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پرده خوانی سیمرغ
نمایشگاه انفرادی محمد اسکندری
افتتاحیه 8 خرداد 1394
عکس برگردان های پروانه ی محمد اسکندری
تالین گریگور
آینده باوری و تاریخی گرائی در پنج بوم بزرگ نقاشی و یک ویدئو آرت محمد اسکندری به طور پایاپای محسوس هستند. تسلط فوق العاده وی بر قلم مو از پرورش یافتن در خانواده ای هنرمند ونیز سوابق هنری و تحصیلی او نشات می گیرد. ولی این آثار فقط نتیجه مهارت و تربیت نیستند. با بهره گیری ازاین میراث، این آثار ناقل بینش دقیق هنرمند به تاریخ ایران، سمبولیزم ایرانی، مدرنیتۀ ایرانی و غنا و آلام ایرانی هست
تابلوهای اسکندری بازگشت به سنت پرده خوانی قاجار و پهلوی را در دل دارند. این سنت قدیمی ایرانی، که من حتی ریشه های آن را به حکاکی های سنگی ساسانی مربوط می دانم، پرده های نقاشی بزرگ و قابل حملی هستند که جنگ کربلا و روایات قرآنی و حماسه های شاهنامه را تصورمی کنند. با رجعت به تکنیک پرده سازی، هنرمند مباحث دیگرتاریخی را پیش میکشد که به وضوح از آینده ای محتمل سخن می گویند. هنرمند پاره هائی از معماری و جغرافیای غنی تاریخی را انتخاب کرده؛ درگاه، ایوان، قله و جنگلی که به آینده ای که به عاملیت انسان شکل گرفته و مبهم است برخورد می کنند. بناهای تاریخی، نمادهای ملی، اجزایی از مناظر طبیعی، و پیکرهای منفردی که همه بر سطح نقاشی شناورهستند- گویی در تداوم وضعیتی متغیر، در حالتی انتزاعی و در سفاهتی که ادراک کلی را شکل می دهد. هنرمند با مخاطب صحبت می کند و او را به ساکن شدن در فضائی پوچ و ابسورد دعوت می کند... موقعیتی که راه به مکانی نامعلوم دارد
بخشی از متن تالین گریگور، برای کاتالوگ نمایشگاه
تالین گریگور، نویسنده کتاب :هنرمعاصر ایران، از خیابان تا استودیو. استاد دانشگاه در رشته معماری مدرن و معاصر در دانشگاه برندیس بوستون.
Simorgh Recites
Solo Exhibition of Mohammad Eskandari
Opening on 29th May 2015
There is a simultaneous sense of futurity and historicity in the five large canvas paintings, and one video work, by artist Mohammad Eskandari. His superb mastery over the brush comes from having been born into an artistic family as well as a successful artistic education and career. Yet, these images are not merely an outcome of skill and upbringing. Through that inheritance, these works convey a deep insight into Iranian history, Iranian symbolism, Iranian modernity, Iranian wealth, and Iranian pain.
On these canvases, Eskandari embraces the Qajar and Pahlavi pardeh khani tradition. An old Iranian artistic method, that I would trace even further back to Sassanian rock-cuts, portable paintings on large canvases (pardeh) used to illustrate the Battle of Karbala, Koranic stories, and the epic of theShahnameh. Reviving the large-scale technique, the artist invokes other forms of historical accounts that speak so clearly about a tentative future. Thus, Eskandari selects fragments of rich architectural and geographic past: a gate, an Eyvan, a summit, and a forest collide into a future shaped by human agency that remains unresolved. Historical monuments, national symbols, fragments of natural landscape, and separate figures all hover on the painterly surface – somehow in a state of constant flux, a state of abstraction and foolishness that makes total sense. The painter speaks to his audience. The painter invites his viewer to inhabit a space of ambivalence and absurdity…a place that goes somewhere but that is certainly irresolute...
Excerpt from text by Talinn Grigor for catalogue of exhibition
Talinn Grigor (Ph.D., MIT) author of the book “Contemporary Iranian Art: From The Street To Studio”, is an Associate Professor of modern and contemporary architecture in the Department of Fine Arts at Brandeis University, Boston. Her research concentrates on the cross-pollination of architecture and (post)colonial politics, focused on Iran and India.
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Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.
