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Retexture; traces of tradition and contemporary concerns in collaboration

Webadmin1399/02/23
pdated: Apr 22 REYHANEH MIRJAHANI Artist-researcher In the past few years, visual art events in Iran used to take place almost entirely in gallery spaces and engaged only with their pre-existing public. The revolution of 1979 exacerbated this situation, with the censorship on art limiting the expression of many artists, including the ones with social and political concerns. Also, the sovereign has not been supportive of participatory activities in the social environment, especially those with social-political criticism – and finally, there is a lack of support from institutions inside the country. ... ..

Art and the Anthropocene

Webadmin1396/08/04
Pamela Karimi The 1960s witnessed a transformative shift in the recognition of the human impact upon the Earth’s ecosphere. In The Silent Spring (1962), the American biologist Rachel Carson drew attention to the devastating consequences of human intervention on nature, focusing on the effect which the pesticide DDT had upon wildlife and humanity. Unprecedented in her own time, Carson’s book initiated a revolutionary path, which was then followed by other scholars and activists who sought to protect natural resources and maintain a healthier relationship between humanity and natural resources. Subsequently, ... ..

Behind the fence of Ouroboros | Nima Zaghian

Webadmin1392/05/03
Nima Zaghian Translated by Nikoo Tarkhani 1 Ouroboros is a Greek term meaning “a snake that bites its tail”. This mythic snake has been mentioned in so many ancient texts; by different names and faces. A snake that bites its tail is an icon for a circle that ends with itself. The image of Ouroboros that used to be considered the creator of all universes is also an icon for immortality; usually accompanied by the words: “one is the whole”. On the other hand, this icon also contains the notions ... ..