#iranian-art

#iranian-art

My connection with Fahrelnissa Zeid is incredibly personal. I was a painting student of hers in my mid-teens when I lived in Jordan, and she was a powerful presence in my life at that time.

Throughout its history, Spain has been shaped by a wide range of cultures and civilizations, including Muslim, Phoenician, Roman, Greek, Carthaginian, and Visigothic influences, which are reflected in its architecture and design.

Infantino stated, 'The Iranian team is coming for sure, yes,' emphasizing that despite the fragile ceasefire, Iran must participate in the tournament. He noted, 'They represent their people. They have qualified. The players want to play.'

The after-hours special showcase was first tested in January 2024 on the sidelines of the Africa Cup of Nations football tournament hosted and won by Cote d'Ivoire.

The Duchamp exhibition at MoMA is encyclopedic, thought-provoking, and sometimes surprising. It spans the entire sixth floor and invites viewers to engage deeply with his work.

The Islamic Republic, which killed hundreds of thousands of people in Iraq and Syria, killed and tortured hundreds of thousands of Iranians in the most brutal way after all these years, and which now wants to have nuclear weapons: we, the Iranian people, who have lived with them for half a century, know how ridiculous their claim to be peaceful was.

A compleat Persian Palace--there are many minor variations and lesser imitations--is distinguished by its exaggerated moldings, numberless layers of cornices, elaborate grillework and columns galore. A Persian Palace brazenly combines motifs and wantonly disregards proportion and scale.

The Lower East Side institution's OMA-designed, $82 million expansion debuted this week to mixed reviews, reflecting a range of opinions on its new look and functionality.

In Arash Nassiri's new moving-image commission, an insect puppet drags itself across an empty marble floor, cast in eerie blue evening light. The scene is diffused through an enormous frosted-glass cubicle, refracting and distorting the images. That sense of distortion pervades the Tehran-born, Berlin-based Nassiri's first institutional solo exhibition, A Bug's Life, which opened last weekend at London's Chisenhale Gallery-and comprises a film set within a sculptural installation.

An artwork is not created when an artist finishes it. It is created when it's visible to an audience and when it becomes discourse. If there's no ecosystem, nothing works. Central Asia is in the midst of an unprecedented investment in such art infrastructure, including new permanent venues, purpose-built museums, and international biennials.

This targeting success surely owes much to advanced electronic surveillance and deep cyber penetration of Iran's weapons systems and infrastructure. But in this war, as in the 12-day war last year, Israel and the United States are obviously benefiting from intelligence from some Iranians themselves, who are willing to risk their lives to help bring down the Islamic Republic.

After the historical Iranian city of Isfahan was targeted by several major strikes, its governor Mehdi Jamalinejad claimed that serious damage had been inflicted even after blue shields were put on the roofs of culturally important buildings. This is an internationally recognized signal under the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict.

Iranian researchers are in a difficult situation. Those in Iran face low wages, high inflation, sociopolitical instability, resource mismanagement, oppression by the authorities and long-standing international sanctions. High prices hinder conference attendance, as do difficulties obtaining visas. Unstable Internet connections, frequent power outages and lack of access to scholarly sources jeopardize collaborations. Scholars also have to contend with isolation, and sometimes biases, from the international community. And for those who work abroad, travelling to and from Iran is risky, even with visas and double citizenship.

Distance does not soften the terror. It only deepens my helplessness. In moments like this, I realize that geography is not measured in miles, but in attachment. War rearranges distance. These days I find myself returning to "The Conference of the Birds," the 12th-century poem by Attar of Nishapur, seeking meaning through ancient wisdom about spiritual journeys and transformation.

The Iranian announcer was grieving the loss of a "father," as he put it, while for Alinejad and so many other Iranians in exile and at home, the vaporized ma[n represented something entirely different]. Such torrential downpours, from loyalists and dissenters alike, often follow the deaths of notorious and long-ruling dictators-Joseph Stalin, Mao Zedong, Saddam Hussein.

The poem itself is an allegory: a gathering of birds set out on a spiritual quest, each one embodying a particular human flaw or attachment. Passing through seven symbolic valleys, they face trials and moments of revelation, before realising that the divine presence they seek lies within themselves. That sense of pilgrimage carries into the gallery. You are invited to take your own quiet journey through a wide range of avian-themed artworks inspired by the poem, each offering a different response to its ideas.

The Irish government will give 2,000 artists unrestricted weekly stipends in a program officials described as a "recognition, at government level, of the important role of the arts in Irish society." After a successful three-year pilot, the Irish government made its basic income program for artists permanent. Similar pilots have been launched here in the United States, but they're supported primarily by the nonprofit sector.