atrocious
war scenes.
Abu Bakarr Mansaray from Sierra Leone makes singular
drawings of
ingenious killing machines. These seductive images are a
façade for
cruel, sometimes personal war stories. The traumas of the
postcolonial
violence of Apartheid play a part in the work of South
African artist Mohau Modisakeng, who transforms them into chillingly
beautiful photos. Childish Gambino chooses music and a controversial
music video as the medium for his urgent message about gun violence and
racial issues in the United States.
And
when does love become a battle? The video works of performance art
duos
Abramovic & Ulay and twin sisters L.A. Raeven show that love
and
battle go dangerously well together.
In addition, people
practising martial arts, dancers, and a
choreographer explore the
boundary between battle and beauty in
performances related to the
exhibited works. Between his massive
sculptures, Damian Kapojos stages
performances that are crossovers
between martial arts and ballet.
Visit Beauty of the Battle in CODA Museum Apeldoorn from 30 September
2018 to 3 February 2019.
During the staging of the exhibition, exciting
activities and
interesting lectures are organised, including a Martial
Arts Battle
Day, robot battles for children
and a lecture by Nelleke Noordervliet.
For a complete overview, please
visit our website.
Participating artists: Abramovic/Ulay | AES+F (RU) | Tamme de Boer (NL) | Barbara Broekman (NL) | Eishôsai Chôki (JP) | Childish Gambino (USA) | Katsushika Hokusai (JP) | Damian Kapojos (NL) | Patrick Koster (NL) | Abbas Kowsari (IR) | Utagawa Kunisada (JP) | Utagawa Kuniyoshi (JP) | Abu
Bakarr Mansaray (SL) | Mohau Modisakeng (ZA) | Hertog/Nadler (IL/NL) |
Jens Pfeifer (NL) | LA Raeven (NL) |Ronald Tolman (NL) |
Harm Weistra
(NL) | Wieske Wester (NL) | Tsukioka Yoshitoshi (JP) | Ali Zanjani (IR)
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Ag Galerie Ongoing Exhibition
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 Mehrali Razaghmanesh: Allusions, 2015-2016, Gum Bichromate Print, 28x42 cm
مهرعلی رزاق. منش : اشارات
نمایشگاه تا جمعه ۱۱ آبان ۱۳۹۷ ادامه دارد.
تهران، خیابان کریمخان زند، خیابان عضدی جنوبی، شماره۴۳
ساعت های بازدید روزانه ۲۱:۰۰ - ۱۷:۰۰
این مجموعه در ادامه عکاسی از شهر شکل گرفته، شهری که به ناگاه در ایام محرم که سالانه.ای مذهبیست شکل دیگری به خود میگیرد. این مجموعه عکس، که به شیوه گام بیکرومات* چاپ شده، سودای آن دارد تا با نگاهی جمال شناسانه به شهر در این ایام، ریتم شهرآشوب آن و جوشش و شورشی که به سبب آن بر بام و در شهر فرومی.ریزد را، با اشارات و فارغ از گفت و عبارات به تصویر بکشد. همچنین بر خلاف تجربیات گذشته ی دیگران تا حد امکان از وجه ارجاعی آن کاسته و به وجه اقناعی آن بیفزاید.
* از شیوه های چاپ قرن نوزدهم که در آن عکس بر روی بستر حساس شده توسط نور آفتاب چاپ شده و تصویری با کیفیت های نقاشانه به وجود می آورد.
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Mehrali Razaghmanesh: Allusions
The exhibition will continue through Friday November 2, 2018
#43 South Azodi Street, Karim Khan Bridge, Tehran
Gallery hours 17:00 - 21:00
This series is a continuation of the artist's previous body of work in which he also photographed Tehran. Here the city has unexpectedly taken on a different guise during its annual, observance of the holy month of Muharram. Created using the gum bichromate* technique, these images concern themselves with presenting the aesthetics of the city during these ceremonies. Using Tehran's disturbed soundscape and the fervor and furor it casts over and upon the city, the artist captures allusions devoid of workds and expressions. Contrary to previous examples of the depiction of Muharram and as far as possible, Razaghmanesh has attempted to diminish its referential aspects and instead bolden its compelling qualities.
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Ag Galerie Artists Elsewhere |
 Ali Zanjani: Without Prostration at the Lianzhou Museum of Photography
Ali Zanjani: Without Prostration
Curated by Francois Cheval
Lianzhou Museum of Photography
JULY 28 - November 4, 2018
No. 120 Zhongshan Nan Road
Lianzhou Guandgding, China
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Ali Zanjani’s photographic series share the concept of repetition with prayer and wrestling. In each instance, a precise ritual of movements and positions, fixed by tradition or the law, must be respected. The acquisition of these techniques must not be ignored or neglected. The metaphoric discourse of the “Just between us” (2013) and “Pray” series take Iranian television films from the pre-revolutionary period, extracting just a few stills and breaking up the narrative. Excluding length and movement makes each image a sign isolated in a frame, an instruction that must be followed. The tilts, the prostrations, all the movements are a series of invocations and implorations. The body language is conventional, obeying strict, intangible codes with a meaning we all get. The hand-to-hand combat, depict the obviousness of the relationship between the dominant and the dominated. Everyone finds their place here in the “natural” order of things. Ali Zanjani’s photography removes the deceitfully “essentialist” envelope from around common sense. Bodies and space find their place in a system of didactic, graphic notation. The living becomes a pictogram. Faced with the permanence of stability, the photographer has no choice but to propose the opposite, instability and chance [“Static Pregnancy” (2014)].
- François Cheval, Exhibition Co-Director of the Lanzhou Museum of Photography
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