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تقديم به مادر بزرگم، ناهيد پرتوی، كه به من آموخت؛ "زندگی با هنر آميخته است."
اطلاعات
اطلاعات مهمترين مجموعه نقاشی هاى امير حسين اخوان است كه به دنبال نمايشگاه هاى موفق "پسر پارسى وديو" و چندین نمایشگاه گروهی ارایه کرده است. اين سرى كارها که از سال 1387 شروع شده و تا به حال به طول انجاميده، نشان دهنده تلفيق پيچيده و يا آشتى دادن دوگانگى زندگی بين تهران و نيويورك است. نام اين مجموعه بر گرفته از كلمه عربى اطلاعات است كه بنوعى وارد زبان فارسى عام شده است؛ اين نام به روزنامه قديمى اطلاعات، كه هنوز هم منتشر می شود بر می گردد. بسيارى از منابع تصويرى اين مجموعه برگرفته از عكس هاى صفحات اول روزنامه هاى بين المللى است كه اين هنرمند در ابعادبزرگ، با خطوطى بر گرفته از غريزه درونى ترسيم می كند. نا اميدى، شجاعت، وفادارى، فقدان، اميد، ونهايتاً پيروزى همگى از طريق نقاشى به نمايش گذاشته شده اند. وى مدرك ليسانس نقاشى را از دانشگاه بوستون دريافت و از شاگردان ران تاملينسون Ron Tomlinson است. سبك منحصر به فرد اخوان بر گرفته از سنت هاى رسمى نقاشى غربى است و تاثير شايانی از "رنسانس" و همچنين هنر مدرن گرفته است. استفاده نقاش از كيفيت بالاى نقاشى، باعث پيوند انرژى پوياى اكسپرسيونيسم انتزاعى با چهارچوب هاى ايستای پرتره هاى گروهى و پیتا میلیتر Pieta Militaire شده و بدین ترتیب زبان بين المللى جديدی را نويد می دهد كه ريشه در خلوص نقاشى بعنوان يك رشته هنرى و بعنوان يك ابزار بيان دارد.
فن نقاشى اين هنرمند که بين پيكربندى (فيگوراتيو) و انتزاعى(آبستره) در نوسان است، با حفظ نوعى ابهام عمدى، به بحران هاى اجتماعى و نظامى تاريخ معاصر خاورميانه مى پردازد. بدینگونه هنرمند با اعمال روش خاص خود به عكس هاى مطبوعاتى، ناتوانى شيوه بيانى با وضوح بالاى آنها را در ثبت ظرافت هاى جنگ نشان می دهد. اين نقاشى ها هيچ قهرمان، ضد قهرمان، يا فاتحى ندارند؛ فقط بيان يك حس عميق از بينش نقاش و همدلى وى با وقايع اتفاق افتاده را نشان مى دهند. از آنجا كه هيچ چيز واقعاً قطعى نيست، اين تنها گفتگوى عميق هنرمند با خودش در جريان نقاشى است كه می تواند مرهمى بر دردهاى او شود. حدود بيست تابـلـوى اين مجـمــوعــه با اندازه هایی از 91x42 سانتيمتر گــرفته تا 6x4 متر، نتيجه ضبط اين گفتــگو است كه بخودى خود مهمتر ( و بسيار ماندگارتر) از هر حكم قطعيست. اينجا مجالى براى اظهار عقيده شخصى نيست، آنچه هست چیزی نیست جز اطلاعات.
جولیان داوز
قائم مقام بخش هنر امپرسیونیست و مدرن ساذبی Sotheby’s
برگردان به فارسی: گلی علوی، پویا قدوسی، علی مقدم
امير حسين اخوان
متولد 1359، تهران، ايران
تحصيلات:
1392-1394 دوره تربيت معلم همراه با جيمز مورفی، موسسه آينگر يوگا، نيويورك، آمريكا
1383 ليسانس نقاشی، دانشگاه بوستون، بوستون، ماساچوست، آمريكا
1361-1377 مدرسه رولند هال سنت ماركز، يوتا، آمريكا
1376 مدرسه تطبيقی Alain Rene Le Sage ، ونس، فرانسه
نمايشگاه های انفرادی:
1387 "پسر پارسی و ديو"، گالری اعتماد، تهران، ايران
نمايشگاه های گروهی:
1393 "سيلك اسكرين"، مركز هنرمعاصر مانا، نيويورك، آمريكا
1393 "منتخبين تابستان"، گالری ليلا هلر، نيويورك، آمريكا
1388 "نمايشگاه هنر نياوران"، تهران، ايران
1387 "نمايشگاه هنر تهران"، تهران، ايران
1387 "اينك بهشت بر روی زمين"، گالری بريك لين، لندن، انگلستان
1387 "هفتمین دوسالانه نقاشی معاصر ایران"، موزه صبا، تهران، ايران
1383 "نمايشگاه پايان نامه دانشگاه"، دانشگاه بوستون، بوستون، ماساچوست، آمريكا
1381 تالار حميدی، تهران، ايران
1381 كافه رويال اسپرسو، بوستون، ماساچوست، آمريكا
1379-1381 برگزاری نمايشگاه های دانشجويی در دانشگاه بوستون، بوستون، ماساچوست، آمريكا
Dedicated to my grandmother, Nahid Partovi, who taught me to "do everything as if I am making art."
Ettela’at
“Ettela’at” comprises the most important group of paintings to date by Iranian-American painter, Amir H Akhavan, following the successes of his “Persian Boy and Div” series, as well as major exhibitions in Tehran and London. The series executed between 2008 and the present day, maps the artist’s complex reconciliation of a bifurcated life between tumultuous Iran and New York City during the same period. The title of the show derives from the Arabic word for “Information”, which has entered the Farsi vernacular in part due to the eponymous Tehran newspaper, which remains in print and was among the first daily press organizations in Iran and indeed the Middle East. Much of the show’s source imagery is culled from the front pages of international newspapers and photographs which the artist interprets in grand scale with charged visceral brushwork. Having witnessed Iranian political turmoil first-hand during 2009, and the unfolding of the so-called Arab Spring from the perspective of a global citizen, Akhavan selects each image for the essential emotional qualities they reflect within his own psyche. Frustration, courage, camaraderie, loss, hope and ultimately victory are all presented and parsed exclusively via the formal language of painting. Having earned a B.F.A. from Boston University in painting and mentored by Ron Tomlinson, Akhavan’s unique style derives from the formal western tradition, and demonstrates the profound influence of Renaissance and 20th century masters alike. An emphasis on painterly quality unites the frenetic energy of abstract expressionism with archetypes of group portraiture and the Pieta Militaire, and signifies the arrival of a new international vocabulary – one fundamentally rooted in the purity of painting as a discipline and as a means of expression.
Akhavan’s renderings oscillate between figuration and abstraction but maintain a sense of international ambiguity, even as they address themes of social unrest, conflict and the ubiquitous plight of the citizen/warrior in the modern Middle East. By applying his distinctive approach to press photographs, the artist exposes the fundamental shortcomings of images which are in fact too crystalline to capture the nuance of ancient conflicts. In this series, there are no clear heroes, villains or victors- only a deep and abiding sense of knowledge, kinship and empathy for all that has come to pass. Because nothing is truly certain, it is the dialogue, the difficult, arching conversation between the artist and himself, carried out through the act of painting, that becomes Akhavan’s therapy. The roughly twenty canvases in this show, ranging in size from 36” by 42” to monumentally scaled 12” by 18” works, are the record of this dialogue which is itself more significant (and vastly more enduring) than any single statement. Here there are no opinions, only Ettela’at.
Julian Dawes
Vice President
Sotheby’s Impressionist and Modern Art
Amirhossein Akhavan
Born in 1980, Tehran, Iran
Nationalities: American, Iranian
Education:
2015-2013 Teacher Training with James Murphy, New York Institute of Iyengar Yoga, NY, US
2004-2000 BA in Fine Arts: Painting, Boston University, Boston, MA, US
(Including an extensive study of sculpture, art history, French literature and film)
1982-1998 College Preparatory, Beginning through Upper School, Rowland Hall St. Marks, Salt Lake City, Utah
1997 Youth for Understanding International Exchange Student, Lycée Alain René Le Sage, Vannes, France
Solo Exhibitions:
2008 “Persian Boy and Div”, Etemad Gallery, Tehran, Iran
Group Exhibitions:
2014 “GL Editions” (Recent Silk Screens), MANA Contemporary, New Jersey, NY, US
2014 “Summer Selects”, Leila Heler Gallery, NY, US
2009 “Niavaran Art Fair”, Tehran, Iran
2008 “Tehran Art Expo”, Tehran, Iran
2008 “Heaven on Earth Now”, Brick Lane Gallery, London, England
2008 “The 7th National Iranian Painting Biennial”, Saba Museum of Modern Art, Tehran, Iran
2004 “Thesis Exhibition”, Boston University, Boston, MA, US
2002 Talar Hamidi Gallery, Tehran, Iran
2002 Espresso Royal Coffee Shop, Boston, MA, US
2002-2000 Boston University Student Exhibitions, Boston, MA, US
...
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.
