Nazadi (Infertility)

Curated by: Shahram Entekhabi and Asieh Salimian

Participating artists: Negar Alemzadeh Gorji | Basira Bolboli | Mostafa Choobtarash | Marjan Ghorbani | Zahra Ghyasi | Afsaneh Javadpour | Abolfazl Masoumi | Zahra Mohamadi | Alireza Nekouei | Pooneh Oshidari | Nasim Pirhadi | Zartosht Rahimi | Azam Tabatabaei | Ehsan Ziafati

Exhibition Venue:
A Gallery
, No.7, Arshad Alley, Azodi St, Karimkhan St, Tehran

22 June - 3 July 2018

Infertility Curated by: Shahram Entekhabi and Asieh Salimian

Nazadi (Infertility)
Shahram Entekhabi and Asieh Salimian
The conditions that actually lead to disinterest or indifference can be compared to the current state of the art scene in Iran. So far, the efforts of artists and art supporters have not been streamlined here, as the dispersal and lack of proper communication and the shortage of independent display spaces have caused them undeniable limitations. This is similar to the current situation in many countries in the region: The unpredictable conditions of future in the midst of social-political developments, along with international and regional change which has made planning and scheduling a difficult task to do, with an ambiguous outlook.
The realm of contemporary art in Iran has undergone many changes in the last two decades. These developments can be attributed to several international exhibitions about Iranian contemporary art in Europe in the early 2000's. The attention of international scene to contemporary art, introduced by Iranian artists inside and outside of Iran, influenced the artistic atmosphere of the country. The number of private galleries, the only active foundations of art, has unprecedentedly increased so far.
The number of artists also increased the same. And today we see that in most metropolitan cities of Iran, similar activities have been developed by galleries, universities and artists. With the rise of manufacturers and consumers of contemporary art, the market flourished, which initially promised a glorious future. The benefits of this economic growth could not be sustained, as for the sake of meaningless investments, there was no sustainable system in which artistic production could be a sign of this economic growth. Contrived markets and auctions and other methods for increasing capital have succeeded less in investing as a sustainable growth. In the last decade, we see a shrinkage of this market that no longer had its international sales and distribution area and was slowly restricted to the Persian Gulf region and now has lost it. It goes without saying that the foundations of education did not have a positive effect on the underlying cultural growth of contemporary art, because educating and informing the students could not be successful in conveying the international developments in contemporary art to this generation clearly and transparently. The interpretation of what is going on in the world of art cannot be done without quoting the content and historical and social reasons only by referring to the earlier interpretations of art in Iran.
The exhibition "Infertility" introduces the works of fourteen young artists, with the aim of examining and questioning the issues of today's society in Iran. “Infertility” is another step from “Factory TT “ to exhibit works that cannot be displayed. Because the main function of the event is outside the framework dominating the realm of art that sale is the most important objective.
This exhibition is an attempt to establish a link between art and a society located in one of the most chaotic parts of the world. The art that is distant from revivalism tries to prove the necessity of its existence and relate its conditions to the society of its origin. Art can, beyond decorative or abstract aspects, have a great contribution to the culture of a nation, in order to meet the needs of the society, and less of the economic speculation of a small group.
Women's issues , standing on the brink of war, patriarchy and tradition, media incursion and advertising, lack of access to widespread information, signs and consequences of Western economic, political and cultural sanctions, violence, and perception of the ambiance of living conditions one of the points that the exhibition deals with it. The works of the exhibition represent the life conditions in one of the largest cities in the world, as these problems are the outcome of dissatisfaction, economic and social pressures, environmental issues, and the confrontation between tradition and modernity.
Also, loneliness, discrimination, and conflict with personal limitations and gender identity in this breakdown are among the issues highlighted in the upstairs, and finishes with several works by young painters at the end of the gallery.
Shahram Entekhabi and Asieh Salimian, as the curators of the event, have tried to produce and select works in collaboration with most of these artists that include the main content and theme mentioned. It has been tried to create three different spaces by using light in the layout of each piece of work that are different in terms of static. The works of the exhibition have been produced in less than a month, with the advice and supervision of curators.
Although the title for the exhibition is "Infertility", we encounter the opposite of it,"fertile", in the first work, and thereby the exhibition remains loyal to Factory TT's idea of "Conversion / production" to the last work. "When the chairs are imitating hedgehogs" (Mostafa Choobtarash) is a look from the present time to the past and the future, and the way we treat history. On the other hand, this work consists of engravings depicting war time, which people in the caves near Dezful, where it was a refuge, carved their everyday memories and events on the walls of the cave, like the early humans. Perhaps this is the only thing we remember about the war like scattered pieces we have in mind. It's like an accident that exploded and scattered its small pieces in space. Inspired by graffiti symbols, conversations and everyday events, and especially the incursion of pictures and fake news .

Mostafa Choobtarash, When the chairs are imitating hedgehogs, 2018



Mostafa Choobtarash

When the chairs are imitating hedgehogs, 2018
200x200x300 cm., mixed media installation

The first part of the exhibition, located on the first floor, is a mixture of different mediums, from readymade and architecture to mapping and performance. The Tir'ras (Target) by Zartosht Rahimi effect initially confronts us with two soldier silhouettes who threaten each other. As we approach this and go to the corner, we find that the third soldier in the light, has clear shots on the viewer. Playing with the form, the light, the shadow, and the camouflage signs warn us of the world at war, a war whose soldiers are armed to the teeth. Here Zartosht Rahimi uses the ready-made elements and poses a question in his clever layout: who is within the Target and who is not? This arrangement, which accurately reflects our regional conditions, makes the durable peril of war tangible.
Zartosh Rahimi, Target, 2018,

Zartosh Rahimi, Target, 2018,

Zartosh Rahimi

Target, 2018
400x250x170 cm., installation, mix media

We see behind the map of Isfahan. "Under cover" the work of Azam Tabatabai is a city map that is torn apart and represents the dispersal and futility and environmental issues of Isfahan. A city whose inhabitants have divided it into two sides of the water from a long time ago. Its famous and historic bridges, which have a global reputation, no longer have that past function. With the development and economic growth of Isfahan, there are numerous new bridges linking the city. But there are still places in the dry bed of the river and under the bridges that have become the resorts for recreation and amusements, and have provided a kind of freedom for subcultures and secret living. Hiding a few meters below our feet. The space under the bridges is invaded by those who are not well-accepted by the society in public places.
Azam Tabatabaei, Under Cover, 2018  

Azam Tabatabaei

Under Cover, 2018
200x200 cm., photography, installation

"Again, and again ..." the work of Basira Bolboli transforms natural materials into cultural symbols that used specifically by women like the "Don't Believe I'm an Amazon, 1975" the work of Ulrik Rosenbach. Basira Bolboli has painted a picture of her own as an example on a mirror. This is a traditional stereotype image of an Iranian woman that has been recorded by public opinion but is not overlapping with the reality and circumstances of the modern Iranian women. After breaking this mirror, the story is no longer an illustration of the life of the artist, but in each piece of the broken mirror the images are reproduced that display these stereotypes.
Basira Bolboli, Again, and again ..., 2018  

Basira Bolboli

Again, and again ..., 2018
60x160 cm., performance / installation

A bit farther away, the great design of the "Chora" by Afsaneh Javadpour attracts our attention, which is similar to the chamber of photography, which is a bit dark. But when we enter this work we face a different world. She sees her audience in thousands of prison cells. Using the phenomenon of infinity mirrors, Javadpour presents life in a society in which "Self" is very important; in a city where most people are in isolation and trying to distinguish themselves from others. On the other hand, this work is associated with the sense of being a prisoner, and that every young person wants to leave the cage and flee to a fictional territory.
Afsaneh Javadpour, Chora, 2018 Afsaneh Javadpour, Chora, 2018

Afsaneh Javadpour

Chora, 2018
80x80x200 cm., installation mirror and metal

Twilight sleep by Zahra Ghyasi comprises one hundred small paintings that forms a huge layout which is a reminder of the books that were available at the beginning of the revolution but disappeared over time. This layout includes the wall , and the blank spaces of this huge painting refers to the shortages , lack of access to information, individualism, singularity and the defects of these kinds, which our society faces.
Zahra Ghyasi, Twilight sleep, 2018  

Zahra Ghyasi

Twilight sleep, 2018
100 pieces, 20x13.5 cm., oil on canvas

The second part of the exhibition, on the second floor, is a combination of different works expressing the artists' personal beliefs and experiences. The layout by Zahra Mohamadi, called “Let’s Dance”, is the first piece we encounter. A puppet that spins around itself among the kites and glitters of decorative objects and dances mystically with hanging belts. This refers to the hidden and obvious violence against women who have been recruited from all sides, from advertising abuses to domestic violence.
Zahra Mohamadi, Let’s Dance, 2018  

Zahra Mohamadi

Let’s Dance, 2018
70x70x158 cm., mix material

The audience by Nassim Pirhadi is a layout of design on small and plentiful circles. This is a picture of our society. Each of these designs represents a story of the people pendulously gathering around a space, seeming to do something or pretending to do something.
Nassim Pirhadi, Audience, 2018  

Nassim Pirhadi

Audience, 2018
500x200 cm., installation / drawings

The layout called "Amnesia" by Pooneh Oshidari focuses on time and forgetfulness and the power of nature. Oshidari commented on this work: "When we face the limits and threats of the ineradicable external factors, what matters is our response over time. When we are in danger and lonely, we try to hide. Time acts as a restorative agent, helping to forget the pain. "
Pooneh Oshidari, Amnesia, 2015  

Pooneh Oshidari

Amnesia, 2015
50x35 cm., mixed media

Abolfazl Masoumi, drawing on a self-portrait covers the picture of a man with a violent gesture behind a masculine mask with a flower. This may be a graph of a new face of young Iranian men who, although their appearance has changed, their inner man has not changed. This work has direct references to "being a man" and the continuation of previous conditions in Iran.
Abolfazl Masoumi, Untitle, 2018  

Abolfazl Masoumi

Untitle, 2018
108x200 cm., pencil, and watercolor on photograph

Following the exhibition, we come across "Rebirth", by Negar Alemzadeh Gorji. The hands that are raised from the shroud and are all intertwined and continuously multiply in order to display movement, growth, inception, birth and excitation.
Negar Alemzadeh Gorji, Rebirth, 2018  

Negar Alemzadeh Gorji

Rebirth, 2018
150x65 cm., acrylic on shroud

At the end of the exhibition, the works of three painters have been shown that vary in terms of narration and technique and content. The "blind spot" by Marjan Ghorbani confronts us with images of warfare and uses the colors and decorative elements repeatedly to depict military traditions in a fantasy way and maybe a metaphor for "war" as a game played by several little men.
Marjan Ghorbani, Blind spot, 2018  

Marjan Ghorbani

Blind spot, 2018
130x130cm., acrylic on canvas

The story expressed by Ehsan Ziafati in "For Honor" is a narrative of termites that show us the end; termites drowning in a paper ship, each with their own face and narration. This work, which is as epic and possibly mythical, can be suggested by the conditions in a society.
Ehsan Ziafati, For honor, 2018  

Ehsan Ziafati

For honor, 2018
160x200 cm., acrylic on canvas

The last work in the exhibition, "Abortion", is a work by Alireza Nekouei, which is similar to previous works refers to space and the perspective complexity of the subject.
Alireza Nekouei, Abortion, 2015  

Alireza Nekouei

Abortion, 2015
120x70 cm., acrylic on canvas