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Mehrdad AfsariPhotography, to me, is a visual apocalypse of thought. Much like a poet who is in quest of truth of nature, so is the photographer,as a creator,in representing the truth via picture.
This medium (photography) has always preoccupied my mind.

From "The Gradual Disappearance of Things" Series | Analog Photography | Chemical Print on Professional Photo Paper | 26x28 CM | 2014 | 36 Editions + 1 AP

The gradual disappearance of things 2014

Insomnia | 135x175 cm | Analog Photography | 3 Editions + 1 AP.

Insomnia 2012

America Suspended Land | 110x150 cm | Digital Photography | 5 Editions + 1 AP.

America Suspended Land 2010

100x100 cm | Digital Photography | 7 Editions + 1 AP.

Shahnameh 2008

Blue Sorrow | 100x100 cm | Digital Photography | 5 Editions + 1 AP.

Blue Sorrow 2007

I am Oblivious of all Things | 100x70 cm | Digital Photography | 3 Editions + 1 AP.

I am Oblivious of all Things 2007

"After Grandmother" series | 150x150 cm | Diasec | 2007

After Grandmother 2006

9x9 cm | Polaroid

Polaroid 2006

Iranian Garden | 50x70 cm | Digital Photography | 3 Editions + 1 AP.

Iranian Garden 2005

Photography as a Myth | 40x60 cm | Analog Photography | 5 Editions + 1 AP.

Photography as a Myth 2004

The Sacred Geometry of Chance | Each Late 50x70 cm | Analog Photography | 3 Editions + 1 AP.

The Sacred Geometry of Chance 2003

Roadscape | 30x45 cm | Analog Photography | 3 Editions + 1 AP.

Roadscape 2001

The Felts | 30x45 cm | Analog Photography | 3 Editions + 1 AP.

The Felts 1999

The Felts | 30x45 cm | Analog Photography | 3 Editions + 1 AP.

The Symphony of light 1998

Mehrdad AfsariCV/BIO

MEHRDAD AFSARI
-    Born 1977- Khoy, IRAN
-    Live and work in Tehran.

e-mail: mehrdadafsari[at]aol.com

 

- 2006 – M.F.A in Photography – Art University of Tehran, Iran
- 2000 – B.A in Photography – Art and Architecture Faculty of Azad University of Tehran, Iran
- 2005 Until now – Professor of Tehran Art University
- 2004 Until now – Honorary Member of Iranian Visual Artists Society

Solo Exhibition:
- 2015 – “After Grandmother” – Mohsen Art Gallery – Tehran, Iran
- 2014 – “The Gradual Disappearance of Things” – Mohsen Art Gallery – Tehran,Iran
-    2013 – “America, Suspended Land” – Mohsen Art Gallery – Tehran,Iran
-    2012 – “Insomnia” – Mohsen Art Gallery – Tehran,Iran
-    2011 – “The Sacred Geometry of Chance” – Etemad Art Gallery – Tehran, Iran
-    2009 – “The frenzied heart of mine, Houses the passionate countenance of thine” – Assar art gallery – Tehran
-    2008 – ” I am oblivious of all things”-Khak art gallery – Tehran
-    2006 – “Gum bichoromate print” – Assar art gallery – Tehran
-    2005 – “photography as a myth” – Silk road art gallery – Tehran
-    2005 –  UNDP – Tehran
-    2004 –  Haft samar art gallery – Tehran,Iran
-    2003 – “Roadscape ” and ” The felts ” –  Assar art gallery – Tehran
-    2002 – “The village of Tehran”- Aeineh gallery – Tehran,Iran

 

Selected Group Exhibitions:
- 2015 – “uNclear deal”- Curated by Mehdi Abdolkarimi-The Mine Art gallery-Dubai, U.A.E
- 2015- “Art for Peace”- Curated by Feridon Farbod-Niavaran Artistic Creations Foundation – Tehran, Iran
- 2015- “Winter” – Mohsen Art Gallery – Tehran,Iran
- 2015 – “Iranian Contemporary Art”- ART ANKARA 2015- Ankara, Turkey
- 2014 – “Approaches to Tradition neo- Traditionalism in Contemporary Iranian Art” Tehran Museum of Contemporary Art- Tehran, Iran
-    2014 – “zoo” Curated by Iman Safaei- Shirin Art Gallery – Tehran,Iran
-    2014 – “Art For Peace”- Curated by Solmaz Shabani- Same time in 3 gallery- Tehran,Iran
-    2013 – “My name is not Rouge” Shirin Gallery, New York,USA
-    2013 – “SubTehran: Subjective Truth from Iran”, Center of Contemporary Art (CCA),Curated by Sohrab Kashani- Tbilisi, Georgia
-    2013 – MEDATAK Festival “Section uncharted territory:video art in Iran”- Video – Madrid,Spain
-    2013 – Shirin Art Gallery- “Silence”-curated by:Iman Safaei-Tehran,Iran
-    2012 – Mahemehr Art Gallery- “Inbetwenness”-curated by: Hamid Severi-Video-Tahran,Iran
-    2012 - Mohsen Art Gallery – “Confined Landscape”-Tehran,Iran
-    2011 – Mohsen Art Gallery –  “The 1st Tehran annual digital art exhibition” -Video-Tehran,Iran
-    2011 – “TV Dinner project” -Video- Queens Museum of Art (QMA) -USA
-    2011 – Mohsen Art Gallery – “Pool” -Tehran,Iran
-    2011 – Etamad Art Gallery – “13X18 Portrait” -Video – Tehran, Iran
-    2010 – Mohsen Art Gallery –  “Big Lie”-Video -Tehran, Iran
-    2010 – Mohsen Art Gallery – “Obligatory Military Service”-Video-Tehran, Iran
-    2010 – Tarahan Azad Art Gallery – “Tehran 1,6 sq Km”- installation -Tehran, Iran
-    2009 – “Settlement and Urban Identity in the Persian Gulf Region”, University of Westminster, London, UK
-    2008 – Hillyer Art space – Washington D.C – USA
-    2008 – Group photo Exhibition – Niavaran Artistic Creations Foundation – Tehran, Iran
-    2006 – 10th photo biennial – Tehran museum of contemporary art, Iran
-    2004 – Art expo – Tehran museum of contemporary art, Iran
-    2004 – 9th photo biennial – Tehran museum of contemporary art, Iran
-    2004 – Assar art gallery – Tehran, Iran
-    2004 – Silk road art gallery – Tehran, Iran
-    2000 – Assar art gallery – ” Iranian contemporary photography “- Tehran, Iran
-    1998 – Tehran gallery – subordinate to Tehran University – Tehran, Iran

From 1997 – 2014 More than 50 national and international group exhibitions

 

Awards and Fellowships:
- 2010 – KAUNAS Photo Star Festival – Top finalist – Kaunas, Lithuania
- 2009 – “1 sq. Mile Project” – Visiting Art, art institution in London, UK.
- 2008 – “Art Bridge Program” – International arts &artists – Washington D.C, New York, Charleston – USA
- 2007 – 4th Iranian sea photo biennial – second prize -Iran
- 2006 – 10th photo biennial – Tehran Museum of Contemporary Art – first prize -Iran
- 2005 – 2th Iranian sea photo biennial – third prize -Iran

Other activities  :
- 2016 – Jury member of ” Foad” photo festival- Tehran, Iran
- 2015 – Jury member of ” Birjand” photo festival Birjand, Iran
- 2015 – Jury member of “Dast Dovoom” Photo Festival -Tehran, Iran
- 2015 – Curated photo group exhibition “Winter “-Mohsen Art gallery-Tehran,Iran
- 2012 – Curated photo group exhibition “Confined Landscape”-Mohsen Art gallery-Tehran,Iran
- 2010 – Jury member of “Persia in the Mirror of Nature” Photo Festival -Shiraz, Iran

Art Fair & Action:
-    2011 – Contemporary Art Istanbul – Istanbul,Turkey
-    2011  - 1st Modern & Contemporary visual Art Auction-Tehran,Iran
-    2011 – “Berliner Liste”- Video – Berlin,Germany
-    2011 – Bonhams Art fair – Dubai, U.A.E
-    2010 – Contemporary Art Istanbul – Istanbul, Turkey
-    2009 – Parisphoto – Paris,France

Collection :
-    Tehran museum of contemporary art

Publications:
- 2014 – “The Gradual Disappearance of Things” -Mohsen Publication, Tehran, Iran
- 2013 “Contemporary Iranian Art:New perspectives”, published by Saqi books,London,UK
- 2011 – “la photography Iranienne”, published by Editions loco, Paris, France
- 2010 – “EYE”- Photo Series- No.38 – Mahriz Publication – Tehran,Iran
- 2004 – “Time And Space” – Photo Series – Herfeh,Honnarmad Publication- Tehran,Iran
-    2000 – “The sun of the Light” – Photo Series - Herfeh,Honnarmad Publication- Tehran,Iran




The gradual disappearance of things 2014

“The image is an impression of the truth, a glimpse of the truth permitted to us in our blindness.”
Andrei Tarkovsky

The collection entitled “The gradual disappearance of things” is the result of a ten-year project. The idea was first sparked in my mind after reading Walter Benjamin’s controversial essay “The Work of Art in the Age of Mechanical Reproducibility”, where Benjamin has discussed about such issues as “aura” that surrounds a work of art, uniqueness of the work of art, art for general public, plurality, …
Ever since my involvement in the world of photographic nature of photography (where it depicts more than what pictures show) it was one of my major mental concerns. To be true, the interest in this magical and indefinable photographic nature became stronger and stronger in me day by day. One of the preliminary definitions of the photographic nature is copying and reproducing the world. Photography copies the world shot by shot and reproduces that part of the nature for indefinite times. Photos register a moment that has passed and it is interesting to know that photography brings the past moments into “existence”. In this collection, we see pictures repeated on negatives for 36 times with almost 10 seconds time interval between the first and last frame. They seem the same pictures but they are not, since times are different. I have selected the scenes chiefly based on my photographic sensibility. This means I have taken photos from the scenes attracting my attention and arousing my sentiments. This is because the incident itself was important for me as a medium.
36 frames in 36 photos reproduced in 36 versions putting on display a total of 46656 frames of the moments gone.

Mehrdad Afsari
Dec. 2014

 

“هر آنچه كه دیگر نیست”

هر تصویر نشانی از حقیقت است
كه خداوند
دیدار آن را
با چشمان نابینایمان
رخصتی كوتاه بخشیده است.
آندری تاركوفسكی

مجموعه‌ی “هر آنچه كه دیگر نیست” یك پروژه‌ی طولانی مدت بود از حدود ١٠ سال پیش تاكنون. جرقه‌ی اولیه پروژه با والتر بنیامین و خواندن مقاله‌ی معروفش ” اثر هنری در دوران تكثر مكانیكی” بود كه بنیامین به مباحثی همچون هاله‌ی اثر هنری، یگانگی اثر، هنر برای عموم جامعه، تكثر و … می‌پردازد.
از ابتدای ورودم به دنیای عكاسی ذات عكاسانه (بیشتر از آنچه عكس نشان می‌دهد) دغدغه‌ی مهم ذهنی‌ام بوده و بی‌راه نگفته‌ام كه این ذات عكاسانه تعریف ناشدنی و جادویی روز به روز برایم پررنگتر می‌شود.یكی از تعاریف ابتدایی این ذات عكاسی كپی و تكثیر كردن جهان است، عكاسی جهان را عین به عین كپی می‌كند و می‌تواند آن تكه از جهان را بی‌نهایت تكثیر كند، عكس لحظه‌ای را ثبت می‌كند كه دیگر نیست و جالب اینجاست كه آنچه كه دیگر نیست را به “هست” در حال تبدیل می‌كند. در اینجا ما با تصاویری روبرو هستیم كه بر روی نگاتیو ۳۶ بار تكرار شده‌اند و تقریبا بین فریم اول و آخر كمتر از ١٠ ثانیه فاصله‌ی زمانی وجود دارد و همه یكسان به نظر می‌آیند ولی در واقع آن‌ها یكسان نیستند و فقط به نظر می‌آیند، چون زمان در آن‌ها یكسان نیست. انتخاب فضاهای عكاسی بیشتر بر پایه شور حسی عكاسانه‌ام بوده است یعنی آنچه را عكاسی كرده‌ام كه، بنا به هر دلیل حسی، مرا به سوی خود فراخوانده است چون بیشتر خود اتفاق در ساحت مدیوم برایم اهمیت داشته است. ۳۶ فریم در ۳۶ تصویر كه در ۳۶ نسخه تكثیر شده‌اند كه در مجموع ۴۶۶۵۶ فریم را مقابل چشم بیننده قرار می‌دهد و آن‌ها دیگر نیستند.

مهرداد افسری / آذر ١٣٩٣






Insomnia 2012

Insomnia reflects my present days, what I’m suffering from these days and nights.

For me the realities are ambiguous and dreamlike, they are bitter and imprecise and manifest a kind of obscurity which has permeated my life.

The events are as much unreal for me as the border between dream and reality is defined in an unusual way. I’ve been surrounded by an explosive chaos beset with indeterminacy. In this special point of time and space, we are living in a reverse scheme of the musts and the mustn’ts

The present collection was photographed with a medium format analog camera (4.5 by 6) in 2011-2012.

 

Mehrdad Afsari, November 2012






America Suspended Land 2010

Hyper-real utopia
America is neither dream nor reality. it is a sort of hyper-reality. America is a utopia which has been achieved before.
from “America” by Jean Baudrillard

America is a modern experience in its entirety, genuine utopian realization of a series of interrupted referrals that are sort of candidly unreal. it is a mass of meaning in a collection of very dreamy and implausible images that have been stockpiled like postal cards of an eager but aimless tourist.
Being American is a very obsessive attempt for access to a symmetric proportion that is incomplete and flawed. it is a sphere ranging from contradiction and vanity to grief and disappointment; a society with extreme abstraction that encompasses a collection of lonely and woeful figures. A united nation but collaged with incongruous minorities; it is a frail statue full of tracks but integrated and powerful; an inverted metaphor of the promised Land.
America is fast; it has ever-contracted and shivering muscles that resemble involuntary movements of a sleep-walker. it is a breathtaking magic in unique American style: fast food, skyscrapers, automatic guns, hollywood and fear of terrorism. the discovery of America is the macroscopic study of the cultural, ethnic and racial fusion that the newly founded American civilization has made its traditional functions artificial. it is a country whose endless variety of faces, tastes, and languages are no obstacles to its doubly awful human isolation.
But representation of America and the experience of being American is a multi-layer research into gaudy and bright arena with a harsh rhythm and full of people free from care, family men, patriotic individuals who have filled the city with all its streets and skyscrapers in a confused state. it is a brief contemplation for bringing to light the ever active racial, linguistic and gender gaps of an always bipolar socio-political sphere, with a flavor of liberalism and religion whose refracted mirror tries to reflect a pluralistic image of its social and popular contexts. restudy of America as a project in “America, Suspended Land” photo series by mehrdad Afsari is putting together heterogeneous frames of astounding collaboration of spiritless population that displays overlaid frames of a modern catastrophe from the collapse of a ruined reality. it is an elegy for nonstop gaiety of full-fledged transformation; a comprehensive book of festival in a ceremony to unveil gradual collapse. it is the wishful accompanying of a rest-less traveler toward that hyper-real utopia.

ehsan rasoulof
November 2013






Shahnameh 2008

The Frenzied Heart of Mine,

Houses the passion at countenance of thine

 

Re-Pixilization: The PIXEL Revisited Mehrdad Afsari

 

Shahnama (The book of kings) of Shah-Tahmasb (hotan) 928-946 A.H.
Digital revolution in photography attributed an inventory of various feedbacks to this extensive medium. Digital technology has virtualized the world thereby helping it experience novelties of forms. Manufacturers of digital cameras maneuvered over
precise representation of details and better de-pixilization as an indispensable part of their promotion. To me, however, it meant a visual event that has invariably kept me thinking of its potentials.

 

The Shahnama (The book of kings) of Shah-Tahmasb (hotan) is one of the eminent artworks of the land of Persia. A dominant feature of Iranian painting is its intuitiveness and subjectivity. The Iranian artist exploits all the gifts of nature; human, plant, soil, and rock. Yet, he never attempts objective reconstruction and visual manifestation. Conversely enough, he discovers, through his mind, the nature, human and ambience, and interprets the thematic content and finally renders an exclusive
representation. Meanwhile, this conceptual image is painted by minute details.
In 2004, for the first time ever an exhibition of such proverbial artworks was held in the Museum for Contemporary Art. When I had my first visit of the sublime Iranian art, what attracted me most was the magnifiers at the ingress to the museum which implied that much of the nuances and graces of the works were not visible to the naked eye: the composition of designs and colors masterfully juxtaposed.

 

In my perspective, an artist lives in the moment and brings to being, is inspired by the past and his art flows into future. What interested me above all was the contrast engendered by the photographs: the intuitive aspect of paintings was also manifest otherwise in the digital world-the improvisations that worked out in there. How is it that the works whose importance lied in their inherent miniaturized graces and vignettes are now transformed via pixels (a novel visual potential of multilayered
meanings) in the digital world. This was in fact a quest of different feedbacks for the
past and a revelation of the art of my homeland, Iran.






Blue Sorrow 2007






I am Oblivious of all Things 2007






After Grandmother 2006

When my grandmother passed away, I was in a faraway place. She was the epitome of worldly purity to me, and her house reminded me of my childhood’s summery memories in Khoy.
When I got there they had already buried her, so I never saw the image of death on her face. I spent that night at my grandmother’s house, and, for the first time, alone. Her windows were tall, with vases that had been brought in, for it was a very cold winter.
I shot the flowers relentlessly, with no photographic concerns, as if I wanted to make my lost grandmother and my childhood nostalgia my own, forever imagining her fingers spinning the threads on the vases.
“After Grandma” was a new beginning for me: a new opportunity to live a changed life in the world of photography.

 

Mehrdad Afsari






Polaroid 2006






Iranian Garden 2005

The Iranian Garden has always had an important and valuable place in Persian art and literature, and has been introduced with particular traits; a garden with definite descriptions which is enriched with visual beauties and has been described as full of trees, flowers, green, and nightingale.
Hafiz, the Iranian poet of 7th century, describes Iranian Garden as the following:
“As the besotted nightingale found its way to the garden, it found smiling the flower’s face and the wine bowl”.
In addition to literature, the Iranian Garden has been considered in visual arts of Iran. For example, multiple samples of Iranian Garden are present in Iran miniatures, gilding, printing, and most important of all, Persian Carpet. These samples are full of deep and lively colors which images the age’s enjoyment.
In the chase after the Iranian Garden which was full of colors, flowers, trees, and green I sought a lot and what I found was a “concept” in my mind of the past ages’ enjoyment. How much they (our ancestors) lived in color and greenness and joy, and their life’s concept was full of color, as a result of which they have started description in this way.
I decided to picture the Iranian Garden of the present age.  However, that colorful garden was not objective for me and blackness and weak and wage whiteness, was all that existed; because, much has been passed in the history of Iran until the current age that I, the modern Iranian, am full of ambiguity and vagueness.
What has got apparent in my photographs was all a delusion of “being”. The backgrounds of my photographs were full of unknown blackness attacks and whitenesses (future) that seemed unreachable among the black ingredients of my image. The black points signalize the present time.






Photography as a Myth 2004

Every photo opts for a moment of the world and inserts it in another world. Once taken, the photo is afflicted by death and time and movement are bereft of it, yet it enters a new time-bound world. Myth is a message; a message from past in present which perpetually recurs.
Photography takes a message from the past and resonates it in the present; as if in each looking (each return to the artwork) it recycles itself for agains.
In the album entitled “Photography qua Myth”, the photographer is a beholder who pries the past (i.e. the culture) from an orifice—the camera—which in turn is a vehicle for inquiry and is personified in the photos. The venues are mute and mysterious and
photography reincarnates them in their new existence.
Mehrdad Afsari






The Sacred Geometry of Chance 2003






Roadscape 2001






The Felts 1999






The Symphony of light 1998