moma - 2017

Seven Nations

“Section 2: It is the policy of the United States to protect its citizens from foreign nationals who intend to commit terrorist attacks in the United States; and to prevent the admission of foreign nationals who intend to exploit United States immigration laws for malevolent purposes.”

Seven Nations

The fifth-floor additions rupture the museum’s traditional narrative of Western modernism before 1945. Only very rarely has MoMA interrupted its succession of art from Post-Impressionism to Cubism, Dadaism, and after —

which still reflects the modernist vision of its first director, Alfred Barr — with works of postwar and contemporary art. Further additions are planned for the weeks ahead.

Parviz TanavoliIranThe Prophet

1964Bronze on wood base

Parviz Tanavoli

Iran

The Prophet in Love1975Glazed ceramic (four pieces)

Pariviz Tanavoli studied at the Tehran School of Fine Arts and Brera Academy. He is best known for his work in Tehran in the early 1960s, where he forged a new sculptural idiom. Much of his work contains imagery akin to drains, faucets, padlocks, latticework, and tube-like sections first sculpted in wax or clay, then cast in bronze. These comprise his sculpture from this period in the middle 1900s.

Parviz TanavoliIran

This additive use of commonplace motifs or popular imagery earned his artistic circle the name Saqqakhaneh movement—a Farsi term that was initially applied to the works of art which used already existing elements from votive Shiʿite art and design in their own modern work. It is visually noted by dense decoration and metal grill designs and other traditional Persian decorative elements.

Parviz TanavoliIran

Parviz Tanavoli’s key work is the calligraphic figure of Heech (Nothingness), a recurring theme in his sculptural repertory which contains reference to the human figure, evident both in the upright sculptural forms and their titles. His work has been exhibited nationally in Iran and internationally as well.

Parviz Tanavoli

IranHeech

Parviz Tanavoli

IranHeech (nothing) in a Cage2006Bronze

In 2006, he created a small piece of sculpture called Heech in a Cage to protest the conditions of the American-held prisoners at Guantanamo Bay detainment camp and in 2006 began work on his piece to honour the victims of the Israeli-Lebanon war.

Final ideas?

• Raian: What does it mean when “nothing” is locked up. • Derricka: It’s as if the detainees are

nothing. They’re being portrayed as things rather than people.

• Khiri: By being placed in a cage, you lose your identity, self worth, it crumbles and disappears into nothing.

• KT: He references the human figure through calligraphy. His work also references drains and faucets, like these people are trapped with the worlds problems.

• Heba: His work is nice to look at because there is meaning behind it. But when you first see it, there are more questions than answers.

• Jess: I like the work, it’s aesthetically pleasing due to he use of metal. I also think his intentions are more clear than other artists.

Final ideas?

Angel: Studied in Tehran, uses a repetitive motif in his work (grid-latticework, heech)Camila: He’s from Iran…he’s in the Saqqakhaneh movement that uses old Persian decorative elements.Sean: I like the materials he uses (bronze, wood) they seem high quality Rachel: They seem more rustic than high quality.

Steph: They feel more vintage than contemporary.Jess: I like his work because it’s so simple. But I think I’m assuming things because of what I know about Iran, with the Shia majority in the country (though minority globally). Tash: I like the way he takes simple things like calligraphy and meshes it with sculpture. It’s nice to see that elaborated into a bigger idea. .

Zaha HadidIraq

Lived in United Kingdom1950-2016

The Peak Project, Hong Kong, China1991Synthetic Polymer on paper, mounted on canvas

Although primarily known as an architect, Hadid pursued painting as a related practice, deploying her ideas for buildings for visionary ends. With this work, Hadid revisited her Peak Project, the winning design—though never realized—for a private health club in the hills of Kowloon, overlooking Hong Kong. Hadid proposed transforming the site by excavating the rocky hills in order to build artificial cliffs.

Zaha HadidIraq



Zaha Hadid520 West 28th street

New York City, USA

Zaha Hadid

520 West 28th street New York City, USA

Zaha HadidIraq



Although primarily known as an architect, Hadid pursued painting as a related practice, deploying her ideas for buildings for visionary ends. With this work, Hadid revisited her Peak Project, the winning design—though never realized—for a private health club in the hills of Kowloon, overlooking Hong Kong. Hadid proposed transforming the site by excavating the rocky hills in order to build artificial cliffs.

Zaha HadidIraq



In her painting she reimagines the topography by interjecting cantilevered beams and shard-like fragments that seem to splinter the structure into its myriad parts, as if it had been subjected to some powerful destabilizing force. This demonstrates an approach known as "deconstructivist architecture." which Hadid occasionally drew reference from.

Obvi like cracked nail polish...

Zaha HadidIraq


Deconstructivist architecture often resembles a structure that is in various stages of fragmentation. It challenges traditional notions of architectural and visual aesthetics by rejecting continuous or predictable elements.Zaha Hadid and Frank Gehry are two of the most well known deconstructivist architects.

Guggenheim Bilbao (Spain) by Frank Gehry

Galaxy Soho (Beijing) by Zaha Hadid

Zaha HadidIraq



In dissecting landscape and structure into geometric forms and suggesting multiple viewpoints at once, Hadid reveals her interest

in Russian Constructivism and Cubism in this composition of fractured geometries.

Zaha Hadid

WHAT IS IT???

Vitra Fire Station1991-93 Weil am Rhein, Germany

Zaha Hadid

“In architecture, you really have to go at it full time. You can’t afford to dip in and out. And when women do succeed at it, the press spends far too much time talking about how we dress, what shoes we’re wearing, who we’re seeing. That’s pretty sad for women, especially when it’s written by other women who should really know better.”

Zaha Hadid

Digital model of…Liquid Glacial “Smoke” Coffee Table

“The world is not a rectangle”

Zaha Hadid Liquid Glacial “Smoke” Coffee Table2012

Zaha Hadid

Liquid Glacial “Smoke” Coffee Table2012

Polished plexiglassDigitally modeled, CNC milled

Zaha Hadid

Zaha Hadid

Sheikh Zayed Bridge2010

Abu Dhabi, UAE

Zaha Hadid

Sheikh Zayed BridgeAbu Dhabi, UAE

Zaha HadidSheikh Zayed Bridge

Abu Dhabi, UAE

Zaha Hadid – Final Thoughts…

• Chess: Her work is preemptively asking “why not?” We define things that don’t define themselves. And she is questioning the audience perception for how it’s ‘. always been.’

• Khiri: She also challenges gender roles. There aren’t a lot of female architects (sadly). But her work isn’t as well known.

• Arielle: She breaks stereotypes through her profession…AND visual stereotypes through her work.

• Gio: She often seeks an emotional reaction from her viewers.

• Heba: The people who are actually building her design are statistically liklier to have a Y chromosome.

• Alex: I realize that Hadid is trying to challange the mundane. The United Arab Emirates is an ideal place for her work.

• Jess: I LOVE IT ALL. She’s breaking conceptual and social boundaries. She’s breaking stereotypes but also breaking expectations of architecture too.

• Steph: I love her work so much. She’s transforming the ordinary into new things.

• Angel: I like her concepts and all she’s about but I wanna know more bout her intentions. Still a bit confused.

• Lina: She’s trying to break the norm of architecture with this new futuristic constructions, without 90-degree angles

Zaha Hadid – Final Thoughts…

Tala MadaniIranChit Chat

2007Video (color, silent)


2007Video (color, silent)• Dolfo: What the fuuuuu….• Raian: I noticed this is still paintings

that are pieced together. Seems like the friends were talking to each other….but then they vomited and other people appeared.

• Chess: It’s called Stop-Motion• Gio: It seemed increasingly

aggressive…to the point where a person disappeared.

• Jess: There’s a narrative here, but it’s hard to follow. It’s confusing about what Madani is trying to communicate.

• Heba: Hands were being shoved into the mouths. There’s some anger and laughter….

• Dolfo: it’s aesthetically difficult to keep up with. So many subtle changes in the stop-motion. It’s like their words were personified with this demon.

• Anna: Maybe there’s some compassion for the peson who disappeared? Like what’s destroyed comes back to you.

• Khiri: The lack of voice….the two men got aggressive...this isn’t chit-chat.

• Rizzi: Were they choking each other?? They seem mad at each other.


2007Video (color, silent)• Kristen: It seems like these

people are talking, but as each frame goes by the man in the middle disappear…but the others age.

• Cailan: It’s similar to painting-animation…Stop-Motion Animation.

• Anesia: Seems like in the beginning that the two men on the side were ignoring the man in the middle. And only noticed him after he was gone.

• Lina: This artist may be expressing how powerful talking to each other can be. It can isolate someone or form a community. There’s power in communication.

• Tash: The men were fighting...and escalated to throwing up their hatred onto each other.

• CAMILA: I thought it was more like having an argument where it wasn’t only affecting them…but others were affected too.

• Fauvism? Unrealistic, 2D (flat).

• Metaphysical.


2007Video (color, silent) Madani's silent, stop-motion

animation videos, which consist of over two thousand painted images per minute, are contemporary parables illustrating a repertoire of weakness and vice. The male protagonists in her works are both tragic and comical—primitive beings propelled by hubris and ignorance, rendered amorphously through a thick application of paint. By placing these figures in situations where they are subject to humiliation or violence, Madani performs a critique of patriarchal structures of power, fundamentalism, and sexism.


2007Video (color, silent)Chit Chat depicts a flurry of fruitless dealings

among an anonymous group of men. Formless and easily malleable, it is difficult to decipher where one figure ends and another begins. As their futile exchanges grow increasingly violent, the work's innocuous title takes on a more sinister connotation as a euphemism for conflict, brutality, and war. Khiri: Iran is kind of a patriarchal place…(like many

other places too.) Erin: She’s trying to portray how patriarchal societies can be violent because of how men can be.Chess: ((WORDSING)) When one group asserts dominance above another group, there will be people looking for a place in the power structure, thus reinforcing it. Raian: It’s serious, and has important impactsDolfo: It progressively became more aggressive.


2007Video (color, silent)

Chit Chat depicts a flurry of fruitless dealings among an anonymous group of men. Formless and easily malleable, it is difficult to decipher where one figure ends and another begins. As their futile exchanges grow increasingly violent, the work's innocuous title takes on a more sinister connotation as a euphemism for conflict, brutality, and war.

SarcasmSome irony maybe?Ambiguous meaningTash: This could be about violence between two men or having a terrible argument. This is what men “usually do.” Rachel: When you start putting ideas out on the table…peple may start to grab at the wrong ideas. Anesia: Maybe you start to add on to what the other person is arguing about.

Tala MadaniIran

Video 0~3:20

What does Tala Madani seem like as a person? How does it feed into

her art?

Iran

• KT: Seems quite relaxed…and that her work is an extension of what she thinks....the color is an important part of it.

• Erin: ANNA STOLE MY IDEAS• Anna: She goes into detail about the choice of

color and HOW she paints. It’s very 2D and without perspective, this is not in the Renaissance (western) tradition. She said the painting is very “Light” but I think there’s a serious message to it.

• Chess: She’s a very conceptual (idea-based) human. She makes her paintings in a ‘thought-space’ where everything has meaning.

• JJ: She moves the paintbrush like she moves the pencil. • Khiri: Pencils are second nature, common,

comfortable. Her illustrations speak for themselves.

What does Tala Madani seem like as a person? How does it feed into

her art?

Iran

• Tash: I thought the art style had more to do with her backround, but she said that she chose the 2D effect because it’s childlike and welcoming.

• Jess: She puts a lot of emphasis on color. It’s more than just an aesthetic choice, but it’s almost like the MOOD she’s trying to create. • Fauvism, Impressionism (texture/color), Post-

Impressionism, Expressionism, non-objective art.

• Cailan: Interesting that she doesn’t deal with perspective, and goes against renaissance styles of rendering.

• She’s free-flowing. Very enthusiastic about her work, a lot of thought went into this. Like she knows a lot about social issues. #WOKE , and that she doesn’t give a damn about conforming.

Ibrahim el-SalahiSudanThe Mosque1964Oil on canvas

Ibrahim el-Salahi SudanA writer, critic, politician, and foundational figure of African modernism, El-Salahi merges a range of influences in his work, from Sudanese decorative elements and Arabic calligraphy, which he has practiced since childhood, to the Western formal traditions he absorbed while studying at London's Slade School of Art in the mid-1950s. The Mosque, with its architectural minarets, suggestion of calligraphic forms in motion, and elongated, masklike figure, attests to these various inspirations. In 1964, El-Salahi received a Rockefeller Foundation grant to travel to New York, where he befriended artists including Romare Bearden, Richard Hunt, and Jacob Lawrence, and met MoMA's then-director Alfred H. Barr, Jr., who acquired this work for the collection the following year.

Ibrahim el-SalahiSudanReborn Sounds

of Childhood Dreams 1961-65Oil on canvas

Ibrahim el-SalahiSudanVision of the

Tomb1961-65Oil on canvas

Ibrahim el-SalahiSudanSelf Portrait of Suffering 1961Oil on canvas

Ibrahim el-SalahiSudanSelf Portrait of Suffering 1961Oil on canvasSelf-Portrait of Suffering (1961), one of his best-known works from this time, is exemplary of this pursuit. The distended face that becomes almost equine, the dry brush marks and muted palette are all redolent of Picasso, who himself appropriated distorted facial features from West African masks. The inability to trace the visual language to a root source is an articulate allegory for the artists’ sense of creative displacement at this time. Other works, such as Reborn Sound of Childhood Dreams (1961-5), integrated the crescent, a motif of Islamic art that recurred frequently throughout his work.

Ibrahim el-SalahiSudanIn 1952, when the Modernist artist Ibrahim El-Salahi was 22, he moved to London in order to study at the Slade School of Fine Art. It completely revolutionized both his art and life.

Visiting the numerous museums and galleries that London has to offer, El-Salahi saw first-hand many of the leading contemporary artists that were to influence his work. The paintings he produced at this time jumped through a number of styles, from impressionist portraiture to cubist landscape.

Ibrahim el-SalahiSudan

When El-Salahi returned to Khartoum to teach at the Technical Institute in 1957, he became one of the lead artists in a movement known as the ‘Khartoum School.’ Having gained its freedom from British colonial rule only one year previously, Sudan was undergoing a cultural paradigm shift. El-Salahi, along with fellow like-minded creative thinkers, sought to define a new artistic voice and means of expression for the country.

Later, in the 1970s, El Salahi would become a diplomat at the Sudanese Embassy in London.

Ibrahim el-Salahi SudanVIDEO…..

o .o .o .o .

http://www.tate.org.uk/whats-on/tate-modern/exhibition/ibrahim-el-salahi-visionary-modernist

:30~end

Ibrahim el-Salahi SudanVIDEO…..

o Jess: All those different occupations...he takes things into account for how his work will be received. He wants EVERYONE to get satisfaction out of it.

o Lina: Similar to Tala Madani, inspired by humans....

o Cailan:o Camila:o .o .

http://www.tate.org.uk/whats-on/tate-modern/exhibition/ibrahim-el-salahi-visionary-modernist

:30~end

Ibrahim el-Salahi

Ibrahim El-SalahiReborn Sounds III, 2015Vigo Gallery

This work, which stretches to 121 inches, is the capstone to a three-piece series begun in 1961, the first of which was acquired by the Tate in 2013.

https://www.artsy.net/artwork/ibrahim-el-salahi-reborn-sounds-iii

Ibrahim El-SalahiReborn Sounds III, 2015Vigo Gallery

“Perhaps to me, the simplest and most indisputable proof of how much the acquisition of Reborn Sounds of Childhood Dreams (1961–65) changed forever art history as we knew it, was the fact that one could no longer visit Tate’s ‘Poetry and Dream’ display and imagine those rooms without that work,” said Elvira Dyangani Ose, curator of the museum’s section devoted to 20th century art and the influence of Surrealism. “There is no doubt that El-Salahi belongs to that moment in art history as much as Pablo Picasso, Wifredo Lam, Germaine Richier, Karel Appel, and others.”


Ibrahim el-SalahiSudanThe Mosque1964Oil on canvas

Ibrahim el-SalahiSudanAl-Yazerli1974Materials

Installation view of “Ibrahim El-Salahi: Alhambra” at Salon 94, New York. Courtesy of Salon 94 and the artist.

Final Thoughts on Ibrahim el-Salahi

Sudan

o .o .o .o .


Charles Hossein

Zenderoudi

IranK+L+32+H+4. Mon père et moi (My Father and I)1962Felt-tip pen and colored ink on paper on board

Charles Hossein

Zenderoudi

Iran

K+L+32+H+4. Mon père et moi (My Father and I)1962Felt-tip pen and colored ink on paper on board

Zenderoudi has described this work as a depiction of "my father and myself"; the artist appears at left, arms raised and head lowered, while his father appears as a composite figure at right

Charles Hossein

Zenderoudi

Iran


This work by Tehran-born artist Charles Hossein Zenderoudi, executed a year after he moved to Paris, embodies the amalgam of national, religious, and personal mythologies that characterizes his practice. Its dense ornamentation reflects the motifs of vernacular prints and astrological talismans found in Tehran’s bazaars, as well as Shiite iconography and sacred calligraphy.

Charles Hossein

Zenderoudi

Iran


Zenderoudi was one of a group of artists dubbed Saqqakhaneh, who sought to develop a uniquely Iranian language of modernism in the 1960s. Though the artist’s visual references are culturally specific, his aims are universal. "Men the world over are identical and can all read my work," Zenderoudi once said. "What matters is to achieve a harmony between the person who created it and the spectator."

Usama MuhammadSyria

Exiled in Paris

Stars in Broad Daylight1988Materials

moma - 2017

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