Nazadi ( Infertility نازادی )

 

22 June - 3 July 2018

A Gallery, Tehran

 

Curated by: Shahram Entekhabi | 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 Rahim | Azam Tabatabaei | Ehsan Ziafati |

 

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 ...is 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.

Factory TT encourages encounters of international intellectuals, scholars and the public with emerging Iranian artists to create possibilities to produce new bodies of work and to respond to cultural, economic, and social contexts as an essential foundation for a further development of contemporary art in Iran. Factory TT challenges the Iranian art scenes status quo. It was initiated in 2015 by Shahram Entekhabi | Asieh Salimian.

 

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NOTE: Factory TT is neither supported by any government, nor any political interest, ideology or religion.