Category: Screening

Yard Video Festival in cooperation with New Media Society


Yard Video Festival in cooperation with New Media Society

August 9, 2019- August 16, 2019
Parking Video Library in cooperation New Media Society participated in the first edition of Yard Video Festival -initiated by ag Galerie- with the three screening programs: Invisible Present Tense 03, curated by Amirali Ghasemi,
Shar(e)d Cinema curated by Marlies Pöschl and screening of a documentary film “Nikolaus Geyrhalter – Homo Sapiens ” selected by Arash Khakpour.

– Invisible Present Tense 3.0 – Curated by Amirali Ghasemi | Parking Video Library
Atousa Bandeh, Aliyar Rasti, Shilan Borhani, Mojtaba Saranjampour, Bahar Samadi, Mehdi Shiri, Nima Bahrehmand, Nebras Hoveizavi

– Shar(e)d Cinema – Curated Marlies Pöschl | Golden Pixel Cooperative
Lisa Truttmann, Viktoria Schmid, Peter Kutin/Florian Kindlinger, Marlies Pöschl/Farnaz Jurabchian, Constanze Ruhm, Lydia Nsiah, Marlene Maier, Ulrich A. Reiterer, Marlene Maier, Ulrich A. Reiterer, Michael Simku.

Munich: A Detour to Tehran

Munich: A Detour to Tehran

July 12 -14, 2019
Screening Programs, Installations, and Talks on Iran`s Capital through Documentaries, Videos, and Experimental Films
Curated by Amirali Ghasemi | Parking Video Library
Cinema Iran The 6th edition of Cinema Iran, a festival of Iranian films, will be held in the German city of Munich from July 12 -14, 2019. Carl-Amery-Saal, Gasteig München | Iranisches Filmfestival München

Organizers and partners:
Cinema Iran, Filmstadt München E. V. in collaboration with Munich City Library, the Cultural Department of the City of Munich, Evangelische Stadtakademie München Parking Video Library, New Media Society and Hinterland Galerie – Vienna.

“Detour to Tehran” is an ongoing screening program in response to an invitation by hinterland galerie. The extensive program first landed at Schikaneder Kino in Vienna on November 2018. New Media Society, the home for Parking Video Library compiled the program, curated by Amirali Ghasemi and with an overlook to the documentaries screened at Rokhdad-e Tazeh Documentary.

“Detour to Tehran” is now heading to Munich in July 2019 by the invitation of The Cinema Iran Festival as a part of the celebration of Moving Images coming from Iran(s).“Detour to Tehran” puts together documentary films, videos, and experimental films by various participants working on Tehran and its multiple aspects, using moving images for their creative and critical output and their take of mega-city and its inhabitants, stories told by the citizens among them: filmmakers, architects, visual artists, documentarists, photographers and choreographers.
With contributions from: Kaveh Mehrabani, Saman Khosravi, Mehdi Bagheri, Pirouz Kalantari, Alireza Rasoulinejad, Amirali Ghasemi, Bahman Kiarostami, Paliz Khoshde/Zeinab Tabrizi, Jaleh Nessari, Siavash Naghshbandi, Bahar Samadi, Arash Fesharaki, Setareh Jabbari, Ehsan Behmanesh, Arash Khakpour/Arash Radkia, Amirali Mohebinejad, Nebras Hoveizavi, Roya Keshavarz, Mona Kakanj, Foojan Xajeh, Tanin Torabi and Raha Faridi.
Parking Video Library wishes to thank Pouria Jahanshad and Setareh Jazayeri

Artist Talk with Minoo Iranpour

Summer School for film, video and New Media present
Artist Talk With Minoo Iranpour
New Media Projects
Tuesday, June 25, 2019 – 7 pm

Minoo Iranpour Mobarakeh Born in 1964, Isfahan (IR) works and lives in Isfahan, Iran. she received her B.A in Painting from the Azad Art university of Tehran in 1993 and M.A in Art Research from Art University of Tehran in 2002,Young Cinema Society Diploma Isfahan (1992) (IR ). She has creates Artwork using different media such as painting and video. She is first video artists of Isfahan who were a member of Association of Filmmakers of Isfahan and began his artwork in this field with 8 mm cameras.  The leading artist in the field of video art of Iran and especially Isfahan. She has held various exhibitions and festival around the world, being show in many museums and festivals. She has participated in the 12th National Film Festival Short Film ” SHADOW” Tehran (IR) Awarded first prize for Video art Diapason (2018), Fem Link international video art Collage/ Paris, (FR) (2012-2018),limited access festival 7, ( Iran 2013-2017) Back Room, online talk Artists/ among New York, Tehran, Isfahan (2014), Awarded for video art A+B Mobile Film Festival ” REPORT A WORRY” 2014 Tehran (IR), OPEN DOORS, FORUM EUGENIODE /Almeida, Portugal. The Review of a Decade of Video Art in Iran / Tehran (IR) and Video Persiart, Gongiu Chugnam (Korea) (2013), Athens Video art festival /Greek (2010), International festival film IN VIDEO/ Milan, IT (2007), Museum Für Neue Kunst / Freiburg, DE (2006), 19th International festival short film/Tehran, IR (2002), Several art exhibitions and festival such as Golden Camera award/ Hamburg, DE (1995) and The second Biennial painting exhibition /Tehran, IR (1994) .

Her works are in collations including Museum Für Neue Kunst, Freiburg (DE), Università Degli Studi di Roma3 Archivi, Rom (IT), Fem Link International Video art Academy, Paris (FR) and Parking Gallery, Tehran (IR),  Iranian Women Filmmaker Book, Tehran (IR) Persbook Art book, Tehran (IR).

Screening “We Did What Had to Be Done” | A documentary by Friederike Bérat and Ulrike Ertl


Screening “We Did What Had To Be Done”

A documentary by Friederike Bérat and Ulrike Ertl

June 20, 2019 – 7 pm
New Media Projects

90 Minutes – English with English subtitles

“We did what had to be done” is a documentary about the role that women played in the Northern Irish Troubles.

“We did what had to be done” is a phrase nearly all interview partners used to describe their involvement. Depending on their political affiliation, however, they meant very different things with those words: to work in a British Army store, to break out of the women’s prison in Armagh, to transport bombs or to educate their children to become Republican fighters or British soldiers…

The women describe their roles in the war as a result of their individual political conviction, but above all, they saw themselves as those who had to come to pragmatic decisions. With few exceptions, the women stayed in the background. Unlike their male combatants, they are rarely mentioned in the history books or in the narration of the wartime. This documentary wants to tell their story.

A Documentary in five parts:

  1. Culture and peace
  2. War and emancipation
  3. Prison and relationships
  4. Loss and trauma
  5. Education and future

Concept:

The subjective reality of our protagonists is the central focus of our film. Our interview technique derives from the method of Oral History which is used particularly within the field of the history of everyday life. The contemporary witnesses speak as freely as possible. They decide what they consider to be of peculiar importance. This method also comes close to the Irish tradition of Storytelling that is today still cultivated in Northern Ireland. The stories preserve the cultural inheritance and strengthen the social cohesion of the respective community.

In front of the camera, the women describe their life in Belfast during the Troubles and today in their respective Protestant or Catholic communities in Shankill Road, the Falls or Ardoyne. We already made the experience that the women welcome our interviews as a chance to contribute actively to the historical narrative of the conflict. We also noticed how eager the women are to hear from others in similar circumstances – and how much their stories have in common beyond all social borders.

“Moving Images; Presentation Contexts and the Separation of Perception” | Wolfgang Knapp

“Moving Images; Presentation Contexts and the Separation of Perception” A Public Lecture by Wolfgang Knapp

New Media Projects

2019 Summer School

Saturday, June 15 – 7:30 pm


Wolfgang Knapp on Saturday, June 15 will

The lecture focuses on new exhibitions like e.g. Venice Biennial 2019 and recent shows in China (Shanghai and Hangzhou). The focus will be on the atmosphere, design, spaces and recent conditions of looking at moving images in exhibitions, shows, and screenings. The lecture questions: Is there a slow shift from collective viewing to the individual perception context?

The lecture will be in English with Persian Translation.

The event is open to the public and free, Although the seats are limited.

No. 3, Araabi 3 Alley, North Kheradmand St. Karimkhan Ave. Tehran –
Tel: 021 88829253

@newmediasociety

Animation; Experiment #24 | Sheila M. Sofian

Animation; Experiment in collaboration with New Media Society | #24

Artist talk with Sheila M. Sofian

June 12, 2019 | 8 pm

In this session of animated-documentary series, we will have a conversation with American artist and professor; Sheila M. Sofian via Skype, about her works and her technique.

Sheila M. Sofian creates films that investigate social issues utilizing a unique hybrid of animation and documentary. Sofian has produced seven award-winning independent animated films. She recently completed production on “Truth Has Fallen”, a feature length animated/live action documentary about people wrongfully convicted of murder and flaws in the United States legal system that led to these injustices. Sofian has received grants from the John Simon Guggenheim Memorial Foundation Fellowship, the Rockefeller Media Arts Award, the Roy W. Dean Film Grant, the Pennsylvania Council on the Arts, the Women in Film Foundation and the Pew Fellowships in the Arts. Sofian is currently Full Professor at the University of Southern California.

For further info: http://www.sheilasofian.com/

@newmediasociety
@animationexperiment

Animation; Experiment #23 | Pooya Razi

Artist talk with Pooya Razi
Screening “The Noise” and “Not Being “

Pooya Razi is a 34-year-old visual artist living and working in Tehran. Flash Art magazine has described his paintings, which have been exhibited in Tehran, Paris, New York and Dubai–as explorations of « the poetry of the human psyche. » Razi holds a BA in Painting from the University of Tehran Arts Faculty. In 2012 He started to create “The Noise”, his first film. The film was nominated for the Grand Prize- International Competition at Oberhausen International Short Film Festival and officially selected for many important film festivals such as Clermont-Ferrand Short Film Festival 2015, « Festival du nouveau cinéma ». Montreal, Canada, “Glasgow Film Festival” Glasgow, Scotland,2015.

Animation; Experiment #22 | Dante Zaballa

Animation; Experiment #22 | Documentary Animation#2

May 8, 2019 | 7 pm

In this session of animated-documentary series, we will have a conversation with Dante Zaballa via Skype and talk about his works and his unique approach towards using animated-documentary.

Dante Zaballa is a frame by frame animator from Argentina, who enjoys generating a colorful and psychedelic universe by experimenting with diverse techniques. His work is particularly free and dynamic; he combines seemingly messy hand-drawn lines, raw shapes and flickering textures. Animator Dante Zaballa tries to avoid the internet often and draws inspiration from almost everything surrounding him–even watching his neighbors showering.

For further information you can check the following links:

https://www.instagram.com/dantezaballa/
http://www.dantezaballa.com/

Animation; Experiment #21 | Fatemeh Hosseini-Shakib

Animation, Experiment in collaboration with New Media Society #21 | Fatemeh Hosseini-Shakib
Apr 24, 2019 | 6 PM
New Media Projects

Animated Documentary or Documentary Animation, is a relatively new discourse in utilising expressive and aesthetic possibilities of traditional and modern animation techniques and formats to represent or speak about reality and the real. In fact, where the conventional concepts and approaches in live-action documentary fail to communicate, animation articulates.

In recent decades, documentary animation, as an alternative approach to speak or suggest about objective or subjective realities has gained recognition and legitimacy despite serious challenges posed by the orthodox definitions of both animation and documentary. This ontological challenge roots in the seemingly paradoxical accounts of animation as something totally manipulated and controlled and that of documentary film as a not-at-all manipulated, or an objective and unbiased representation of reality by ‘filming’ it. Today, these initial contradictions and disputes in the emergence of the form have provided a fruitful foundation for an in-depth discussion about the fluctuating essence of reality and the impossibility of removing the barrier of representation.

On Wednesday, 24th April 2019, Fatemeh Hosseini-Shakib is going to kick-start the Animated Documentary Season of ‘Animation: Experiment’ collective (of the New Media Society) by a presentation on the theoretical and academic polemics related to the topic, as well as screening a broad range of approaches and practices in relation to such kind of film.

I am a Stone, My name is River | Videos from Tehran / Montreal


VIDEOS TEHRAN /MONTREAL: I am a Stone, my name is river*
Video screening

TEHRAN: Friday, April 12th, 2019 Tehran – 7 PM
MONTREAL: Wednesday, April 10th, 2019 – 7 PM

Artists: Nikki Forrest, Pierre Hebert, Nelson Henricks, Nebras Hoveizavi, Olivia McGilchrist, Siavash Naghshbandi, Mehdi Shiri and Simin Yaghoubi.

Curator: Bahar Taheri

New Media projects will host a video night “I am a stone, My name is River”, curated by Montreal-based artist/curator Bahar Taheri in collaboration with Centre des arts actuels Skol and Parking Video Library.
Through the Démart-Mtl’s grant from Montreal Arts Council, Bahar Taheri collaborated with Centre des arts actuels Skol. As a part of this program, they planned a video exchange between Iran and Canada. she chose the theme of ”transformation” and finally, 4 artists from each country were chosen with 9 artworks which will be screened in Montreal and Tehran. A text written by Hanieh Ziaei will also be presented on the screening day.
*The title is taken from the video Still Life, Mehdi Shiri, 2015.

About the Curator
Bahar Taheri is an Iranian visual artist; she was born in Tehran in 1980. Currently, she is based in Montreal. Though principally a painter, she has also produced artistic videos, mixed-media installations, and performances throughout her career. Thus far, she has exhibited her work in solo and group exhibitions in Iran, Germany, Austria, and Canada. Most recently, in 2018, her work was at the Centre des arts actuels Skol (Montreal, QC). Apart from her professional experience as an artist, painting teacher and curator, she has also participated as an artist-in-residence at the Salzburg Art Residency in Austria (2012) and at the Münster FAK Project in Germany (2013). She received a BFA (2005) and an MFA in painting (2009) from Tehran’s Sooreh Art University. Since her arrival in Canada, she has also undertaken a variety of additional training in order to perfect and expand her professional knowledge, including courses on engraving, lithography and 20th Century Art History given at Atelier Circulaire, UQAM and Concordia University. In 2018, she was awarded two grants: Alliance-artiste in Visual Arts awarded by Montreal Intercultural Arts (MAI) and Démart-Mtl awarded by the Montreal Arts Council (CAM). Her works are in the collection Montreal Museum of Fine Arts, Museum of Contemporary Art in Tehran and also several private collections.

About Centre des arts actuels Skol Montréal
In operation since 1984, Skol is an artist-run center that supports emerging art and experimentation in the visual arts. Skol invites artists and other art professionals (curators, historians, art educators, etc.) to engage with the center as a physical and critical space to produce live experience. Using an indeterminate approach, (that is, one that does not aim for a particular result but that presents the outcome of a research project), the artist-producer, researcher, organizer, thinker… is encouraged to take risks with the center’s usership and produce new knowledge that contributes to the ongoing pursuit of artistic practice.
No. 3, Araabi 3 Alley, Kheradmand-e Shomali St., Karimkhan Ave., Tehran

http://skol.ca/en/programming/videos-tehran-montreal-mon-nom-est-roche-je-suis-une-riviere/

*The title is taken from the video “Still Life” by Mehdi Shiri, 2015.
Image: Stillframe from “Coming Soon in Cinema” by Siavash Naghshbandi, 2016.

The Observed | Video Screening | Amir Farsijani

Amir Farsijani | Video screening
The Observed, 2018 (29 min)
New Media Projects
Mars 8-9, 2019 | 7 pm

During my stay in Antwerp, Belgium, and a conversation with my friends in Tehran, as well in a try to get in touch with the city and even the citizens I became acquainted with the book ” Persian Letters *” by Montesquieu; In His ” Persian Letters “, Montesquieu portrays an image of the European society through letters sent back by two Iranian noble gentlemen to their spouses or crew.

Letters from two imaginary characters who were traveling to Europe and were trying to discover more advanced territories and gain knowledge. Along with this book, I recalled a documentary titled ” News from Home ” by the Belgian filmmaker Chantal Ackerman in 1977. The film is consisting of long film sequences from different parts of New York city which were accompanied by Chantal Ackerman’s narrations, who read her mother’s letters from 1971 to 1973.

The connection between my living experience as a foreigner in the city of Antwerp, Montesquieu’s book in an attempt to critique or read European culture through the use of two Iranian imaginary characters, as well as Akerman’s account of being far from his home and the relationship between his place of residence and its, through the letters that his mother sent, gave me an opportunity to make a new narrative by putting these narratives together.

In this 29-minute video, the audience observes the images from the city of Antwerp, which is taken from an angle lower than the eye and in the cloudy sky as well with a wide-angle, and the camera is fixed and is only observing.

On the pictures, a number of five letters were selected from the Montesquieu Book, which is read by four women, all the papers are about the status of women in Europe and sometimes compared with the situation of women in Iran. This video is in Persian language and does not have any subtitles. The reason for not including subtitles can both be a resistance to the English as the language of the majority and opposition with the presentation of the artist’s work in as minority whose appearance is forced to endorse the taste of the Western audience.

I sent the selected letters to my friend in Tehran and during my stay in Antwerp, and I asked them to record the letters and to send them back to me. Initially, I sent about 10 letters to nine people among my friends, both male, and female, and, of course, I tried to set each letter in a way that each have a small link with the reader, the answers include 5 letters from women and a letter from men. And finally, with the current events and incident and a little bit of direction on the topic, I decided to use women’s voices and letters on women’s issues.

Amir Farsijani

Amir Farsijani (b. 1988, Tehran, Iran) is a multidisciplinary artist who mostly works in photography and installation with a conceptual approach. He is a graduate of graphic design. Daily urban experiences play a major role in his initial approaches to his works. The first step is the documentation of whatever is considered as standards of urban life. He explains that by using photography for documentation, he can more easily go back to the spaces he has been to.

Amir Farsijani usually works with urban objects, and the city is his ‘raw material’.

No. 3, Araabi 3 Alley, Kheradmand-e Shomali St., Karimkhan Ave., Tehran

#videoscreening
#AmirFarsijani

Ghazel | Archives 1993-1999 | Iran

Feb 15 -17, 2019

New Media Projects 

Projects–Tehran
Newmedia projects will host “Archives 1993-1999/ Iran” part of Ghazel’s earlier and less shown video works on Feb 15 -17, 2019. These videos are the pioneer works in the Iranian video art scene: a collaboration of Ghazel with Kaveh Golestan at the Golestan Gallery; a video/ performance show at Gallery 13 (with Roxana Shapour); along with a series of installations that took place in Ghazel’s family orchard in the countryside. This archival show will end on Sunday, with an artist talk with Ghazel, and a discussion with Omid Ghajarian and Pouria Jahanshad.

Artist Biography:

Ghazel was born in 1966 in Tehran.
She received her B.F.A. and M.F.A. from L’Ecole Supérieure des Beaux Arts in Nîmes (France). She also received a B.A. in Film Studies from Paul Valéry University in Montpellier.

She has participated in many international biennials, including the 50th International Exhibition Venice Biennial (Clandestini) in 2003, the 8th Havana Biennial (El Arte con la vida) in 2003, the 3rd Tirana Biennial (Sweet Taboos, Episode 2: To lose without being a Loser) in 2005, the 15th Biennale of Sydney (Zones of Contact) in 2006, and the 7th Sharjah Biennial (Belonging) in 2005.

Her works are in many public collections including: Musée national d’art moderne, Centre Pompidou (Paris), MUMOK Museum Moderner Kunst Stiftung Ludwig (Vienna), the Musée national de l’histoire de l’immigration (Paris), the Aïshti Foundation (Beirut) and the Bic Collection (Paris).

Her WANTED posters are shown permanently in Musée national de l’histoire de l’immigration (Paris).

Her recent solo shows are “Black Hole” (2019/Azad Gallery, Tehran), Dyslexia” (2018/ Hinterland Gallery, Vienna) and “Mismappings” (2017/ ISCP Gallery, New York).

In April 2019 she will be in the 13th Havana Biennial.

Ghazel’s work deals with social issues, roots, contemporary migrations, hybrid identities, belonging and the effects of War.  She lived some 30 years outside of Iran but now divides her time between Tehran and Paris.

Moving Dust | Isfahan

Dustopedia: Moving Dust, Isfahan 

New Media Society in collaboration with Mehregan Atelier

Curator: Amirali Ghasemi / Parking Video Library

25 Jan, 2019

Moving Dust features works by Anahita Hekmat, Arash Khosronejad, Arash Fesharaki, Saman Khosravi, Nazgol Emami, Ali Momeni, Minou Iranpour, Amirali Mohebbinejad, Aria Farajnejad, Nassrin Nasser, and Bahram Beyzai, Jale Nessari

Address: No 40, Nilforoushzadeh crossroad, Kasra St, Bozorgmehr st, Isfahan.

More info here:

Moving Dust

Moving Dust | Bandar Abbas

Moving Dust | Bandar Abbas


Curator: Amirali Ghasemi / Parking Video Library

Moving Dust brings together a series of videos from the Parking Video Library revolving around the representation of dust in moving images in the works of artists and filmmakers. Moving Dust features works by Anahita Hekmat, Arash Khosronejad, Arash Fesharaki, Saman Khosravi, Nazgol Emami, Ali Momeni, Minou Iranpour, Amirali Mohebbinejad, Aria Farajnejad, Jaleh Nessari, Tessa Knapp and Bahram Beyzai.

More info here:

Moving Dust

Moving Dust | Kerman

Curator: Amirali Ghasemi / Parking Video Library in collaboration with Yadegaran art gallery

14 – 20 Dec 2018

address: Between Valiasr and Somaye Crossroads | Beheshti St | Kerman | Iran

Moving Dust brings together a series of videos from the Parking Video Library revolving around the representation of dust in moving images in the works of artists and filmmakers. Moving Dust features works by Anahita Hekmat, Arash Khosronejad, Arash Fesharaki, Saman Khosravi, Nazgol Emami, Ali Momeni, Minou Iranpour, Amirali Mohebbinejad, Aria Farajnejad, Jaleh Nessari, Tessa Knapp and Bahram Beyzai

More information here:

http://newmediasoc.com/projects/moving-dust/

Detour to Tehran – Vienna

Detour to Tehran

A film program curated by Amirali Ghasemi | Parking Video Library
with special thanks to Pouria Jahanshad | Rokhdad-e Tazeh Documentary

“Detour to Tehran” is a two-day screening program at SCHIKANEDER Kino in Vienna on November 17-18, 2018. The program is made in response to an invitation by Hinterland Gallery, curated by Amirali Ghasemi and the Parking Video Library. The screening takes place parallel to an exhibition featuring works by Iranian artists with an emphasis on the city of Tehran as the central theme. “Detour to Tehran” puts together documentary films, videos, and experimental films by various individuals working on Tehran and its many aspects using moving images, among them: Filmmakers, Architects, Artists, photographers, and choreographers…

With contributions from:
Kaveh Mehrabani, Saman Khosravi, Mehdi Bagheri, Pirouz Kalantari, Alireza Rasoulinejad, Amirali Ghasemi, Bahman Kiarostami, Paliz Khoshdel, Zeinab Tabrizi, Jaleh Nessari, Siavash Naghshbandi, Bahar Samadi, Ehsan Barati, Arash Fesharaki, Setare Jabbari, Ehsan Behmanesh, Arash khakpour, Arash Radkia, Amirali Mohebinejad, Nebras Hoveizavi, Roya Keshavarz, Mona Kakanj, Foojan Xaje and Tanin Torabi.

Saturday, Nov. 17, 2018
5 pm
| Black & white (TEHRAN KALEIDOSCOPIC) | Kaveh Mehrabani | 2013-2018 | 80 min
| The Destructed Ones | Saman Khosravi | 2016–2017

7 pm
| Residents of one-way street | Mehdi Bagheri | 2015 | 72 min
| Reading Salinger in the City Park | Pirouz Kalantari | 2011 | 29 min

9pm
| Exteriors | Alireza Rasoulinejad | 2004 | 70 min
| Video diaries | Amirali Ghasemi | 2004

Sunday, Nov. 18, 2018
5 pm
| Statues Of Tehran | Bahman Kiarostami | 2008| 60 min
| Street Sultans | Paliz Khosdel – Zeinab Tabrizi | 2010 | 39 min

7 pm – short films
| Fleur Cinema | Jale Nesari | 2018 |
| Tehran Metastasis | Siavash Naghshbandi | 2016
| The Plasco Building | Bahar Samadi | 2017 | silent
| String | Ehsan Barati | 2018
| Workers Say Goodbye to the Sun | Arash Fesharaki | 2013
| Some ways to reach revolution | Setareh Jabbari | 2009
| Room No. 28, The Floor to The Roof | Ehsan Behmanesh | 2007
| Tehran Zoo | Arash Khakpour, Arash Radkia | 2009

9 pm
|Amirali Mohebinejad| 27 Minutes to Go | 17:00 | 2009 |
| Tanin Torabi | The Dérive | 7:39 | 2017 |
| Roya Keshavarz| Khalvat|07:37|2016|
| Rat Race | Mona Kakanj | Video | 2016
| Red Noise | Foozhan Xajeh | 2018
| Does the road offer a clue? | Nebras Hoveizavi | 2018

SCHIKANEDER Kino
Margaretenstraße 24, A – 1040 Wien
(tgl. ab 18 Uhr) : 01/ 58 52 867
schikaneder.at

Adapting to Invisibility – Lajevardi Foundation

Adapting to Invisibility
Vefq be Na-Peydaei
Lajevardi Foundation
Curated by Amirali Ghasemi/ Parking Video Library
Friday, Nov. 16, 2018 – 7 pm

Anahita Hekmat | Mehdi Shiri | Hamed Sahihi | Tessa Knapp | Ronak Moshtaghi | Narges Naseri | Tala Madani | Payam Mofidi | Nebras Hoveizavi | Simin Yaghoubi

Adapting to Invisibility is Amirali Ghasemi ’s response to a kind invitation from Sussane Bürner, artist, and curator based in Berlin. Parallel to the Mimicry – Empathy Exhibition held at Lajevardi Foundation – Tehran, a one-day video screening program is organized to explore the similar yet varying path taken by various artists living across the globe. The approaches frequently deal with the body, its image and often surrounding sceneries. The program reveals both the vulnerability of human beings and the way they chose to protect/express themselves in confrontation to
the outside world.
@NewMediaSociety
#videoscreening
#LajevardiFoundation
#ParkingVideoLibrary

Moving Dust | Shiraz

Moving Dust

Moving Dust brings together a series of videos from the Parking Video Library revolving around the representation of dust in moving images in the works of Iranian artists and filmmakers. Moving Dust features works by Anahita Hekmat, Arash Khosronejad, Arash Fesharaki, Saman Khosravi, Nazgol Emami, Ali Momeni, Minou Iranpour, Amirali Mohebbinejad, Aria Farajnejad, Nassrin Nasser, and Bahram Beyzai.

The program starts with a TV glitch familiar to many Iranians living inside the country, followed by freewheeling cameras, concerned souls, onlookers, and workers moving “Dust.

In Keanser (Cancer), Arash Khosronejad, a musician, and a digitalartist uses the lowquality signals on satellite television to create a suspensescape where a floating fog of noise leaves no room for escape from the immersive darkness. There have been speculations about the waves which are sent to interfere with satellite signals in Iran and some strongly believe that they are causing cancer in people.
Ali MomeniSmoke and Hot Air which was created in collaboration with Robin Mandel takes on the everincreasing threats against Iran. The machine is created to pick up news featuring sentences that include “attack Iran are scavenged from Google News and spoken using a texttospeech synthesizer. The voice is then picked up by a microphone, analyzed, and translated into rhythmically corresponding smoke rings from a quartet of smoke ring makers. While signaling fear, translated on the spot from threats spread worldwide into identical smoke rings coming out of an unstoppable machine, the room is gradually filled with smoke as the tension rises. This 2008 piece, is still valid and pertinent ten years later where an uncertain shadow is hanging over us all.

At The End of the World is ..., Mohebbinejad tries to recreate a void, juxtaposing the dialogues from the film Naked  directed by Mike Leigh  with images of floating dust particles, unknown shimmering creatures as he puts it, “coming into being and passing away. This dystopian piece uses minimum requirements to depict the moment dust particles, their eminent presence in every space, are activated by a ray of light and then shuts down every other second.

Minou IranpourBein is an abstract journey, an alienated landscape based on her life experiences as she puts it, Bein is something happening “in between. Abstract images shot with a digital camerado not leave much to interpretation while the sepia tone applied on the film, fades traces of any familiar scene which can lead to any possible guess. Iranpour wants the viewer to stay with her on this short journey.

Anahita Hekmat has two pieces in Moving Dust: ArgeBam (CITADELLE), revisits the aftermath of a 6.6 earthquake in the city of Bam, in the Kerman province of southeastern Iran, which destroyed Arge Bam, the worlds largest adobe structure, dating back to at least 500 B.C. The trace, which was made a year before, follows a journey to Shahda, a village near Yazd, which is one of the last places to resist the encounter between Islam and Zoroastrianism in Iran. Hekmats camera often follows a historic trail and arrives at locations which have been collecting dust for a long time like a windeven when its too late.

Nassrin Nassers fragile and illuminating Raining Ashes transports us toward an uncertain moment of decision which some of us might be familiar with: a fictional relationship between a prisoner in solitary confinement and an activist. The prisoner is imagining the activist writing to her out of vigilance and sympathy. Finally, the illusion turns out to belong more to the writer than the prisoner.

A witness, a virtual activist, or a performance artist? Aria Farajnezhad elaborates on this in his video piece: “All solid video performance is a dark metaphor, which ridicules itself too. The image of a man facing a pile of raw materials is not staged or lighted. The industrial shed remained intact. The only theatrical role is taken by the artist. The permanent shouting, which causes a dramatic atmosphere in the first part, seems poor and absurd when it is being performed in the empty space. All is solid melts into air, even the monument of the artists heroic act.

There are three pieces in Moving Dust, featuring workers; all busy demolishing and building Tehrans cityscape. Their fragile condition and that of their working conditions are reflected in three fragmented perspectives from documentary cameras to Bahram Beizais scene from his nationally acclaimed feature film “Killing the Mad Dogs, portrays Golrokh Kamalis struggle in the concrete jungle of postwar Tehran. The workers influx as their employers money in Iranian Rial bills being thrown in the air by Golrokh, sends mixed signals of how Beyzai depicts them transforming from obedient servants to greedy hooligans, raiding their bosses possessions. Arash Fesharakis sunset landscape is as bitter as it is stunning as the sun goes down and workers are destroying the villa which they are standing on to make space for a tower obscuring the same view. And finally, in Saman KhosraviThe Destructed Ones, as the artist wakes up to witness the night shift of destruction next door he writes: “When an old building in front of my work studio was being demolished I started shooting its gradual disappearance, but while I was recording the demolition, the construction workers and their miserable conditions caught my attention and instinctively I got my camera focused on them instead.

As the program reaches the end and is about to be looped soon, we reach the final piece by Nazgol Emami, a viral soundscape described by her, created around and named after, a computer virus called “you are an idiot :) :) :)

Amirali Ghasemi  April 2018

More information here:

http://newmediasoc.com/projects/moving-dust/

Tessa Knapp | Video Installation

The media artist Tessa Knapp works time-based and cross-genre between location-based installation and video art on language performance, and experimental film and will travel to Iran to hold a guest exhibition at New Media Project and artist talk at Haan Gallery, Shiraz in October 2018.

She was born in 1981 in Stuttgart. She studied media art at the Academy of Media Arts in Cologne and graduated in 2007 with honors from Marcel Odenbach, Matthias Muller, and Siegfried Zielinski.

Since 2005, Tessa Knapp has been represented at exhibitions and screenings internationally, including the Videonale 9 and 11 at the Kunstmuseum Bonn, the Biennale Balticum at the Rauma Art Museum Finland, the Hongh Gah Museum Taipei and the Museo Paco Des Artes Sao Paulo.

They were also presented at festivals such as the New York Video Festival, the European Media Art Festival, the Transmediale or the film festival Max Ophüls Prize. After a working scholarship at Atelier Galata Istanbul in 2009, she received the Zonta Prize of the International Short Film Festival Oberhausen for the video work 99 Beautiful that was also broadcasted on television and became part of the art collection „Kunst aus NRW.In 2016, Tessa Knapp received the Horizont-Raum-Award, traveled to Armenia and Georgia as a scholarship holder of the Women’s Cultural Office NRW and was represented at the Tbilisi Literary Museum. In 2017, Knapp exhibited at the Museum Cavazzen Lindau and developed a site-specific intervention and group exhibition at State Silk Museum Tbilisi, entitled “Museum of Transformation“ presenting a museum of change. In 2018 she presents a new site-specific light installation at Kunstverein Brühl and receives the artist residency of Queens Collective Marrakech, Marocco. Since 2009 she has also worked in many interdisciplinary and participative productions in the fields of performance, dance, music, and sound. Among the collaborations with choreographers, sound artists and dancers a digital storytelling workshop in Nairobi, a play and video graphic music theater for young refugees and more recently a performative work laboratory for voice, language and non-verbal forms of expression.

Artist talk and Screening  by Tessa Knapp – Wednesday 10.10.2018  – 6 pm

Exhibition 11.-28.10.2018 – Opening Friday from 5 to 9 pm Saturday to Tuesday by appointment (write us at info@newmediasoc.com)

This art project is funded by ifa, German Institute for Foreign Relations”

New Media Projects – Tehran

Film Screening #57 | Micheal Pilz

School of Moving Images & New Media Society in collaboration with Austrian Cultural Forum in Tehran (OKF) present
Screening of 2 films by Micheal Pilz “Cage” and “Rose and Jasmine”

Monday, June 11 and Tuesday, June 12, 2018 – 7 pm


CAGE

140 minutes, Beta SP, 4:3, colour, PAL

In August 1992 we met for a four-week international symposium on dance, music, and film. As a result, the video State of Grace is a cinematic attempt to a maximum of exertion and a maximum of relaxation basing on the thoughts – among others – by John Cage and Chuang Tzu.

  • It was just a beautiful memory to me, it was something like I built up together with fifty more people and then also what we did with the girl, it had a very nice atmosphere, just really the air stopped, I didn’t do it for them but more I have taken their energies into me to do something together like if you make contact with somebody and you don’t know where it will lead, your movement goes somewhere, and it worked very well and then I walked out and the game was going on and I lost this feeling and from that point on when I lost it, it was not so interesting, my wife told me.
  • Your wife?
  • Yes, she told me at the beginning it was so solid, the atmosphere and the air in the room that you could really have cut it and she saw that, my God, what will happen here till the end if it goes on like this, she was really afraid at a point that it would really go too far maybe, because
    it is so –, and then I lost, I just forgot when I entered again, when I went out maybe this experience to me was too much, I forgot about going on with it, it was just somehow, a satisfaction, I should go home instead of running the whole.
  • Maybe you should not have been so satisfied.
  • Yeah, but how can you do that? Yes, you should get a lot of satisfaction during the work and then you are not so surprised when there is satisfaction at the performance.

    Ferenc Kálmán,
    in dialogue with Raffaella Giordano,
    from the film

Rose And Jasmine
Video, 106 minutes
digi-Beta, 16:9, color, stereo

In ancient China before an artist began to paint anything – a tree, for instance – he would sit down in front of it for days, months, years, it didn’t matter how long until he was the tree. He did not identify himself with the tree but he was the tree. This means that there was no space between him and the tree, no space between the observer and the observed, no experiencer experiencing the beauty, the movement, the shadow, the depth of a leaf, the quality of color. He was totally the tree, and in that state only could he paint.
Michael Pilz, Vienna, April 2010


Meditation is to be aware of every thought and of every feeling, never to say it is right or wrong but just to watch it and move with it. In that watching, you begin to understand the whole movement of thought and feeling. And out of this awareness comes silence. Silence put together by thought is stagnation, is dead, but the silence that comes when thought has understood its own beginning, the nature of itself, understood how all thought is never free but always old – this silence is meditation in which the meditator is entirely absent, for the mind has emptied itself of the past.

Jiddu Krishnamurti, Freedom from the Known

A cinematic poem based on the director’s journeys in Iran from 2006-2007. By patiently and gently observing both people and place, Michael Pilz collects images and sounds of ravishing beauty. A meditative experience.
40th International Film Festival Rotterdam, January/February 2011

This event is open to public and free.
New Media Projects: No. 3, Araabi 3 Alley, North Kheradmand St. Karimkhan Ave. Tehran
@newmediasociety

Dustopedia

Dustopedia, a collective research project by New Media Society
from April 20, 2018
New Media Projects

visiting hours:
Fridays 5-9pm and Weekdays by Appointment

Dustopedia (Ghobar-Nameh/ غبارنامه)  is an ongoing research, archive curatorial project which defined by New Media Society in response to an invitation by Anna Ptak, the curator based in Warsaw and meant to be exhibited in Warsaw in 2015 along with the project DUST/KURZ/غبار.

It is an encyclopedia around the theme of dust, bringing together its appearance and reappearances of the subject through various media such as text, moving image, and found materials.

Due to some problems and complications, Dustopedia wasn’t released during the exhibition, and the team decided to continue the project on their own and present it when another opportunity occurs in Iran. Meanwhile the archive was growing in many directions, and finally, in early 2018, New Media Society decided to dedicate its project space to Dustopedia for two months starting in April. The project is consist of an ever-changing wall installation, a study room and a screening area for talks and presentations.

The subjects which are being researched are varying from representation of dust in documentary and feature films, work on paper, collecting News pieces and paper clippings regarding the micro-dust crisis and the environmental issues caused by the water shortage and drought to side effects of the wars in the region, as well as philosophical and metaphorical readings of dust in literature, poetry and film. The project invites the viewer to participate actively in the process by engaging in the conversation within various related disciplines and helping the archive by submitting materials and expanding the entries of the Dustopedia. The result is imagined in the format of an internet website and a possible publication.  

In association with the concept of dust this project tries to explore fundamental questions such as: what do we know about dust? Is it only floating/sitting matter or there are other layers/readings to this phenomenon? Are we cursed to dust up constantly, or just fribble away in comfort? What if we accept it as a condition/space which can initiate change? How the relationship between the center and the periphery, would be redrawn in accordance with the dust density and/or its inconsistency? How does it make reference to death, decay, and dissolving as the remanence of the once existed object? How does its ever-changing composition bring up coercion and exigency?

        Despite its popular definition, the word ‘dust’ can be taken as a signifier to separate the periphery from the center – as the place which the power is concentrated in and should be kept clear, pure and visible at any price; but the periphery, on the contrary, is a place/space for dust. It is always expelled/discarded to some remote places out of sight, dust will not attract any attention until it reaches the center. Maybe that’s why the outcasts and the forgotten are always associated with dust. Center is a place worthy of sweeping, hence dust and rubble are the largest export to the marginal territories; nobody bothers to sweep the periphery.

        Dust always gets on the news when it is too late – everywhere is filled with it. The Settled dust completes the process of opacity and hypocrisy, it devours the structures of power or transmutes them in itself. (9/11 and the 1st and the 2nd Persian Gulf War).

The collected dust, on the other hand, refers to the archive, the analog and the history and all those nostalgias attached.

        Dustopedia is an encyclopedia with the capability for change, or the possibility of adding of new entries; archival/live entries of text, image, and film, toward various domains from scientific and ecological perspectives to rather abstract philosophical matters surrounding dust. Various portions of it get completed in the course of time and in the process of collective search and investigation. To separate these interconnecting matters, chapters and entries are designated to be filled with found objects/footages/text fragments, these entries – themselves – will be also capable of expansion.

New Media Projects

No. 3, Araabi 3 Alley, North Kheradmand St. Karimkhan Ave. Tehran
Tel: +9821 88829253
@newmediasociety

more information here:

http://newmediasoc.com/projects/moving-dust/

New Media Talk Series #52 | Vandad Farhady

New Media Talk Series #52 | Vandad Farhady

Wednesday, Jan 10, 2018, 6 pm
New Media Projects

Vandad Farhady is a video game artist and illustrator who is trained in the European game production pipeline. His passion about storytelling, specifically in video games, has driven him towards studies on cinema and classic literature in search for creative solutions concerning forming up a visually efficient narrative-line in the interactive manner of video games.

Soon in Winter 2018, Farhady in collaboration with New Media Society is going to hold a series of workshops about methods of storytelling and narrative in video-games based on lessons learnt from the treasury of cinema and literature. New Media Project will host an artist talk and presentation by Vandad Farhady on Wednesday, Jan 10, 2018, at 6 pm as an introduction to his workshop and to discuss the context he is researching on.The session will be held in Persian, free for all to attend.

New Media Projects: No. 3, Arabi 3 Alley, N Kheradmand, Karimkhan Ave. Tehran.

Animation; Experiment #3 | Fatemeh Hosseini Shakib

Animation, Experiment #3 | Abstract Animation-3

Dec 13, 2017 – 6 pm

New Media Projects

In the 3rd session of Animation, Experiment at New Media Projects, following the previous sessions dedicated to abstract animation, we will gather to watch FREE RADICALS, A History of Experimental Film (2011) a documentary film by Pip Chodorov on Wednesday, Dec 13, 2017 at 6 pm. The session continues with an open discussion with presence of Dr F. Hosseini Shakib.

This feature-length documentary provides a vivid, eye-opening, and appropriately personal introduction to one of the most important, yet perpetually marginalized, realms of filmmaking: avant-garde cinema.

Achieving the near-impossible task of doing justice in a mere 82 minutes to this incredibly rich, varied, and expansive domain, FREE RADICALS is as expertly constructed an introduction to the topic as one could hope for, thanks in large part to the film’s privileging of rare interviews with some of the most important filmmakers in the avant-garde tradition (including Jonas Mekas, Peter Kubelka, Stan Brakhage, and Hans Richter), and its inclusion of several films in their entirety. The film’s sincere admiration for its subject is best reflected by Chodorov’s own description: “I wanted to share a few of the films I love and introduce you to some of the free, radical artists who made them.”

 

FREE RADICALS | Pip Chodorov |83 mins | 2010

Features: Andy Warhol, John Mhiripiri, Jonas Mekas, Ken Jacobs, Len Lye, Michael Snow, Peter Kubelka, Pip Chodorov, Robert Breer, Stan Brakhage, Stephan Chodorov

Languages: English, French with Persian Subtitles

There is a suggested donation of 10.000 tomans at the door to support the program.

New Media Screening & Talk Series #49 | Monika Czyzyk

New Media Screening & Talk Series #49 | Monika Czyzyk
Friday, Dec 1, 2017 – 7 pm
New Media Projects – Tehran

Monika Czyzyk (b.1989, PL) is a visual artist living and working in Helsinki, Finland. She is a graduate of the Krakow Academy of Fine Arts and the Helsinki University of the Arts. Czyzyk works with various forms and lengths of the moving image. She relocates and participates in hybrid socio-institutional formations seeking out topics and materials created within these collaborative communities. In September 2016 Czyzyk had her first solo show – BOdyssey at Exhibition Laboratory in Helsinki. Czyzyk was a resident of Signal Culture in Owego/NY and Limbo Limbo in London. Her videos have been screened at WRO 2017 Biennale: DRAFT SYSTEMS, Wroclaw/Poland,  Union Docs NYC/NY, November Film Festival, London/UK, EMAP 2016: The 9th Ewha International Media Art Presentation, Seoul/SK. BOdyssey was awarded a grant from the Finnish Cultural Foundation and the Young Artist Grant from the Finnish Art Society.

BOdyssey Prologue, Film HD, 21:17 min, 2017, Finland, UK.

BOdyssey Prologue,  is an experimental film that features global female participants and asks them to speculate on a variety of subjects including 21st century feminism, politics, family, media art, technology and the advancement of post-human kind. The device at the center of the video collaboration is a toy camera: the Videogirl. Videogirl is a 2010 special edition Barbie doll with a video camera and playback unit embedded in its body. I use Videogirl for its symbolic content and as an actual recording device. The film intends to build upon the role of re-imagined female characters in Stanley Kubrick’s 2001: A Space Odyssey. This seminal work constitutes the stepping stone for Astronaut Barbie’s quest into the future of the human species. During filming I had the chance to meet fascinating women, either professional filmmakers or everyday heroines, of diverse cultural origins and unusual perspectives on life. I have invited them to participate in the project by providing them with their own Video Girl and the request to film their unique viewpoints, stories and personal perspectives of the times we are living in.

I sent him a rabbit, Film HD, 22:21 min, 2015, Finland / Germany

The film presents a personal account of the moment in my life when I lost my video archive. I return to the places where I originally filmed and by doing so, I find new material in the form of the DV tape archive of German filmmaker Reinhard Lorenz. The project was a very intense experience that randomly brought together two filmmakers, both dealing in their work with memories of past digital lives, intertwined into a new fiction. The film is composed of original documentary found footage, experimental recordings of Skype conversations, stop motion animation, as well as sound design consisting in a unique song specifically created for the video.

Animation, Experiment #2 | Somayeh Khakshoor

Animation, Experiment #2 | Abstract Animation-2
Nov 8 ,2017, 6 pm
New Media Projects

For the second session of “Animation; Experiment” series, following the theme of “Abstract Animation,” we will look at some videos by several artists in two divided parts; history and recent works. Together with Somayeh Khakshoor and Alireza Chitai, we will discuss visual music and the concept of abstraction in animation. A thesis by Arash Ghonchehpoor, with the title of “Abstract Animation, from Modernism to Postmodernism,” and some other related articles will be prepared and available for the audiences.
-The first part contains some works by historical abstract animation artists, including:
Hans Richter, Oskar Fischinger, Len Lye, Ishu Patel,…
-The second part contains some works by recent artists, including:
Max Hattler, Ori Too, Ross Murphy, Alireza Chitai, Naghmeh Farzaneh, Mohammad Javad Khajavi, …

The session will be held in Persian.
There is a suggested donation of 10.000 tomans to support the project.
To reserve your seat, please contact Mehdi Shiri on the following number: 09198106554

New Media Projects: No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave.
tel: 021-88829253

Monument in Flux | W139 – Asmterdam

Monument in flux
Screening Program Curated by Amirali Ghasemi

29 Oct – 4 Nov 2017
W139 – Amsterdam

With Studio 51(Babar Samadi & Navid Salajegheh), Bahman Kiarostami, Mohammad Hosseini, Susan Bayani, Sanaz Sohrabi, mo H. zareei, Mona Kakanj, Payam Mofidi & Jalaleddin Anvari

“Monument in flux” gathers artists, filmmakers and video essayists living across the globe, from North America to New Zealand via Iran, in the frame of the exhibition “Ideology Meets Implementation” at W139 in Amsterdam. The program tries to invite perspectives on the subject, the fluidity of monuments in our time and the constant changes they face, from ancient Tomb of Cyrus the Great to the unsteady Contemporary Pedestals, and from Sculptural Representations to Performance in Public Space, and from emergence of the Revolutions to fading traces of East Block Heritage, Monument are in the constant state of flux, reshaping and becoming according to what passes in front of them.

About W139

Striving towards free and independent explorations. W139 feels this is urgent now, more than ever. Activating and cultivating artistic and intellectual freedom. To fully trust this process and dare to build further upon that.

Currently, self-organized groups of artists are working on presentations for the space located in the center of Amsterdam. Each group embraces the principles and ambitions of W139 and is actively working to present worlds which one has never seen or experienced before. In developing site-specific presentations the groups are challenged to play a key and initiating role in amongst others the following areas of attention: moving beyond self-promotion, making sensitive, sensory and inclusive spaces, and generating wealth.

W139 is an artist-led production and presentation institution operating since 1979 as the beating heart of experimental artistic practices and providing room for risk.

More info on W139 website.

Animation, Experiment #1 | Hossein Moradizadeh

Animation, Experiment #1 | Hossein Moradizadeh
Oct 18,2017, 6 – 8 pm
New Media Projects

In fall 2017, New Media Society starts series of sessions dedicated to experimental animation. Animation, Experiment Series is a screening and talk events for the visual study and contextual analysis of experimental animation, doing so examples will be selected with a thematic approach.

For the first session under the theme of “abstract animation,” we will look at the works of “Hossein Moradizadeh” with the presence of Dr. Fatemeh Hosseini Shakib (Tehran Art University). Hossein Moradizadeh, painter and animation filmmaker, graduated of animation-direction (BA) from the University of IRIB (1987-1992), has been a member of the jury for the animation section at the house of cinema festival (2002, 2007,2014 and 2015).Since 2007, he has made several short films/series and also a cinematic stop-motion trilogy called The Legend of Mardoush.
His films have been shown in more than 40 international animation festivals and have won numerous awards and their techniques vary from stop-motion to two-dimensional and sub-camera stroke. In the upcoming session series of his short experimental films, followed by a talk and a Q&A.

Film program:
Life : 16 mm . 4 Min . 1990
Loneliness of a Tree . 16 mm . 5 Min 45 sec . 1992
Nightmare .35 mm . 4Min . 1995
Points. 4 Min . 2004
Kafka . 4 min 48 sec . 2006
The Owl (Based on Blind Owl by Sadeq Hedayat). 7 Min . 2007
The song of Gabriel . 4 Min . 2010

The session will be held in Persian.
There is a suggested donation of 10.000 tomans to support the project.

New media Talk Series #47 | Khosrow Sinai, Masoud Kouhestaninejad & Maryam Niazadeh

New Media Society in collaboration with Lajevardi Foundation presents:
Lahestaniha in Iran
75 years after their arrival during WWII
Talk & Screening program
Khosrow Sinai, Masoud Kouhestaninejad & Maryam Niazadeh
Oct 3, 2017 at 5pm
On the occasion of the 75th anniversary of the Polish migration to Iran, New Media Society in collaboration with Lajevardi Foundation organizes an evening program dedicated to investigate the historical, social and cultural aspects of the event. Masoud Kouhestaninejad and Maryam Niazadeh will present fragments of this migration through historical documents and photographs, and will talk about their journey from Soviet Union to Iran and further as well as subjects like the interaction and exchanges between the Polish refugees and Iranians.
The session will continue with the screening of two documentary films with presence of Iranian acclaimed filmmaker and artist Khosrow Sinai.
“The Lost Requiem” is a 95 minute documentary film Khosro Sinai about the Polish migration to Iran during the WWII, Sinai started the film back in 1970 but due to some difficulties it took 13 years to be completed in 1983. Dorota Latour’s “The Found Requiem” is made about 30 years later and revisits the subject and the filmmaker.Program:
Talks and presentations
Masoud Kouhestaninejad | The hosts of the Bridge to Victory
Maryam Niazadeh | A glance at the digital traces of Polish presence in Iran
Khosrow Sinai | The Lost Requiem, 35 years later
The Lost Requiem (Khosrow Sinai) 95 min
The Found Requiem (Dorota Latour) 30 min
Lajevardi Foundation: No.20, Sepand street, Nejatollahi street, Karimkhan zand street, Tehran

Hearing Eyes, Seeing Ears | Video Screening

Hearing Eyes, Seeing Ears
A program from the 30th edition of Images Festival – Toronto
New Media Projects
Tuesday August 8th, 2017 | 7 pmCelebrating its 30th year, Images Festival presents a program of short films at New Media Society in Tehran. The Images Festival is a yearly event devoted to independent and experimental film, video art, new media and media installation that takes place each spring in Toronto, Canada.The festival was founded in 1987, originally conceived as an alternative to the Toronto International Film Festival.From forensic analysis of gunshots to handmade gun tattoos in prison, this program of shorts forces us to look beyond the everyday marks and traces of violence that are not readily legible to our eyes and ears.Faraz Anoushahpour is a curator and artist based in Toronto, Canada. He obtained his undergraduate degree in architecture from the Architectural Association in London, and finished his masters in Interdisciplinary arts at OCAD university in Toronto, Canada. He has acted as the programmer at Images Festival since 2016.

Invisible Present Tense 2.0 | video program Kunstraum Potsdam

Invisible Present Tense 2.0 | video program Kunstraum Potsdam | July 16, 2017 | 4 pm | Parking Video Library

with Nima Bahrehmand|Samira Hashemi|Atousa Bandeh|Rambod Vala|Sona Safaei Sooreh|Bahar Samadi|Bahareh Karamifar|Rasoul Ashtari|Hamed Sahihi|Aria Farajnezhad|Simin Yaghoubi|Ronak Moshtaghi|Aliyar Rasti |Sanaz Sohrabi| Mehdi Shiri

The Invisible Present (tense) is an ongoing screening program selected from Parking video Library, The program toured in United States & Brazil in 2011 and 2012 and in 2013 became of part Focus Iran Program at Rotterdam & Gothenburg film festival.

The Invisible Present Tense 2.0 is curated specially as a parallel event to Exhibition Possible worlds and tend to broaden the definition of Moving images and go beyond geographical borders. The latest edition of the program highlights the use of various disciplines video essay, documentary, experimental film, animation, performance and photography. The participating artists—most of them younger than 35 —work within Iran and across the globe. The Invisible Present sheds light on a generation that can not be plainly defined and is often harshly targeted internationally; A generation which seeks to be present and exercise their significant liberty to experiment, while preserving the right to be invisible to many.

The Tehran based video archive initiated in 2004 by Parkingallery Projects and includes Moving Image and Multimedia works by emerging artists from Iran and elsewhere. The series is conceptualized and curated by Amirali Ghasemi independent curator based in Tehran. PVL introduced the vibrant new wave video art scene through a number of events, Screenings, workshops and the Limited Access festival for Moving images, Sound and Performance.

Rokhdad-e Tazeh Documentary 40: Morteza Akoochakian

Rokhdad-e Tazeh Documentary hold its 37th Session in collaboration with Rybon Documentary, Studio 12 & New Media Society:

Address:

No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave. New Media Projects

Poster Designed by Ra Studio | Amir Moghtada

New Media Talk Series #42 | Rambod Vala

New Media Society in collaboration with Limited Access festival presents:

After Image | video screening

Friday, May 5, 2017 – 4 to 7:30 pm

Address:

No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave. New Media Projects

Rokhdad-e Tazeh Documentary 37: Mohammad Tahami Nejad

Rokhdad-e Tazeh Documentary hold its 37th Session in collaboration with Rybon Documentary, Studio 12 & New Media Society:

4th session from “City and Urban Man” Series, in harmony with the end of the Iranian year &  change of the season focuses on the cinema in Iran in the light of modernisation process.
For this special occasion we gather to watch a crucial & less seen documentary on early Iranian cinema and its history.

We gather at New Media Projects to watch, Iranian cinema from the constitutional Revolution to Sepanta (1970) by Mohammad Tahaminejad on Sunday, March 12, 20176 pm.

Followed by a director talk plus Q&A

Mohammad Tahaminejad was born in1942 in Tehran and studied journalism and cinema and have lectured in film and cinematic research at several universities. The central tendencies in his career had been as follows: 1-Documentary film making on social and cultural topics .His first film Iranian cinema from the constitutional Revolution to Sepanta (1970) was a portrait of Iranian cinema pioneers and the context they challenged with .There he tried to find and assemble some of the Iranian first forgotten lost films in a narrative compilation (hybrid) film together with re-enactment and interviews with silent film personalities . like: Mr. Habibollah Moraad the hero of Haji Agha Actor e cinema ( Ohanian -1933)and director Ebrahim Moradi ( of Bolhavas -1934) and with our first talkie film Dokhtar -e Lor (1933) actress Roohanghiz Saminej ad and others. The film’s perspective supported by a sociologic historical theme as he called searching for disappointment roots (Risheh-yaabiye ya’s). His other films are : Return of the prisoners of war (1991) water distributor’s night (1981) in a desert village and housing crisis in a modern city (1972) 2- He has achieved some qualitative studies since the end of 1960’s. In 1994 he rewrote the script of his first documentary film , and published it. A book which selected as the best book of the year -1995. Two other books are: the cinema of dreams and phantasm (cinemaye ro ya pardaze iran 1986) and Iranian documentary cinema, the field of differentials (arse ye tafavotha-2001) a book about history and ideas. 3-Searching and introducing Iranian fiction and nonfiction (and footage) films had been also his engagement. 4- Documentary cinema from visual anthropological viewpoint and keep in order to (arranging) the visual memories of our contemporary history (nazm bakhshi be khaatere ye basary az tarikh moaser e Iran) are his two other engagements here today 5- Alongside others he has tried also to translate and introduce the new academic and theoretical achievements of the world directly or through comparative and critical works for those who interested. He was one of the three members of board of founders of Iranian Documentary Film Makers association and once its director .

Address:

No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave. New Media Projects

Poster Designed by Ra Studio | Amir Moghtada

New Media Talk And Screening Series #38 | Mohammadreza Farzad


Blames and Flames
The history of the Iranian revolution is interwoven with the history of cinema: In 1978, on the verge of the revolution, more than 130 cinemas burned down across Iran, 28 of these in Tehran. Who was responsible? Cinema became a major matter of contention on the cultural battleground as the revou The public was outraged and demanded answers: Which films should be shown, which not? Which films will be made, which not? Which movie theater will be kept, which abandoned? And of course: How much will a ticket cost? Composed entirely of archive material and equipped with a groovy jazz score, BLAMES & FLAMES is a brilliant essay film, and a meditation on the role of cinema, television and film in any society.

Into Thin Air ( 2011 )
In the early hours of Friday, September 20, 1979, a curfew was announced in Tehran and several other cities in Iran. That same morning, soldiers positioned in zhaleh Square, in the heart of Iran’s capital, opened fire on the people uninformed of the curfew. The exact number of the killed and the missing, most of whom were everyday people, has never been known. Not only the eyes of the cameras missed this slaughter of innocent people but it faced also the state-run media censorship. Before this film, the only cinematic evidence of this incident was a less-than-a-minute footage from an unidentified person’s camera; an evidence which was published as a document after the fall of the governing regime and turned into one of the most horrendous reminiscences of the 1987 revolution. “Into Thin Air” is the picture-reading of a documented reminiscence and a narrative of the “victim” on the fringe of all political massacres. This might be the story of all yesterday and today’s victims of political massacres in my home and that of yours.

Mohamadreza Farzad
Born September 1978, Graduated MA in theater study from Tehran university of fine Arts. He started his art career as poet and translator published half dozens of books.
As documentary filmmaker he has made some films Awarded and screened in national and international film Festivals. His first and second films “Into Thin Air” and “Blames and Flames” premiered at Berlinale 2011, 2012, shown in almost 30 film festivals till now. His third titled “Forget-Me-Not Egg” premiered at Thessaloniki film festival (2013) screened in dozens of International film events. His latest debut feature documentary “Wedding: A Film” (2015) Premiered in “Next Masters” competition of Leipzig documentary film festival, now going into film events across the world. Farzad has been a PHD student in Film Factory headed by legendary Hungarian auteur Bela Tarr. He also acted as jury member in some International film festivals.

wall newspaper: 79 revolution | ِDialogue with Revolution

Wall Newspaper project in its second event, presents two documentary films directed by Robert Safarian

we gather at new media projects to watch, 14 of Aban, The Day of Fire and Dialogue with Revolution on Monday, Feb 27, 2017 at 6 pm.

Rokhdad-e Tazeh Documentary 35: Mina Keshavarz

Rokhdad-e Tazeh Documentary hold its 35th Session in collaboration with Rybon Documentary, Studio 12 & New Media Society:

2nd session from City and Urban Man Series

Among the Waves – 2014
Film by Mina Keshavarz
Sunday, Feb 12, 2017 – 6 pm

Among the waves is a documentary about Rogheyeh, is a woman living in the city of Minab in South of Iran and to create a secure job female street sellers established a local bazaar for them. More than 800 women are working there but the municipality is against this…

Address:
No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave. New Media Projects

Poster Designed by Ra Studio | Amir Moghtada

Rokhdad-e Tazeh Documentary 34: Khosrow Sinai


Rokhdad-e Tazeh Documentary hold its 34th Session in collaboration with Rybon Documentary, Studio 12 & New Media Society:

1st session from City and Urban Man Series
3 short films by Khosrow Sinai
Sunday, Jan 29, 2017 – 6 pm

Program:

A sound that becomes antique 1966
Ars Poetica 1968
Sardi Ahan (1969)

We will watch and discuss 3 short films together with the acclaimed director Khosrow Sinai, the event starts as usual at 6 pm at New Media Projects, sharp and there will be a 10.000 Tomans, entrance fee.IMPORTANT: Please RSVP to reserve your seat with Mr. Masoud Mashayekhi via Telegram or SMS (09032021931).

Address:
No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave. New Media Projects

Poster Designed by Ra Studio | Amir Moghtada

Parishani, a video program on Mental Distress

Open Wounds by Simin Yaghoubi

Parishani video program: Still from Open Wounds by Simin Yaghoubi

Parking video library in collaboration with New Media Society present

Parishani
A film and video program on Mental Distress
Curated  by Amirali Ghasemi

Friday, November 25, 2016
5-8 pm

The program wishes to investigate Mental illnesses and its reflection in a gradient of works by Iranian artists from different disciplines, Using moving images. Ranging from photography to music video, and from performance to experimental film, works are carefully selected and offer perspectives on the issue from various angles from artists who try to be self-aware to situations occurs to the human body in transition. Parishani was once shown in an independent cinema in the city of Gent, Belgium in collaboration with Mahdieh Fahimi.

Part 1
Farid Jafari Samarghandi | Rozita Sharafjahan | Simin Keramati | Neda Razavipour | Anahita Hekmat | Payam Mofidi | Rambod Vala |

Part 2
Amir Mobed | Tala Vahabzadeh | Narges Naseri | Celia Eslamieh Shomal | Shirin Mohammad | Rasoul Ashtari | Simin Yaghoubi | Allahyar Najafi

On the loop
Ramyar Vala | Sona Safaei Sooreh

New Media Projects
Address: No. 3, Arabi 3 st., Kheradmand St., Karimkhan Ave., Tehran

New Media Talk Series #23 | AIDIN BAGHERI

New Media Talk Series #23
New Media Society in collaboration with Lajevardi Foundation

City Walls, a film by Aidin Bagheri
Wednesday, 27th April 2016 – 7 PM

City Walls, a film by AIdin Bagheri | Poster by Saman Khosravi

City Walls, a film by AIdin Bagheri | Poster by Saman Khosravi

On Wednesday, April 27, 2016, “City Walls” a documentary film by Aidin Bagheri will be screened at Lajevardi Foundation from 7 pm, the event follows with a conversation between the director and Zarvan Rouhbakshan, art critique, University lecturer and Artist. They will open the Q&A session for the public. Bagheri writes about his film which has a brief look at urban art and graffiti art in Iran:

How our city can be desirable? How much the city landscapes are influential on our feeling of satisfaction? Can can right to adjust the city** be used in order to achieve the satisfaction without opposition to the city jurisdiction? Questions like this made us to investigate a fully available and new phenomenon like unofficial wall-writing** and to analyse it with a sociological approach in the form of image and interview with the writers and experts. This documentary tries to pose the problems and obstacle which these wall-writers are facing or if their activity causes a destruction to the face of the city or if it is an act of sabotage of an artistic action regardless of aesthetic subject or a routine resistance in opposition to the urban order in addition to a relative introduction of this phenomenon.

Duration: 60 minutes

Aidin Bagheri (b.1991, Tehran, Iran) is a sociologist, researcher, social documentary filmmaker and photographer. He graduated from Azad university of Tehran with a BA in social science in 2013. Also he graduated in 2015 with a MA in sociology from the same university, with an emphasis on the research on relation between social / civil issues as well as photography. His research is reflected in some articles and documentary films such as his recent films “city walls” and “Tehran Slack-Liners”. He is currently working with photography, collage and video besides his following his social science research.

Where: Lajevardi Foundation
No.20, Sepand Street, Nejatollahi Street,
Karimkhan zand Street, Tehran.
Tel: +9821 88921745

for More information:
www.newmedidasoc.com

Poster designed by Saman Khosravi

New Media Talk Series #19 | Marika Kuzmicz

New Media Society & Limited Access Festival in collaboration with Aaran art Gallery and Polish Embassy in Tehran present:

Polish Video Art (1973-1979) – Yet Unwritten Story
Lectuer by Dr. Marika Kuzmicz
Saturday 27 Feb, 2016. 6 – 7 PM
Aaran Projects, room 2

Yet Unwritten story - Polish Video Art 1973 - 1979 - Limited Access 6 Festival for Moving Image, Sound & Performance

Yet Unwritten story – Polish Video Art 1973 – 1979

Video art in Poland first emerged in the early 70s. Despite the inaccessibility of equipment (like video cameras) in that time in Poland, video soon became important medium, used by polish artists in diverse ways.

Avant-garde artists (members of independent experimental groups like Workshop of the Film Form and Gallery of Current Art), based on their experience of experimental film, explored the relationship between reality (visual reality) and the perception of the viewers.
According to this, they used video to make viewers fully aware of traps and manipulations of mass-media and of reality. They analysed the properties of broadcast television and it role in everyday reality in communist country. Only a few of them, like Paweł Kwiek and Jolanta Marcolla (first polish female video artist) received access to the TV Studio. The result of this situation were significant works of Kwiek “Video A”, “Video C” and “Video P” (1974/5) and – not preserved works of Marcolla “Dimension 1-4” (1975).
Polish video art of that time includes also video installations by Wojciech Bruszewski and Andrzej Różycki among others. Installations are evidences of intensive examination of the nature of this medium in the field of visual art in Poland and exploring its potential of communication of abstract ideas or communication, in general.
History of early polish video still need to be developed but for now, important video works are accessible in Arton Foundation on-line repository. The goal of that document is to present selected, significant works and artists, based on the content collected by Arton Foundation since 2011.

Dr. Marika Kuzmicz – a graduate of art history at the University of Warsaw, PhD in Institute of Art, Polish Academy Institute of Sciences in Warsaw. She conducts research on polish art of 70s. Head of Arton Foundation (Warsaw), non-profit organization, concentrates on researching and exhibiting polish art of the 70’s. The curator of contemporary art exhibitions, including “Conceptualism. Photographic medium “(Lodz, Poland, 2010) and” Conceptual Photography Poland “(Berlin 2011), “Doing the Impossible Light” (in cooperation with Florian Zeyfang (Warsaw 2015) and many others. Co-author and co-editor books devoted to the polish art of 70s. Lecturer at Warsaw University and Collegium Civitas (Warsaw).