AMIN MONTAZERI, Tales and myths of melancholy

Tales and myths of melancholy

The Iranian art scene has extraordinary artists who find a way to bridge their rich Persian traditional cultural heritage with modern western art.
Amin Montazeri is definitely one of those new talents we need to keep an eye on.

When I discovered the work of this young Iranian artist from Tehran I was impressed by the rich, mysterious, apocalyptic atmosphere of his paintings and touched by their melancholy.
His work is as intense and obscure as Pieter Brueghel’s or Hieronymus Bosch’s paintings.

Amin Montazeri’s main subject is history and the role of tales, legends and myths in history. Everyone encounters in life theses tales but sometimes people try to flee from their destiny, change it and write a new story. What are the consequences, and which kind of tale would ensue out of this change?

He also questions in his work the recurrence of history caused by an observable forgetfulness of man even if it was linked to painful or terrifying experiences.

Amin Montazeri was born in 1992 and is doing currently an MA in Painting at the College of Fine Arts in Tehran.
His upcoming exhibition will be at the Dastan Gallery in Tehran in October and he might also show his work at this year’s Art Dubai.

All works by Amin Montazeri
Text: Anahita Vessier

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SILIA KA TUNG, Fantasy is interior world’s reality

SILIA KA TUNG, Fantasy is interior world’s reality

Silia Ka Tung is a Chinese contemporary artist based in London. Her work is a psychedelic ballet of organic shapes in saturated colours dancing together with mysterious creatures reminding us of ancient mythology. The mix of this modern dreamland and the influences of Chinese culture and tradition make Silia Ka Tung’s art so hypnotizing and unique.

What made you decide to become an artist?

My grand-father from my mum’s side was an established traditional Chinese painter, so it was in the family.
I initially wanted to be a designer. When I went to a school interview after high-school to study design they told me I should do fine arts if my parents will support me. That was actually the first time it came to my mind.

You were studying Oil Painting in HangZhou at the China Academy of Fine Arts and then continued your studies in London finishing with a MFA in painting at the renowned Slade School of Fine Arts. Is the style of teaching in China different than in England?

I did one year of art school in China after being accepted to a BA at Chelsea College of Art in London because my father thought that I needed to learn some “Chinese culture”. That’s why I went to an art foundation class before going to London doing my BA.

“The style of teaching is very different in China than in England. In China I was doing life drawing every day and the schooling was very academic. You do everything in a group, the teacher comes and corrects your mistakes and tells you what you need to do.”

London art school was fun and free. The teaching style is very casual and inspirational but you were left alone most of the time.

There’s a real evolution in your work. Your earlier work was mostly black-and-white line drawings, and then the figurative lines dissolved and became a beautiful ballet of colorful, abstract shapes of organisme covering several canvases.
In your recent work you’ve changed from painting to experimenting with materials and creating soft sculptures of fantasy animals and organic shapes such as branches of trees. Why did you change from painting to making sculptures?

“Drawing or doodling is always part of my life … I just do it as soon as I have a pen in my hand. ”

For my BA final show at Chelsea College I decided to develop from a small drawing idea into something big and these life size portraits filled with doodles lasted until my second year of MFA at the Slade College but then I wanted to try something different. I wanted to do “game paintings”, colourful, saturated paints directly onto the canvas, like automatic drawings.
Painting for me is about game, chance and fun and I always paint around the edges. Slowly I was drawn towards painting onto objects. So I started making soft sculptures to paint over. That’s where I am now.

Did motherhood change your work, your inspirations?

Motherhood is difficult for me as an artist because of the change of your priorities and of your life-balance. As much as I enjoy being with my two daughters, I found myself struggling to be an artist. But time helps and slowly you regain some of the balance and hopefully being a mother also has positive impact on my work.

Is there a phrase, a proverb that inspires your work?

“All our interior world is reality, and that perhaps more than our apparent world. ”
Marc Chagall

When you work on a new art piece, do you show your husband Gideon Rubin, who is also an artist, the work-in-progress or do you prefer to keep your creative bubble as private as possible?

We work in the same studio, so often we show each other what we’re working on, especially when my work takes relatively long to finish. I mainly show him to ask his opinion, no matter if the piece is finished or not.

Are you working on a new exhibition?

I am finishing some pieces for a three persons group show in Amsterdam called “Father, Mother, Daughter, Son” curated by Mette Samkalden at Canvas Contemporary. The exhibition opens on 14th January 2017 and goes until mid February.

What comes to your mind when you think of Iran?

I’ve never been to Iran, so everything I know about this country is through friends, movies, news, Instagram. Yes, I hashtagged Iran on Instagram a few times and it led me to very weird places.
It’s a big country rich in history and culture, beautiful and mysterious. It’ll be great to visit one day.

All works by Silia Ka Tung
Text: Anahita Vessier

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SLAVS AND TATARS, A new vision of Eurasian Art

SLAVS AND TATARS, A new vision of Eurasian Art

Slavs and Tatars is an art collective founded by Kasia and Payam, a Polish-Iranian duo, who dedicate their work to an area east from the former Berlin Wall and west of the Great Wall of China. Anahita’s Eye follows their work for a long time and had the chance to interview them while they were preparing their exhibition “Afteur Pasteur” in New York at the Tanya Bonakdar Gallery.

Why the name “Slavs and Tatars”? And why this devotion to an area, as you describe “east of the former Berlin Wall and west of the Great Wall of China”?

Usually a name is chosen for what one represents or who one purports to be. We decided on Slavs and Tatars for the opposite reason: for that which we are not. Our name is a mission statement of sorts: to devote ourselves to a geography that is equally imagined as it is political, to a region that falls through the cracks of our amnesiac floors.

“It happens to be largely Muslim but not the Middle East, it is largely Russian-speaking but not Russia, and though largely in Asia, only a small part (Xinjiang) has historically been under Chinese rule.

There’s of course an element of humour in the name too. We founded Slavs and Tatars in 2006, shortly after the entry of the new member states in 2004 into the European Union. If you recall, there was quite a bit of prejudice, if not hysteria, about this ‘other’ Europe, namely Eastern European states joining what Europeans had imagined themselves until then an exclusive club. There was the infamous Polish plumber, the Bulgarian builder, etc…The name Slavs and Tatars clearly plays up this fear–both in a contemporary and historical sense–as if there were hordes waiting to rape and pillage à la Braveheart.

Our name–Slavs and Tatars–is not an identity, it marks the collapse of identity. Even between these two terms, “Slavs” and “Tatars” there is a whole story of confluence and tension. It is only by accumulating several identities–and negotiating the tensions between them–that one can begin to move beyond the reductive and brittle identity politics which continue to plague us.

Explain me your creative process. What are your inspirations? Why did you finally chose sculpture/object art as your main tool of expression?

Sculptures, installations and exhibitions are only one of our three activities and by no means the main one, alongside publications and lecture performances.

We currently present 2-3 lecture-performances per month in different venues: from universities to art institutions. We generally work along three-year cycles. The first two years are dedicated to research on a given subject of investigation: first bibliographic research, for example, into Turkic language politics or the medieval genre of political advice literature known as “mirrors for princes” followed by field research, say, to Xinjiang to experience more affectively the ideas that we’ve been exploring more analytically. Then the crucial question arises:

“What are we as artists bringing to the table that is distinct from the work of others, policy makers, scholars, activists…?

The translation or transformation of this research into art work is perhaps the most difficult. In the beginning, we worked exclusively with print: if someone wanted to engage with our work, she had to read. There are few things less pleasant, less considerate to the public than putting something to read on a wall. Even though the practice proliferated – to include sculpture, installations, lecture-performances – walls somehow did not become any more attractive in our eyes. If we live in an age of visual glut, then we are amongst the (many) guilty enablers!

Among the three axes of our practice, the lectures and publications articulate a series of concerns that the sculpture, installation, the material art work with a capital ‘A’ must disarticulate. That does not mean to remain silent: rather to undo, unravel these very ideas, like a loose thread of a sweater.

Do you have a favorite quote that inspires you?

“Quit this world. Quit the next. And quit quitting”
–Thomas Merton

Does each of you have a very defined role in “Slavs and Tatars”?

Yes, but we edit each other rigorously.

In many of your installations you invite people to interact with it, touch it, sit on it, lie on, discuss on it. Is this direct confrontation and personal experience that people have with your artwork an important part of your artistic concept?

Definitely. It is also a commitment to the idea of contemplation in spaces devoted to culture. Too often, the only place to sit in a museum is the cafe, or the rare bench in front of a masterpiece. If art is to play a transformative role, and not only an educational and entertaining one, the venue of its activation must be more hospitable.

Slavs and Tatars speak so many different languages, Farsi, Polish, English, French, Russian etc. Language and the linguistic complexity is a very important subject in your work. Why this intense love for languages?

Translation becomes a form of linguistic hospitality, to quote Paul Ricoeur. We invite the Other into our language and the expropriating ourselves into the language of the Other. We are different people in each language: our sense of humour in French is not at all similar to that in Russian or Persian, etc.

“Language allows you to “other” yourself.”

Is humour an essential ingredient in your artwork?

Absolutely, it has always played a very important role in our work: as a disarming form of critique, as an extension of generosity, as an indication of infrapolitics: as defined by James Scott: the hidden transcript, the whispered stories.

“Every joke is a tiny revolution”

to quote Orwell, rather than the often confrontational, explicitly visible politics of the march, the news, or the state.

What are your future projects?

We’re currently preparing for our first show with our NY gallery, Tanya Bonakdar, on pickle politics, or a reconsideration of our relationship with the Other, via our relationship with the original foreigner: the microbe and bacteria. We’re also working on a mid-career retrospective for 2017-2018, between Warsaw, Vilnius, and perhaps Istanbul.

You have a very cosmopolite live, your art is shown at art fairs and exhibitions all around the world. Is there any special object that accompanies you on your trips around the world?

We try as much as possible to travel with fresh herbs – a bunch of tarragon, a couple stems of coriander – to soften the blow of eating en route in trains, planes and automobiles.

Slavs and Tatars, what comes to your mind when you think about Iran?


All works by Slavs and Tatars
Kitab Kebab, 2016 – ongoing
Friendship of Nations: Polish Shi’ite Showbiz, published by Book Works / Sharjah Art Foundation
Mother Tongues and Father Throats, Moravian Gallery, Brno (2012)
Dig the Booty (2009)
Pray Way (2012)
Installation view at Trondheim Kunstmuseum
left: Larry nixed, Trachea trixed (2015) right: Tongue Twist Her (2013)
Lektor, sound installation, Leipzig (2014-15)
AÂ AÂ AÂ UR, Skulpturpark Köln (2015)

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