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3 Iranian films among 21st century top 100 movies
Three Iranian movies have been enlisted in the 21st century’s top three movies.
Directed by Sahar Tarzi, Music Video "The Rush" received the Best Experimental Superstar Award of Serbia.
German sculptor and installation artist Gunther Uecker, 85, has presented several of his works to the Tehran Museum of Contemporary Art.
Veteran actor Davud Rashidi, star of memorable movies like Kiumars Purahamd’s “Bibi Chelcheleh”, Ali Hatami’s “Kamalolmolk”, and Rasul Sadr-Ameli, and the acclaimed TV series “Hezardastan” and “Mokhtarnameh”, died of heart failures at his home in Tehran on Friday.
Iranian film ‘Inversion’ directed and written by Behnam Behzadi will be screened in the 24th Filmfest Hamburg in Germany.
Iranian feature movie ‘Oblivion Season’ was selected as the inaugural film of 2016 Salento International Film Festival in Italy.
One Moment by Naghi Nemati and Refugee Camp by Saeed Naghavian will represent Iran at 14the Vladivostok Asia Pacific International Film Festival.
Constructed in 1962, Aljavad Mosque in central is one of the leading mosques of the world in terms of cleaning the air.
10th Arasbaran National Short Theater Festival was held in Ahar from August 21 to 24 with the participation of artists from 13 different cities of the country.
The documentary Rote Rüben in Teheran/Beetroot in Tehran directed by the oldest Iranian filmmaker residing in Austria and Tom-Dariusch Allahyari will go on screen in that country.
5th Persian international Film Festival to be held in 22-25 September in Melbourne and Adelaide and in Sydney and Canberra from 29 September to 2 October 2016 will commemorate the late Iranian influential filmmaker and director, Abbasa Kiarostami
Two Iranian documentaries have been accepted for screening in international film festivals.
 
Articles
Geopolitics and Contemporary Art, Part II: The Nation-State as the Possible Container for Global Struggles
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...
Nowrouz is the only festival that is still celebrated across the entire “Iranian World”; meaning the world that was once defined by the boundaries of the Iranian Empire and the land on which Iranian culture remains alive. The term “Iranian World” remaining from the late Iranian archaeologist Shahriar Adl (2) refers to a geographical region that covers today’s country of Iran as well as Afghanistan, Tajikistan, Uzbekistan and even parts of India and what was once known as the Ottoman Empire...
Looking back on twentieth century modernism from the standpoint of today, it seems that its major aesthetic component was actually provincialism. Across the world, different forms of social and economic modernization emerged, leading artists to develop new practices that broke from tradition to engage with these shifting circumstances. However, the early canonization of “modern art” in Western Europe, followed by the transfer of power to New York towards the middle of the century, meant that most practitioners were inevitably forced to benchmark themselves against external examples. This produced major power imbalances between artists from different nations
It is said both inthe native and foreign sourcesthat the original Avesta “written on 12,000 prepared cow-skins, and with gold ink,” was burnt together with other treasures and books when Alexander of Macedonia set Parsgarde (Persepolis) on fire. (1) In other sources, it is said that there were actually two copies, one kept in Shapigan treasury and the other in the “citadel of writings” dejnebeshteh (2) whose exact location had never been found, thus a mystery.
 
Iranian Artists' Pages
Featured Artists
The Knight of the “Iranian World”, Shahriyar Adl was born on 3 February 1944 in Tehran. His father, Ahmad Hossein Khan Adle was from Tabriz and his mother Homa Vali, with the honorary title Zia-ol-Moluk was from the city of Bastam.

 

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Gallery
Painting Exhibition by Niloofar Rahnama
Opening: 26 Aug. 2016
Group painting exhibition
26 -31 August 2016
Painting exhibition by Saeed Nouroozi
Solmaz Safaeigol
August 19-29, 2016
Selected Artists
painter
Painter
Photographer
Painter
painter
Selected Iranian Film , Cinema , Theater Artists
Theater Director
Movie director and producer
Movie director
Director and screenwriter
Theater director and screenwriter

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