Category: Non classé @en

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POUREA ALIMIRZAEE, Fragile masculinity

POUREA ALIMIRZAEE, Fragile masculinity

Still in his senior year at the Academy of Fine Arts in Vienna, the name of Pourea Alimirzaee is already circulating among art collectors.

Originally from Iran, Pourea deals in his work exclusively with the subject of fragile masculinity, also called toxic masculinity. He has created this character, a kind of human being between woman and man, who looks very similar to the long-haired young artist. Self portraits? “Yes, of course there are similarities”, he replies with a laugh and self-confidently and adds, “As a viewer you have to deal with it, either it bothers you or you feel attracted”.

How did art come to you?

I’ve initially studied computer engineering in Tehran, but I was always drawing. I just didn’t know at that time that I’ll continue in art.

So how did you come to Vienna to study art?

I needed a change at one point in my life, a new challenge. At that time, I was playing the bass in a band in Iran. So, one day I’ve met a friend of mine on the street who told me to try the admission exam for the Conservatory of Vienna. I’ve done it… and a couple of months later I found myself in Vienna studying bass at the conservatory. But the way they taught music was too conservative for me, so I decided to apply for the Academy of Fine Arts in 2015 in figurative painting with Kirsi Mikkola. And I got in!

Looking at your paintings, there are is always this character with this long hair set in this dreamy environment …

Yes, I’m actually working on the subject of “toxic masculinity” or “fragile masculinity” which refers to certain cultural, traditional and stereotypical masculine norms that can be harmful to men, women and society overall. It also brings up the position of men who behave in a feminine way but are not gay.

I have struggled my whole life with this kind of stereotypes and society that tells you to play this role of being a “real man”.

So, when I came to Vienna, I’ve started to explore more this feeling that I had and to do more research on “toxic / fragile masculinity”. It’s a trend that started around four years ago, so I thought it’s actually time to talk about it.

So, in this case are these portraits in your paintings actually self portraits?

Of course there are similarities!
I’ve created this character where you’re not sure if it’s a man or a woman with long hair. The long hair is normally a very feminine symbol, and here you have this dude standing in this picture trying to be confident, just be. As a viewer you have to deal with it, either you feel disturbed or intrigued.

And as a musician, any music when you paint?

Yes, the movie soundtrack of Kurosawa’s “Rushmon” over and over again. It’s brilliant! It brings me into a kind of spiritual state of mind.

Credits:
Photos : Anahita Vessier
Cover photo : Navid Moaddeb
Text: Anahita Vessier
Pourea Alimirzaee Instagram

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A STRANGER’S HAND, Gideon Rubin in conversation with Roman Hossein Khonsari

A STRANGER’S HAND, Gideon Rubin in conversation with Roman Hossein Khonsari

«…However the face gives priority to the self. You are you. In this sense, you could say that the face is not “seen”. It can only be embraced by your thought processes: it is uncontainable, it takes you beyond… »
(Emmanuel Levinas)

From protesters in Hong Kong to spectators of the film Joker, which features an urban revolt led by a grimacing clown, the face becomes an important issue of political and social commitment, identification and recognition. States and big companies that collect computer data are interested in this facial recognition that some citizens refuse, for whom covering their face with a mask is a way of preserving their freedom. But what remains of their identity behind these hidden faces ?

Projecting an identity on deleted faces, is a commun subject in Gideon Rubin’s work as well as in Dr. Roman Hossein Khonsari’s daily practice as a maxillofacial surgeon, reconstructing lost faces due to accidents or diseases. 

Both are craftsmen of faceless memories, mastering exceptional manual skills, one with a brush, the other with a scalpel, and confronting themselves constantly with the question of history, memories, traces of life, identities behind these faces without features.

This conversation between the artist and the surgeon, imagined and orchestrated by Anahita Vessier, is an interdisciplinary exchange inviting the audience to dive deeper into Gideon Rubin’s work on the occasion of his exhibition “A Stranger’s Hand” at Galerie Karsten Greve in Paris and to discover still unexplored corners in his artistic universe through Dr. Khonsari’s approach as a scientist of humanities.

Credits :
Photos by Flaminia Reposi
Video by Alban Jadas for Galerie Karsten Greve
Text : Anahita Vessier
hhttps://www.gideonrubin.com

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RANA BEGUM, Light, colour and form

RANA BEGUM, Light, colour and form

British-Bangladeshi artist Rana Begum has been moving from Bangladesh to England when she was eight, without speaking any word of English. She has chosen from that moment on, art as her mode of communcation. This permanent urge to create has led her to become one of the rising stars in the international art scene.

She once said about her practice “The need to create is always there. I took a visual route. It’s not necessarily one that people always understand, but I am happy with it. Even though sometimes, I may not be sure where I’m going, I feel confident that this road is taking me somewhere.”

How did you get into arts?

I arrived in England in 1985. I didn’t speak a word of English so when I started school it was really hard – I spent most of my first day really bored and trying not to fall asleep! The next day my teacher gave me some colouring pencils and paper. Suddenly I had a way to communicate. I drew constantly and all of my pictures went up on the wall. It gave me such a positive connection with art from a young age.

So becoming an artist was quite a struggle for you. 

Yes, I think that’s fair to say! Being both female and Muslim meant that I had to work very hard not to have either of these things define my work or how it is perceived. I didn’t make things easy for myself though. I started out as a figurative artist which was in conflict with my family’s religious beliefs but, thanks to the support of my headmistress and my uncle, they came around.
It’s all part of the journey that has got me to where I am today.

 

Light, Colour and repetitivity are very important in your work. Any connection with your childhood in Bangladesh where you grew up until you were eight? 

Yes, it’s quite strange because, for a long time, I didn’t feel at all connected with my experience growing up as a child in Bangladesh.

It was only when I was in cognitive analytic therapy, a means of the rediscovering memories, that I was able to discover why I did certain things as a child in Bangladesh and how they influenced my work later. I really do believe things happen for a reason!

For example, I used to stare into the rice fields and these images are extremely vivid. I remember the repetitiveness, the water, the wind, the movement and the light reflecting on the water. I recall being told off quite a lot for sitting and staring. At the time I don’t know why I was doing it. But now these colours and forms are manifest in my work, as if they somehow imprinted in my mind as a child.

Colours are very important to me. I grew up watching Bollywood movies and I absolutely loved their vibrancy.

Also, my love for repetition derives from my religious upbringing. I grew up reading the Qur’an and praying five times a day. The routine of prayer as well as the movements you do when you pray, instilled this repetition that forever permeates through my work.

These three things, colours, light and form are like a triangle that have shaped my practice.

And how did it feel to return to Bangladesh as an artist in 2014 to exhibit at the Dhaka Art Summit ?  Have you been nervous? 

I was really nervous, it felt like a really big deal! I knew that I’d go back to Bangladesh one day but I didn’t think that I’d go back to exhibit. This was around the time I was in therapy and had uncovered some more childhood memories. It felt particularly fitting that the brief was to use materials that were produced locally. While growing up I had a family friend who looked after me and she used to weave baskets. I wanted to incorporate that childhood memory so I thought why not create a structure with a basket formation.

 When I was a kid, I used to go to the mosque early in the morning to read the Qur’an. The mosque itself was very simple with a fountain in front which has since been demolished. I remember the room filled with people reciting the Qur’an. There was the sound of voices alongside that of pages turning with sunlight peeking through the window. It was a strong multi-sensory moment of light and sound. This is what I wanted to recreate at the Dhaka Art Summit, an experience that was intense yet calm and meditative.

 Another highlight from my return to Bangladesh was that I met Ziba from Parasol Unit in Dhaka.

This was a very important encounter in your career.

Meeting Ziba was a very special moment in my career. She gave me an incredible opportunity to have a solo show at Parasol Unit in London.

Through her work as a curator, I was able to create a narrative that helped me to understand where my work comes from, to access where I was at that time and let me know that I was going the right direction. This show truly gave me the confidence that I needed. 

As an artist, do you think it’s important to leave room for accidents and let go sometimes? 

You have to! Otherwise, you’ll produce the same stuff over and over again. Each accident is special and has to lead to something else. It might be the tiniest detail that the next art piece answers. So much of my work stems from chance encounters – the play of light on a wall or from experimenting with a new material. I think it is essential to maintain a level of curiosity and freedom when creating work.

And when you look at a finished art piece, does it happen that you’re unsatisfied with the outcome? 

Sometimes yes and that’s when I leave it alone for a while and will come back to it. There are times when I don’t want to let go of the works. However, to me it’s more important that the work gets out when its finished and can interact with viewers and its environment. Because temporal factors such as light play such a crucial role in my work, you can never really say that a work is finished because it will take on a variety of new and unexpected states depending on the time of day, various densities of light etc. That’s why I love public art. You can push the boundaries you would not be able to tackle while in the studio.

Any public place where you dream to have one of your art pieces? 

Dia Art Foundation!

And what about collaborations?

I love collaborating with people from different disciplines because there are things to explore that you might not have thought of.

For me, it’s vital to be open to conversations and criticism. That’s the only way to continue growing and learning.

Was it always easy for you to talk about Islam?

That was one of the things that was really difficult to me for a long time because I did not want to be pigeonholed, to be pushed into a certain direction. I did not want my gender, my religion or my culture to be an issue. It was imperative for me not to focus on those things and painting offered me the freedom that I needed. Now I don’t have an issue talking about the influences.

What is your first thought when you think of Iran?

That is a place I would love to go to…geometry, colour and delicious food comes to mind!

Credits:
All photos of Rana Begum at her studio by Philip White
Cover picture by Josh Murffit
Text: Anahita Vessier
https://www.ranabegum.com

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ESTELLE HANANIA, The ambiguity of beauty

ESTELLE HANANIA, The ambiguity of beauty

Estelle Hanania is constantly playing with an intriguing ambiguity in her photos mixing de raw with the soft, the magic with the realistic, the ordinary with the extravagant.

She has won the photo prize at the Hyères Festival in 2006 and since then her work can be seen in the most renowned fashion magazines and prestigious clients such as Hermès have collaborated with her giving her carte blanche.

Graduated from the School of Fine Arts in Paris you won the photo prize at the Hyères Festival in 2006. Why did you finally choose photography as your means of expression?

During my studies of Applied Arts and at the School of Fine Arts I always used a lot photography. But the real turning point was when I meet the french photographer Camille Vivier. She’s a fantastic person and her fashion photography has something free and independent. Her work encouraged me to become a photographer without renouncing my artistic freedom and requirement.

I’m someone rather instinctive, my photos are some kind of visions of different shapes composed within a certain frame. I love the flatness of the light that was used in old Eastern European movies.
There is also the psychological dimension in my work. Who is the person that I’m shooting? What in particular do I want to reveal in my picture?

In your book “Glacial Jubilé” you’ve gathered 6 years of work focusing on Eastern European pagan cultures and winter rituals. What is so fascinating and interesting for you in those ancestral rituals?

I’m a huge fan of Folk Art, art made by self-taught artists or even untrained people. There is something very spontaneous in these kind of creations, something utilitarian, decorative, naive.
10 years ago I saw the exhibition ” L’Esprit de la Forêt” an there was this image of a mask in the catalogue that in particular intrigued me. I’ve made some research and I finally managed to find the tiny village in Switzerland where it came from. I decided to go there and take photos during their winter solstice celebration. Since then I haven’t stopped taking photos of these kind of winter rituals in Bulgaria, Austria, Switzerland, Basque Country.

“What is fascinating to me in this subject is that during this winter celebration ordinary people become performers, become somebody else, get out of themselves in order to come back calmer and purified.
It’s a kind of exorcism.”

However my photos are less precise than an anthropological research. I like to keep a certain kind of mystery.

Masks, costumes, drawings on bodies, painted faces are themes that are constantly returning in your work. In your book “Happy Purim” you’ve shot children dressed up in costumes celebrating this Jewish holiday.
Why this obsession for disguising, masking?

I’ve shot the “Happy Purim” series in Stamford Hill, an orthodox Jewish headquarter in the North of London. I’ve been there several times to take photos of those kids celebrating “Purim” and dressing up in the weirdest costumes.

These photos combine not only my fascination for masking, disguising yourself, to get out of yourself, but also the “siblings” theme, my other subject that I’m fascinated about.
I have a twin sister, so there is also a very personal approach and background behind my fascination for sisters and brothers who look the same and dress the same. This kind of resemblance can be perceived as something creepy or as something funny, depending on the each person’s personal perception.

Besides your anthropological approach in your photography, you’re working also on fashion shoots for magazines such as M magazine, Another Magazine, Wallstreet Journal, Pop, Dazed and Confused or clients such as Martin Margiela, Miyake or Hermès. Does fashion inspire you?

With my sister Marion, we were always interested in fashion. We bought all the fashion magazines and knew everything about every designer and fashion photographer.
Our mother was drawing and painting a lot, and transmitted us this passion for art and being creative. My grand-mother was sewing a lot and passed us on her love for doing manual work.

“To me fashion is something very inspiring, clothes and accessories are like objects. It allows you to create characters, tell a story.”

I’m also interested in the human body and the way it can be presented. So fashion photography is a great opportunity to express all this.

Do you prefer to work alone or do you like to collaborate with other artists and blend different means of artistic expressions? A good example for pushing the boundaries was your collaboration with the French artist Christophe Brunnquell.

I love to work with Christophe. We’ve met in Berlin and have organized a working session together for the magazine “Sang Bleu” casting several dancers. During 8 or 9 hours we were improvising and creating.

“Collaborating with Christophe Brunnquell is extraordinary, almost like a performance.”

It’s a fusion of his work and my work, leaving behind all the constraints of our usual creative process and creating something new together, without knowing which result we’ll achieve. He is constantly pushing the limits, breaking boundaries, I’m more attentive, focused on the model that I’m shooting.

But there are also other artiste that I admire and that I’d Iike to collaborate with such as the Czech filmmaker Jan Svankmajer, the artist Corentin Grossmann or the florist Thierry Boutemy.

You’re constantly playing with a certain kind of ambiguity in your photos which creates a very strong and intriguing ambiance and can sometimes be also even quite disturbing. Is this the feeling that you’re trying to evoke with your work?

I aways hated being categorized, the blond, sweet, gentle girl. We all have also our dark side. Even though we represent a certain image on the outside, there is so much more behind.

“In my photos of the winter solstice rituals I show this dark side that in the end leads to purification, to cleansing your spirit.”

Are there any films from your childhood that have influenced your artistic vision?

There are many, “The Wizard of Oz”, “Sound Of Music”, “The Never-ending Story”.

In “The Sound Of Music” I like the story around the siblings that dress the same.

In “The Wizard of Oz” and “The Never-ending Story” both stories start in an ordinary world and suddenly at one point switch into a strange and fantastical world.

That’s what I also try to obtain in my photos. So these films have definitely influenced my work.

What comes to your mind when you think about Iran?

I think of my friend Payam and his art collective “Slavs and Tatars”. He introduced me to Iranian culture.

Credits:
All photos by Estelle Hanania
Text: Anahita Vessier
Translation: Anahita Vessier
http://www.estellehanania.com/

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GEORGIA RUSSELL, Windows onto untamed nature

GEORGIA RUSSELL, Window onto untamed nature

To observe Georgia Russell working on her paintings is just fascinating. Originally from Elgin in Scotland, Georgia creates these impressive paintings that remind of the wide and wild grassland of the Highlands moving in the wind with all its colors and luminosity. By cutting out stripes and ornaments on several layers of paper and canvas with a scalpel, she creates these tridimensional effects and her artwork becomes plant-like windows, with light filtering through and offering glimpses of architecture.

Today Georgia lives and works with her husband, the Venezuelan artist Raul Illarramendi, and their two kids next to Paris. Her extraordinary artwork can be seen in shows all round the world as well as in private and public collections, including the Centre Georges Pompidou in Paris.

You’re living and working next to Paris, in Méru. What made you move to Paris after graduating from the Royal College of Art In London ? 

During my studies at the Royal College I had been selected for a residency at the Cité des Arts Internationale in Paris. During this time I had started my work on cut books and was sourcing my new material there so it made sense to return once I had obtained my Masters in London.

That was quite a while ago! Since then you became a successful artist. Currently you’re showing your new work at Gallery Karsten Greve in Paris. What was the inspiration behind this  exhibition called “Paintings” ? 

My most recent exhibition shows a leap from contained artworks in plexiglass to painting on the canvas.

I wanted to work larger scale and see what it was to make actual “paintings”.

Recently I have been inspired by Helen Frankenthaler and her use of both sides of the canvas and Clyfford Still’s vertical compositions.

These new large scale paintings become almost sculptures. You’re cutting out ornaments and fine lines with a sharp scalpel and then you reconstruct them by inlacing them which creates a very interesting tridimensional effect with a very particular movement. Could you explain a little bit more this concept of « creative destruction » ?

I am interested in negative space and how it changes a material. I don’t see it as a destruction but more like a reconstruction.

I am curious about the idea that something has been changed and cannot go back to its original state. Something emotional happens when we realise something is absent. This does not have to be about loss but can evoke feelings of freedom or release.

There is this repetative gesture that you apply meticulously on your paintings. How does it feel do be concentrated for hours, for days, for weeks on one piece doing the same movement over and over again? 

It doesn’t seem repetative to me, there are so many differences in every stroke. I love being concentrated on a composition. The world around disappears and all I think about are the effects of shapes on other shapes, recto versus verso, colours against other colours, negatives beside positives, movement.

This movement in your work is like a choreography of lines and shapes that remind me of Isadora Duncan’s modern dance ballets and her words about being an artist « You are once wild, don’t let them tame you ». What do you think about this quote? 

That’s a great quote, I should remember it every day!

Your husband is the Venezuelan artist Raul Illarramendi. Do you sometimes ask him for his advice?

Yes, when we have time! Life is pretty busy and speeds past. If I have a real problem or I am not quite sure I always like to talk it through with him.

In your busy schedule as an artist and also as a mother you probably find some time to go to museums and other exhibitions. And what if you were locked up at the Louvre Museum for one night! Which sections would you go to and spend your night? 

I normally head to the painting department but recently I went to see the near eastern antiquities where I found the winged human headed bulls called Lamassu or Shedu. Their symbolism and story in history is amazing.

What comes to your mind when you think of Iran ? 

I think mainly of the artist Shirin Neshat.

Credits:
Photos by Anahita Vessier
Text: Anahita Vessier

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RAUL ILLARRAMENDI, Drawing the traces of time

RAUL ILLARRAMENDI, Drawing the traces of time

As soon as you enter Raul Illarramendi’s studio, you feel the dynamic creative energy of this Venezuelan artist. Having left Venezuela 18 years ago, he reconnects with his origins in his latest work. Fascinated by the traces of time and their identity, he investigates in his new exhibition “Offerings” the story of the double cross that feel off the roof of Caracas Cathedral during the earthquake in 1967. He reproduced the imprint of the cross silhouette on the asphalt with high-precision and impresses the spectator with his large size pencil-paintings by applying a technique that employs drawing in an unusual way.

Raul Illarramendi  lives and works with his wife, the artist Georgia Russell, and their two children next to Paris. His work is regularly shown in solo and groupe shows in Europe, Latin America and the United States.

 

You’re from Venezuela where you began your artistic training in Caracas as the  assistant of the painter Felix Perdomo. You continued then your studies in Evansville in the United States before moving to France and doing an MA of visuel arts at the University Jean Monnet in Saint Etienne.
Now you live and work next to Paris, in Méru, with your wife, the Scottish artist Georgia Russell, and your two kids. 

What a journey driven by your passion for art !
What did you learn in each country in terms of art and the way of approaching it as a painter?

Even though I’ve lived in these countries for long periods of time, I don’t consider myself as a well-traveled individual. Now don’t get me wrong, I’ve been to places, but my work has always anchored me down. I like absorbing the identity of the place I’m in, and that takes time. I think that artists look inwards before they look outwards. In my case I need to know where I am and what the context is in order to create. Every place, every studio has brought a different experience, taught a different lesson and left traces that have shaped my identity as a painter.

These traces of life are a very important subject in your work, expressed through traces of dust, dirt, scratches or fingerprints on walls, on doors, in an urban environment that usually people like to erase or clean up. You however reproduce them by showing every single detail in your very own style.  

Yes, but to me the whole picture is as important as the detail. Perhaps it is my fault, that the physicality of that new surface lures the viewer towards the detail. Every trace represents an individual event, identity, intentionality, an accident that I construct, compose and control. Then there is the composition.

“I really think more of the traces of history rather then the history of traces.”

Since the beginning of abstraction, many artists have looked into these stains, willingly or not, like a throw of dice, searching for a Gestalt.

Talking about accidents and control, do you like to let go sometimes and accept unpredictable accidents while working on a new painting? Or are you an absolute control freak ? 

I don’t control everything, no.
It is true that I like pushing drawing as far as I can into its technical frontiers. There are remarkable artists that push much further, to the point of erasing the hand. I know my limits and have learned to use those limitations as yet another tool. If you solve all the problems technically, then there is nothing left to solve. And painting is about solving problems.

And if you’re not finding a solution, do you ask your wife, the Scottish artist Georgia Russell, for her advice or opinion when you feel stuck with a painting?

We do visit each others studios to give our opinions, specially at the most critical moments, when we are hating and doubting everything before a show. We encourage what’s good and call out the bad choices. Even though I would agree to being less accepting when it comes to criticism, we both come out stronger at the end.

Right now you’re showing your latest exhibition “Offerings” at Gallery Karsten Greve in Cologne that is about the traces of the cross of the Cathedral in Caracas that feel from the rooftop during the big earthquake in 1967 that hit the city.
Was it important for you to reconnect again through your recent work with Venezuela that you’ve left 18 years ago?

Yes, distance and time became catalysts for this series. Like many of my subjects this project came to me without looking for it. The premise was very simple. A spiritual event that sits on a historic account full of wholes, a symbolic metaphor to the current state of crisis in the country, a personal connection and a painting challenge.

“It has been two years since I started the project and in that time you encounter a great amount of meaningful connections to life, to history, to people and to yourself. It has definitely brought me back to the place where I was born.”

When I was visiting your studio, first thing you did, before starting to work on your paintings, was to put on a record. Is music important for you ? 

Yes, I’m very much attached to my music. There is almost always some sound coming from my stereo. When I’m not listening to my records, I am on the radio or an audiobook, the only literature I have time to consume now. I like my records because my siblings, who are much older than me, had a record player that I love but was not allowed to touch. Now I have my own and love the sound and can play with it.
I’ve been listening lately to “Cantos Campesinos” from Isaac Sasson, who plays many instruments from Venezuela, and mixes folk and traditional sounds. Also this fun Turkish band Altin Gün, it get’s me dancing.

What comes to your mind when you think of Iran? 

My perception of Iran is very limited but I can think of rosewater and safran, the prince of Persia (the game that occupied much of my screen-time during the nineties), good friends, beautiful people.

With very different histories, there is a real connection between Venezuela and Iran that I can only wish would go beyond geopolitics and special interests, and focus more in culture and fraternity.

Iran, a place I would very much like to visit.

Credits:
Photos by Anahita Vessier
Text: Anahita Vessier
Raul Illarramendi Instagram

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GIDEON RUBIN, Craftsman of faceless memories

GIDEON RUBIN, Craftsman of faceless memories

Gideon Rubin is a contemporary Israeli artist and a rising star in the international art scene.

His work is about the memory of something that is at the point of fading away. By blurring identifying details, erasing the facial features of human beings, he invites the viewer to complete these unexisting details by using his very own memories. This “dialogue” creates a very personal relationship between the artwork and the audience and evokes a feeling of intimacy and nostalgia.

Being the grandson of Reuven Rubin, the famous Israeli painter, did this influence your decision to become a painter?

Looking back obviously it did but it took a long time for it to come out.

I was about 22 years old when I started painting and if you’d ask me before what’s the least possible career or job prospect, painter would have probably topped the list, mainly because of my grandfather and the position he occupies within the canon of Israeli art. For years, for me, viewing his work was actually tainted by the fame his work carries with it back home.

“It was not just a flower, a house or a portrait, it was a “Rubin” first.”

I guess this was probably the main reason that when I finally did find ‘painting’, a life long commitment, I chose to do it outside my home. It was only then that I discovered so much of his work; sensitivities, paint application, tonality and how much of it actually filtered to my DNA.

You were in New York on September 11th, 2001. Did this experience have an influence on your work?

It changed my life so it definitely changed my work as well.
Before 9/11 I used to paint from observation, focusing on full figure self-portraits that took months to finish.

When I got back to London on the first commercial flight to leave NY, it felt as if I escaped hell. I was so happy to land in London, I wanted to kiss the ground but I just couldn’t paint like before. I couldn’t look at myself in the mirror anymore so I began making these small toy still-life paintings.
Instead of one portrait, painted for three months, I painted now three paintings a day. It felt as if I was unloading a huge burden. As artists we are lucky, we have our work in order to deal with all the shit that happens around us.

Being a sort of « craftsman of memories », each of your paintings has this incomplete detail of faceless human beings. What is the reason, the intention behind these portraits without features?

More than anything it’s an abstraction tool, a way I enjoy directing and dissecting what I see and the surface of the painting. Simplifying it.
Growing up I was fascinated by the little figures in my grandfather’s landscape paintings; just little blobs of paint to describe a face, limbs or body. In my work I try to strike a balance between the general and the specific, the ‘public’ and the ‘individual’, which I find fascinating.

When I began erasing the facial features it was something altogether different. Painting old toys I was reacting to the physical erasure of the doll features after years of being handled and played with kids. As my work shifted back to portraiture, I found out fairly quickly that I can describe what I need without the features.

“I was and still am fascinated by how much information we gather between us that is outside the face.”

Our mannerism, style, the way we dress, walk etc. We ‘read’ each other and any human portrait, by first and for-most our facial features and then everything else. I’m interested in reversing this process, everything else comes first and then leave an opening, a question mark. an untold story. For me the act of erasing is as important and positive as a mark making.

While working on your paintings, how do you perceive time in these very intense and creative moments?

It’s difficult to put these moments in words, especially, if words are not your thing and you don’t want to sound cheesy.
But if I have to I can say that I learned not to look for these moments. Just work and work. When they come, it’s great, you are in the action itself and there is nothing else, but as soon as you begin to think about it, acknowledging you are or were in “it”, it is gone.

Is there an author, an artist, a musician that has changed your perception of art and inspired you in your process of creating?

Velasquez, Goya, Rembrandt, Chardin, Soutine, Guston, Manet, Bacon, Freud, Morandi, Alys, Richter, Rotheko, Matisse, Picasso, Diebenkorn, Hemingway, Kerouac, Camus, David Grossman, Primo Levy, Leonard Cohen, Bowie, Dylan, Allen, Tarantino, Almodovar, Nina Simone I can go on and on…

What do you feel when you’ve just finished a painting and you look at it?

Disappointment, as if I could have done it better. Sometimes it’s true, luckily sometimes not.

Is there a quote, a proverb that guides you through life?

“Inspiration exists, but it has to find you working.” (Pablo Picasso)

“An intellectual says a simple thing in a complex way. An artist says a complex thing in a simple way.” (Charles Bukowski)

Do you work with music? What’s your favourite musician that you listen to at the moment in your studio?

It shifts, at the moment I’m listening to a bit of soul like Erica Badu, Lauren Hill and my usual outdated Jazz, Nina Simone, Coltrane, Miles Davis to a bit of Bowie and Leonard Cohen. Lately, I find I listen more to classical music. Piano, a lot of piano…

You were recently invited by the Museum of Contemporary Art of Chengdu in China to a group exhibition under the title “Memory Goes As Far As This Morning”. This invitation also gave you the opportunity to visit the province of Xinjiang which is home of the Uyghur, an ethnic minority that primarily practices Islam. How was this experience for you?

It was really quite remarkable, a once in the life time experience. I was specifically interested, as my wife, although mainland Chinese, was born in Xinjiang, in Korla and I have heard much about the Turkic peoples where she was born. Their look is closer to Israeli than Chinese she used to tell me and that I would like the food.

“She was right in many aspects and I could find quite a few similarities between the Uyghur people and people from the Middle East.”

It was a very different experience than traveling in China, mainly due to very tight security, a result of years of political unrest, which I have to say added to an uneasy feeling throughout but this huge area has so much more to offer, a unique history of the ancient silk road which is incredibly preserved due to the dry weather conditions, to the highest snow peaked mountains that look as if they were taken from the Swiss alps.

From the vibrant markets full of spices to the beautifully hand crafted artifacts, and the beautiful scarfed women, it all seemed to belong to a different time and a magical place.

What comes to your mind when you think of Iran?

Generally I always think of how I enjoy meeting Iranians since I moved to NY and then London. I find so much in common and much to appreciate, from my point
of view, food and cinema come first to mind. ‘A Separation’, ‘About Elly’…
I also think it’s a shame that I can’t visit.
I see the meeting points, the dialogue, the art.

Credits:
Portray by Shira Klasmer
All other photos by Richard Ivey
Paintings:
“Boy”, 56x51cm, oil on canvas, 2011
“Untitled”, 66x71cm, oil on linen, 2012
“Pond”, 200x150cm, oil on linen, 2016
“Class of 1947 (Prom)”, 12 paintings each 25x20cm, oil on linen, 2012
“Yellow Blindfold”, 107x102cm, oil on canvas, 2015
“Policemen”, 35.5×30.5cm, oil on linen, 2015
“Untitled”, 26x19cm, gouache on paper, 2015
“Sunset”, 150x200cm, oil on linen, 2016
Text: Anahita Vessier
http://www.gideonrubin.com/

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ÀCHEVAL PAMPA, Amazons of style

ÀCHEVAL PAMPA, Amazons of style

Inspired by her childhood memories that she has spent riding on horses in the Pampas, the Argentinian stylist Sofia Achaval de Montaigu is paying tribute to the horsemen of this wide expanse of land by launching with her friend and partner Lucila Sperber the lifestyle brand Àcheval Pampa.

With her long blond hair, wearing one of those famous bombachas, the gauchos’ pants that became the key piece of the label, and the black hat, Sofia has this intriguing exoticism, a natural elegance and a poetic and sophisticated look. This urban amazon represents perfectly well the spirit of the brand.

Since its launch at the Ritz in Paris last year, Àcheval Pampa is a real success, seduces all the it-girls from Paris to Buenos Aires and promotes with a lot of chic and sophistication the beauty of the Pampa and its unique craftsmanship.

Behind your label Àcheval Pampa, there is you and Lucila Sperber. How did you get the idea to create together a brand inspired by the gauchos of the Pampas?

It was always my dream to launch one day my own brand inspired by the gauchos. I grew up in Buenos Aires but every holiday and every weekend I’ve spent in the Pampas where my family possesses land.

During my entire childhood, I grew up riding on horses in this wide stretch of grassland wearing the traditional gaucho clothes.

During my studies of fashion design at studio Berçot in Paris, I’ve often worn the bombachas, the pants of the gauchos, the typical horseman boots or the ponchos. This style was natural to me but my friends were completely fascinated and wanted to know where I’ve bought those clothes.

I’ve met Lucila several years later when I was working as a stylist for a Rochas campagne because she’s the brand manager of this fashion label for South America.
The idea to create together a brand inspired by the gauchos was born at that moment.

What exactly is so fascinating for you about the gaucho style and the Pampa, this wide region between Uruguay, Argentina and the south of Brazil?

The Argentinian writer Jorge Luis Borges said once

‘The Pampa is like a horizontal vertigo’.

I love this description. We have embroidered his quote on our shirts, because it describes perfectly well the sensation that you have under this intense sun and those miles of empty grassland in front of you.

The clothing of the gauchos with their hats, their pants, their ponchos and their leather boots have this great look and chic.

Our intention with Àchval Pampa is to extract this timeless elegance of men’s clothing and turn it into something feminine by adding sophistication, a bit of romanticism and poetry.

This reminds me of Yves Saint Laurent who said ‘A woman is never as feminine as in a man’s suit’. 

I’m a huge fan of Monsieur Saint Laurent. And he’s absolutely right. Yves Saint Laurent took a lot of inspiration in mens’ clothes and adapted them for women. These pieces became iconic with a timeless elegance. He was inspired by different cultures like Asia, Morocco and also by the gaucho style but added a modern elegance and a european chic.

And that’s exactly our goal with Àcheval Pampa.

We want to create a wardrobe that contains beautiful classics, with a refined ethnic elegance that is accessible to everybody and can be worn a whole life.

That’s why we keep our key pieces every season and add a small selection of well-chosen new pieces.

The center of our collections are the pants that we propose in various very luxurious fabrics. Around theses key pieces we have added shirts, capes, dresses, skirts and for the coming winter a jacket.

We give a great importance to the choice of our fabrics and the cut of our clothes. They have to be perfectly cut and also comfortable so you can wear them from morning to night.

There are also the belts and the jewelry that are designed by other artists that you invite for collaborations. 

Yes, absolutely. The belts and the jewelry are designed by the amazing artist Luna Paiva who is known for her huge bronze sculptures. For this capsule collection she took her inspiration from this very particular sky of the magical pampa with its intense sun and moon.

Luna is drawing first the design and then making the moulds by hand at her studio.

Are you thinking of future collaborations with other artists?

We really like the idea of collaborations because it brings another point of view to the collection which is very interesting, but it needs to happen in a very natural way without being forced.

But we will certainly continue working wit Luna because we love her artistic universe a lot. It is in perfect harmony with the Àcheval Pampa style.

It-girls like Kendall Jenner or Meghan Markle are big fans of Àcheval Pampa and Delfina Blaquier has worn this beautiful blue dress at the royal wedding of Harry and Maghan. 

Yes, Delfina looked stunning in this dress!
And the fact that she was wearing it at that this very particular event has created a huge buzz on social media and has given the brand an enormous visibility, just a few months after the brand’s launch at the Ritz in Paris.

Delfina and her husband Nacho Figueras, the famous polo player, are part of the Àcheval Pampa adventure and the best ambassadors of the label. We’re all very good friends, and share the same love for Argentina, its breathtaking beauty and unique craftsmanship.

Production wise you put a lot of importance into traditional craftsmanship and you’re working with small local workshops. Do you think that this is the new definition of luxury, to produce less and to focus on handcraft ? 

Absolutely! For us it’s very important that the entire collection is produced in the Pampa. Our pants and shirts are made in Uruguay, the belts in the south of Brazil and the bags are made by the best manufacturer in Argentina that is specialized in making horse saddles for the gauchos, their savoir-faire is impressive. And our black hats are made by a family that is making only this style.

We really do care about the « Made in the Pampas ». It’s also an opportunity to give work to all those incredibly talented craftsman and helps that this unique traditional handcraft doesn’t disappear.

Àcheval Pampa is above all a life style brand, not a designer label, that is very versatile. It can exist in many other ways such as fragrance or furniture.

2018 was the year of Àcheval Pampa’s successful launch. Could you give us already a little hint about your projects in 2019?

In March we will present our Autumn / Winter collection at the Ritz.

We’ll be also busy travelling. We’re very lucky to have the best shops all around the world that sell our clothes and that organize events around our label.

These trips and encounters with the boutiques and clients are very important for a brand like us because it gives life to the label and allows to have direct contact with our customers and to understand what each woman likes in our collections.

We might also launch men’s clothing because there are so many who would love to wear our pants.

What comes to your mind when you think of Iran?

I think of colors, spices.
It reminds me also of Argentina because both countries have a strong culture.
And I would love to go there.

Credits:
All photos © Àcheval Pampa
e-Shop: https://acheval-pampa.myshopify.com
Text: Anahita Vessier
Translation: Anahita Vessier

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MATHIAS KISS, The artist with the golden hand

MATHIAS KISS, The artist with the golden hand

Mathias Kiss is a French artist, iconoclast and dandy with boundless creative energy. In his art he folds academicism to find new codes and to break down the barriers between disciplines by association French classicism and avant-gardism.

His extravagant and oversized installations are shown in the most prestigious galeries and museums such as the Palais de Tokyo or the Musée des Arts Décoratifs in Paris, and his artistic universe seduces luxury brands like Hermès or Boucheron.

When did you decide to become an artist?

I’ve started an apprenticeship as a painter and glazier when I was 14 years old. When I was 17, I’ve joined the Compagnon du Devoir where I’ve been working for 15 years. My dream was to study at the Academy of Fine Arts in Paris if I had the chance.
But finally all these periods in my life have given me the tools, skills and knowledge to do the work that I’m doing today.

My art is inspired by my life with all the traumatizing experiences.

What kind of trauma?

Which girl wants to go out with a construction painter!

Failing school when you’re 14 and starting a job when you’re so young is very complicated. Nobody was interested in a guy like me. Everybody was studying, doing a white-collar job, being a graphic designer etc.
It was really hard to feel alone and to be considered as an outsider.

How would you define yourself? Craftsman? Artist?

When I was with the Compagnons, my only goal was to become as good craftsman so my boss wouldn’t get angry and shout at me because the sky on the ceiling wasn’t perfectly painted.

I couldn’t even imagine to have thoughts like « Why not painting the sky red instead of blue? ».

Many years later I’ve managed to emancipate myself and get free from the rigid conventions and move towards art.

At the being of my career as an artist, people didn’t know what to think of my work, which category they could place it. Fortunately some trusted me and encouraged the others to buy my work.

Why this urge to break the rules ?

When you work for the Compagnons you grow up with a compass and a triangle which is symbolizing the rules. People of my age weren’t interested in my work. Too classic, too rigid, too dusty. I needed to break down these barriers, free myself from these technical and aesthetic conventions.

So I was wondering how it would be possible to preserve the historical codes of French savoir-faire and incorporate them and place them into a contemporary context.

My work consists of two groups of artwork:

One is under the title « Sans 90° » which contains all the work inspired by the thought around the absence of the right angle such as the mirrors « Miroirs Froisées », the trompe l’oeil marble « Igloo » seat, the « Magyar » carpet.

The other group entitled « Golden Snake » gathers all the work that deals with experimenting with architectural elements of French classicism and questioning the artistic working process.

Why is gold such an interesting material for you as it takes a very important part in your work?

Gold is light, is life. It’s not only opulent, kitschy or outdated.

Gold allows to engage a conversation about power, for example the power of seduction of a woman enhancing this by wearing jewelry, or the power of men, who have always fought for possessing it.

Are there new challenges that you would like to face in your work?

As a Compagnon I’ve been working in all the important historical dwellings of the French Republic, such as the Comédie Française, Opera Garnier, Conseil d’État, and many others. Even though I had the chance to work in those sumptuous places, I was very unsatisfied with my work and decided to turn to contemporary art.

So a perfect mix of both experiences would be to build installations for public spaces, a kind of tribute to Paris, the city of sights and museums.

I’m thinking for example of adapting my installation « Golden Snake » that has been exposed at Palais de Tokyo for an urban environment where kids can climb on it or people can sit on it.
That would be an interesting project and a real challenge.

Aren’t you feeling anxious when you’re standing in front of those wide empty spaces at the beginning of a project?

The bigger the space, the more I dig it! To me it’s like a huge white sheet of paper where I can let my artistic imagination run wild.

You’ve done a lot of thai boxing and you have been even participation in official competitions until you were 30. During your exhibition at the Palais de Tokyo you’ve invited the world box champion Patrick Quarteron to have a little box match together in front of your installation « Golden Snake » for the magazine Numéro. What have art and boxing in common? 

It’s true that people don’t see the points that these two worlds have in common.

A boxer is a guy, standing half-naked on a stage trying to win and being applauded by the audience that is standing around and watching. This is total narcissism and exhibitionism, isn’t it!  The need of love and standing in the lime light is not far from an artist.

Both are also taking risks, accepting knocks and leaping into the unknown.

 What’s your next project?

A carte blanche project for the Palais des Beaux-Arts in Lille for April 2019.

What comes to your mind when you think of Iran?

The sumptuous festivities that were given by the Shah of Iran to celebrate the 2500th anniversary of the Persian empire. It’s crazy that people still talk about it. It almost became a kind of monument, a very strong symbol.

Credits:
All photos by David Zagdoun
Except:
Featured image of Mathias Kiss on Home by Wendy Bevan
Photo of Mathais Kiss and Patrick Quarteron by Stépahne Gallois for Numéro
http://www.mathiaskiss.com
Text: Anahita Vessier
Translation: Anahita Vessier

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HORMOZ HEMATIAN & ASHKAN ZAHRAEI, Electric Room, art under high tension

HORMOZ HEMATIAN & ASHKAN ZAHRAEI, Electric Room, art under high tension

Tehran has a rich and vibrating art scene with highly talented artists, many of them were born after the Islamic Revolution.

Hormoz Hematian, founder and director of Dastan Gallery, one of the edgiest art spaces in the Iranian capital focusing on contemporary art, and his friend Ashkan Zahraei, Dastan’s curator and communication manager, travel constantly between Tehran and the most important art fairs around the world to promote the work of their artists and to develop international collaborations.

These two workaholics and unconditional art lovers have a thousand creative ideas in mind, are not afraid of any challenge and have launched “Electric Room” in 2017, which is certainly one of the craziest, most intense and ambitious art projects that makes Tehran a true reservoir of creativity and one of the most interesting and dynamic spots for contemporary art.

‘Electric Room’ is a very interesting and challenging art project that you have both developed and introduced to the Iranian art scene. How did this idea start?

AZ: Tehran has a very small art community. So through my work as a writer as well as a curator, both through working at Dastan and independently, I met a lot of artists who wanted to do art installations but there was no space in Tehran for experimental projects.

So that’s why Hormoz and I had the idea to launch the art concept ‘Electric Room’.

The concept was to showcase 50 experimental art projects in 50 weeks, introducing each week a new project and usually a lesser-known artist. So, it has a precisely defined beginning and end.

That’s a very ambitious and crazy project! 

HH: Yes, the challenge was enormous! It’s more than some galleries show in five years.

Having three other galleries in Tehran, I was missing the spontaneity of doing a show. So Electric Room allowed us to give back and find again the romance of art.

So, in June 2017 we opened this temporary exhibition space, not bigger than 30m2, in downtown Tehran, right next to the Faculty of Art and Architecture, and within minutes of walking to the Faculty of Fine Arts and many of the city’s other cultural or artistic institutions.
There are a lot of students, so the vibe of this area is really good and dynamic.

We called the project Electric Room because one wall is almost entirely covered with electric switchboards and control units. It’s a very cool and unusual place.

AZ: Luckily we’re both workaholics!

The project was amazing and so intense for so many months. We wanted to offer people a unique experience.

We had only one day to take down an exhibition, repaint the walls and install the new show. And this every week, for 14 months. It was such a crazy rhythm!

And how did the Iranian audience react on this concept?

HH: The reaction was fantastic!

At each opening the ambiance was so vibrant, and literally « electric ».

We had so many people coming, that there was not even enough space inside the gallery for all the visitors.

And what kind of audience came to the openings?

HH: The right people. Young people, art lovers, potential clients, people who weren’t normally into going to galleries but loved the vibe and were intrigued by the space.
Each opening took 4 to 5 hours.

AZ: We were also inviting other galleries to show them the artists.

The fundamental idea of Electric Room was to be spontaneous, open, accessible and generous.

Showcasing 50 art projects of 50 different artists in 50 weeks is quite a challenge. How did you constantly find new artists?

AZ: We were focusing on several different types of projects:

Installation projects, single-piece exhibitions, photo, video or multimedia projects, and also archival projects, like the « Tehran UFO Project ».

I’m a UFO enthusiast, so this show was an archival presentation of documents, articles and films relating to the historical incident from 1976 when UFOs have been seen over Tehran. I really like the idea that a non-art project becomes art.

HH: At the beginning some artists were quite skeptic because it’s a very unusual way of presenting art, they didn’t want to take a risk. So we had to start with the ones who trusted us.

AZ: That’s why we did our first few shows with artists that we already worked with at Dastan, including Sina Choopani, Mohammad Hossein Gholamzadeh, Meghdad Lorpour, and others.
These artists already had their followings and showing their work created more trust for other artists we wanted to work with.

We were able to work with extremely talented people in Iran, some of which normally don’t want to collaborate with galleries.

Among those artists that you were showing some are Iranians who live and work abroad. Why is it still important to them to show their work in Tehran at your gallery?

AZ: Electric Room created an opportunity to exhibit one’s work among a much wider scope and a more detailed program.

Many of these artists chose to exhibit at Electric Room because they wanted to be part of the experience and the program.

You’re working on such high-level art projects with Electric Room and Dastan Gallery and have gained a great reputation in the international art scene. But where does this love for art  initially come from?

AZ: For me, visual art is a combination of my academic background (writing, critical theory) and a practical touch.

As much as theory and literature can give insights into the world, art gives me greater opportunities for communication and dialogue.

HH: My grandfather was a general before the revolution; after the Shah was overthrown, he left the army, turned towards painting and became a self-taught, amateur artist.

Whenever I went to visit him in his house in Khorasan, there was one room for his paintings, another one for his calligraphies and one for his instruments.
There was a certain magic to it. And I saw how art saved his life.

Did Trumps’s policy put an end to the Iranian art boom?

AZ: No, serious artists will always find a way to express their ideas. If there is no high-quality paint or paper in the stores anymore, they will use cheaper one but this won’t stop them from being creative, being an artist.

Living such an intense experience for 50 weeks, how did you feel during the last show of Electric Room?

HH: Very emotional.

AZ: I was unsure how to feel in the beginning, but the last day was indeed quite sad. As much as I was sure we needed to end what we had started, letting go felt very difficult.

Credits:
All photos of Hormoz Hematian and Ashkan Zahraei:  Roxana Fazeli
(with Atefeh Majidi Nezhad’s work “Revision: Zero-G”)
All photos of exhibition at Electric Room courtesy of Dastan Gallery:
Photo exhibition 1: “Unsafe zone/domestic production” by Amin Akbari
Photo exhibition 2: “The champion” by Mohammad Hossein Gholamzade
Photo exhibition 3: “We are” by Sina Choopani
Photo exhibition 4:  “Memebrain” by Taba Fajrak & Shokoufeh Khoramroodi
Photo exhibition 5: “Inevitably inescapable” by Siavash Naghshbandi
Photo exhibition 6:  “Tehran UFO project”
Photo exhibition 7:  “Tangab” by Meghdad Lorpour
Photo exhibition 8: “Mutual tongue” by Milad Nemati
Photo exhibition 9: “The shaving” by Farrokh Mahdavi
Photo exhibition 10: “Interview” by Sepideh Zamani
https://dastan.gallery
Electric Room
Text: Anahita Vessier

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