On Tehran “Roaming” Biennial: Urban Jealousy
New Media Talk #45 | Amirali Ghasemi
Tuesday, May 30, 2017 New Media Projects
On Tehran “Roaming” Biennial: Urban Jealousy
New Media Talk #45 | Amirali Ghasemi
Tuesday, May 30, 2017 New Media Projects
New Media Talk Series #44 | Gudrun Wallenböck
New Media Projects
Gudrun Wallenböck is the founder and artistic director of hinterland galerie based in Vienna. hinterland galerie is an independent art space and platform dedicated to the promotion of intercultural and interdisciplinary projects with emerging and established artists from the Middle East with a focus on Iran. She is also the founder of hinterland design and co-founder of sitios – a global network on urban solutions for public space. She has been part of the project and program team for 2 European Capital of Europe (2003 Graz, 2009 Linz). Since 2009 she is working as a curator and designer for international and intercultural projects. Gudrun Wallenböck holds a Master´s degree in Architecture from Technical University in Graz, Austria and a Master´s degree in cultural management from SMBS, Austria. She is currently writing her Ph.D. on “cross-cultural curation” at the University of Arts (MdW) in Vienna, Austria. She is also part of the advisory board of the SIMORGH Foundation based in Vienna and Tehran.
hinterland was founded in 2009 – a label for art and fashion. The Hinterland label is born from within a unique environment of design, architecture, and art. Contemplation of space is reflected in the textiles of these typically idyllic Austrian motifs. Panoramic views of the Alps, apple blossoms and traffic mirrors in vineyards are truly eye-catching. The beauty of the rural idyll embraces the stereotype and breaks it at the same time. The Hinterland collection is completely made by hand and is a high-quality collection which is produced only in Austria.
With the presentation of „walking skirts“(a virtual kind of fashion show) hinterland was invited to Iran in 2010. Since then Gudrun Wallenböck started working with Iran and its art scene. In 2011 hinterland nonprofit association (Verein) was founded. HINTERLAND is an independent art space and platform dedicated to the promotion of intercultural and interdisciplinary projects with emerging and established artists from the Middle East with a focus on Iran. HINTERLAND is an international meeting point where social, cultural, political, creative and other relevant contemporary topics are discussed and put into practice.
In 2014 Gudrun Wallenböck renovated and reconstructed the former hinterland shop into a proper gallery. Since then hinterland galerie was officially separated from hinterland fashion and art. (A new logo, new website, new graphic design etc…)
Hinterland curates and hosts between 8-14 exhibitions a year at the gallery in Vienna. Since 2010 there is also the Krongarten in front of the door (designed by an artist each year). Hinterland team now consists of Gudrun Wallenböck and 4 – students (art history, communication and oriental studies) and international partners.
Main projects have already been realized between Iran, Iraq, Syria, Turkey and Pakistan. In September hinterland launches the first cooperation with Morocco.
New Media Society & Assar Art Gallery present
New Media Talk Series #43 | Payam Mofidi
Variations on An Instrument of a Human Anatomy
Sunday 7 May, 2017
New Media Projects
On the occasion of Payam Mofidi’s recent solo exhibition at Assar art Gallery titled Variations on An Instrument of a Human Anatomy, Behrang
Samadzadegan & Homayoun Sirizi will be joining us for a conversation about the project at New Media Projects on Sunday 7 May, 2017 at 6:30 pm.
The exhibition revolves around an interactive installation as its core that is translated through various media including etching prints, the original
copper plates and videos narrating the concept behind the exhibition and documenting the installation procedure of the disjointed sculpture on
a plinth. Hence the exhibition becomes a ground for having the works deconstructed and reconstructed at the same time. In this process, “cycle”
turns to an influential keyword for deciphering these body/bodiless figures that are sometimes diminished to beheaded heads placed in various
For more information contact us:
New Media Projects – Tehran
LIFE AFTER WAGNER
Opera, art, and thinking, before and after Wagner.
In January Neil van der Linden gave a talk on how Wagner’s music dramas, or rather his Total Work of Art, had influenced not only music but also art in general, including the cinema art that then yet had to start.
In this follow-up, as promised, we see, and hear, some of the roots of music drama before Wagner, and what happened in music drama after. But also how music drama influenced cinema and visual art and so how great cinematographers and visual artists adopted elements of opera and music drama in their work. But also how cinema directors and visual artists approached existing opera and other music drama.
Some names: Monteverdi, Joseph Losey, Eisenstein, Peter Sellars, Lulu, Alban Berg, Barbara Hannigan, George Benjamin, Jacques Offenbach, Richard Strauss, Oscar Wilde, Prokofiev, Shostakovich, John Adams, Robert Wilson, Die Tote Stadt, Korngold, Janacek, Leonard Bernstein, Patrice Chéreau, Impressionism, Debussy, Expressionism, Bernard Herrmann, Louis Andriessen, William Kentridge, Ligeti, Kubrick, Greenaway, Vermeer, Hitchcock, Cocteau, Jeanne Moreau, Louis Malle, Miles Davis, Christoph Marthaler, Tarkovsky, Mussorgsky, Idin Samimi Mofakham, Erfan Abdi, Ash Koosha, Ali Eslami.
Dafne Narvaez Berlfein will share her experience about the Sentimental Punk Series that she has been curating in Berlin´s KottiShop Projectraum on a monthly basis since Juli 2015, focusing the talk on on her current research for the project,1960s/80s avantgarde films from female directors, her work on an independent non profit space and the (personal) crossing between art praxis, activism and curatorial work.
Magdalena Ziółkowska holds a PhD in Art History, is a curator and graduate of the Institute of Art History, University of Warsaw, School for Social Research in Warsaw, and Curatorial Training Programme (de Appel arts centre, Amsterdam, 2006/07). She worked as guest curator in Van Abbemuseum, Eindhoven (2006–2010) and curator in Muzeum Sztuki in Lodz (2008–2014) where she initiated and curated a number of projects and publications, among them international platform for researching Central- and Eastern European practices Art Always Has Its Consequences (2008–10), Working Title: Archive (2008–09), individual show by Sanja Iveković. Practice Makes the Master (2009), Eyes Looking for a Head to Inhabit (co-curator, 2011), Hüseyin Bahri Alptekin. Facts, Incidents, Accidents, Circumstances, Situations (co-curator, 2013–14).
In 2012 she co-founded Andrzej Wróblewski Foundation (www.andrzejwroblewski.pl)– a NGO devoted to develop and popularise the knowledge about life and work of one of the most inspiring and remarkable post-war Polish artist. Beyond the solo show Andrzej Wróblewski. Constantly Looking Ahead (National Museum, Krakow 2012–13), the Foundation co-published with Adam Mickiewicz Institute a bilingual monography Avoiding Intermediary States. Andrzej Wróblewski (1927–1957), worldwide distributed by Hatje Cantz.
Since 2015 she is a director of Bunkier Sztuki Gallery of Contemporary Art in Krakow where she co-curated “All Mounds Can Be Seen from My Window” (2015), “Aurélien Froment / Krzysztof Pijarski. Moiré” (2015), “Prabhakar Pachpute & Rupali Patil. Harbingers of Chaos” (2016). Currently she is working on international conference “Exhibition as a medium of history” (31.03–1.04.2017) and upcoming solo exhibition of Ines Doujak (September 2017).
Her research and writing focus on history of exhibitions and display, artists’ writing and post-war museology.
New Media Society in collaboration with Rooberoo Mansion Presents:
Limited Access 7| cross-disciplinary Panel
Saturday April 8, 2017, 6 pm
“Sound in Performance” with Kasraa Paashaaei, Aftab Darvishi and bamdad Afshar
No. 7, Kianpour Deadend, Enghelab St. (east to west), Tehran, Iran
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, 2017 – 6 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 filmâ€™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 .
No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave. New Media Projects
Poster Designed by Ra Studio | Amir Moghtada
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.
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.
A Decade of Pictorial Narrativity
New Media Talk Series #37 | Aria Kasaei
A Review on War, Revolution & Socio-political posters in IRAN 1975 – 1985
Sunday, February 19, 2017 – 7pm
The talk will focus on review of political, social, revolutionary and Iran/Iraq War posters during 1977-1987 and various active orientations toward this period such as Islamic Development Organization (Hozeh Honari), Students of Faculty of Fine Arts, Shishehgaran Brothers, Tehran Museum of Contemporary Art, Institute for the Intellectual Development of Children and Young Adults and independent designed posters. Also we will discuss about history of mentioned activities and their visual characteristics.
Aria Kasaei (b. 1980) is art director of Studio Kargah, graphic designer, archivist and lecturer in history of Graphic Design at Vije School. He is also art director of Azad Art Gallery, Mohsen Art Gallery, Dastan Art Gallery, Ab-Anbar Art Gallery, Platform 28 and Pejman Foundation poster projects. As an archivist, he has collaborated with Iranian Museum of Graphic Design, Paris Museum of Modern Art, Paris Museum of Decorative Arts, Museo MAXXI (Rome) and TATE Modern (London). Besides he has organized exhibitions about Ashurbanipal Babilla’s drawings, painting, and graphic works; Fereydoun Ave as a designer; the visual identity of the Theatre Workshop and Karnameh Exhibition as part of Studio Kargah Projects in collaboration with Ali Bakhtiari.
New Media Talk No 36 | Neil van der Linden
‘The Invisible Orchestra.
Losing Sense of Space and Time.’
How initially plain Romanticist composer Richard Wagner conceived the idea of the Total Work of Art and not only revolutionised music and theatre, and aimed to change visual art, but also deeply influenced philosophy (Nietzsche) and psychology (Freud(, and even politics. And it paved the way for French impressionism in music, Debussy, and German/Austrian and Russian expressionism in music, Richard Strauss, Schoenberg, Stravinsky, Schreker, Korngold, Hindemith, and even German expressionist film, Murnau, Lang, Wiene. And what are contemporary answers to his radically new but sometimes hypertrophic ideas?
Having graduated in medicine and law, Neil van der Linden is curator, programmer and matchmaker in arts in the Middle-East and North-Africa.
Thursday Feb 2, 2017, 5-9 pm
New Media Projects:
No 3, Arabi 3 St., Kheradmand Shomali St.,
Karimkhan St., Tehran – Iran
Tel: 88829253 – 86071640
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…
No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave. New Media Projects
Poster Designed by Ra Studio | Amir Moghtada
New Media Talk Series #35| HamidReza Sheshjavani – Satar Zarkalam
Artistic Confusion: Artists and challenges of artistic property rights in Iran
Hosted by Zarvan Rouhbakhshan
Wednesday, February 1, 2017 – 7pm
The artistic property rights law enables artists to protect their works from unauthorized use by others. These rights, in their general sense, are regulations and rules which support representations of creativity and innovation, as well as economic value of artistic works. These regulations consider both economic rights (provisional) and moral rights (permanent). However, despite the applicability of the regulations and the fact that there have been some opportunities to employ them to the benefit of artists in Iran since 1969, indeed their application has remained inefficient and sterile. It seems that there is not only little knowledge about artistic property rights in the field of art, but also not enough decisiveness among executive bodies in the country. This event aims at presenting a report of the current situation while trying to find preliminary answers to the whys and wherefores of this situation with the help of artists.
At the beginning, Hamidreza Sheshjavani will present a research-based report about the current condition of artistic property rights in Iran which has been done during September 2016 to January 2017. Then, in the presence of Satar Zarkalam, an intellectual property right expert, we will have a group discussion about artist’s rights necessities and challenges and meanwhile needed terms for just execution of rights.
Hamidreza Sheshjavani was born in 1975 and studied Art Economics in Netherlands. He is university lecturer and one of the founders of Art Economy major in Iran universities. He tried to set the pattern for art economy literature by translating fundamental books. “why are artists poor?”, “contemporary art economics” and “cultural entrepreneurship and economic development” are some of them. He also writes essays on art publications.
Dr. Satar Zarkalam was born in 1958. He studied private law in France and is teaching intellectual property law in Iran universities. Zarkalam has published some books including “Literary and Artistic Property Law” and “Intellectual Property Law in France and Germany”. He has also published some articles with this content such as “Making clear the concept of originality in literary and artistic works” and “Common characteristics of contracts connected with transfer of intellectual property rights”.
“Artistic property right, A manual for artist” is an ongoing project under Hamidreza Sheshjavani’s supervision in collaboration with Aroosha Moshtaghizadeh and Alborz Baghipour. The aim of the project is to inform artists about their basic legal rights. This talk is resulted by the first phase of this project.
Poster designed by Saman Khosravi | Warsaw st. Studio
New Media Society in collaboration with the architecture and urbanism circle at T-Moca Present
Art and Public Space in a Liquid World.
A talk by Michel Dewilde
Jan 31, 2017, 5 pm
Cinematheque of Tehran Museum of Contemporary arts – Tehran
Since the sixties, contemporary artists have had different motivations to venture into the realm of public space and its inhabitants.The Belgian art historian and curator Michel Dewilde curated several exhibitions in the public domain since the nineties.
In his lecture Art and Public Space in a Liquid World, he addresses a range of questions such as: What can be the role of the artist and his artwork in a 21st century where the communal, open space, is getting more and more privatized? What about the interaction with the members of the public, patrons, local government and institutions? How far should public art works produce their own space and subsequently generate its own public? What is private and public?
Drawing on the writings of scientists and thinkers such as Zygmunt Bauman, Anna Lowenhaupt Tsing and others, Dewilde advocates exhibitions in the public realm which strive towards the setting up of forms of local or even personal connections. In this expanding, flattened horizontal liquid world, artists and cultural workers should strive towards the creations of vertical nodes, verticals points of entry and encounters, places where art and its curators can start to cure again. In the lecture, Dewilde will refer to a number of exhibitions which influenced him, and takes examples from exhibitions he curated such as: Side Tracks (1996) with artists such as Marina Abramovic, Chohreh Feyzdjou or Berlinde de Bruyckere, ‘Artline 5’ (Borken, Germany, 2001) with Bizhan Bassiri, Alicia Framis, Anya Gallaccio, Manfred Pernice, ‘Passages’(Brussels, 2013) with Peter Buggenhout, Emilio Lopez-Menchero and Neda Razavipour, the new ‘Triennials for art and architecture’ (2015-2018) with Song Dong, Atelier Bow Wow, Studio Mumbai, Monir Shahroudy Farmanfarmaian.
New Media Society in collaboration with Noise Works presents
New Media Talk Series #33 | Andreas Specht
Memory in Circle
Artist talk with Andreas Specht
Wednesday, December 21, 2016 – 7pm
New Media Projects
Andreas Spechtl, born in Austria 1984, studied Media Science in Vienna and is currently living in Berlin.
Now and then he ́s also writing about music and literature for German and Austrian newspapers as well as online platforms like Spiegel, Falter or Fm4.
Over the years Andreas Spechtl was frequently invited by Cultural Institutes like Goethe Institute or DAAD to various countries like Italy, Ghana, Egypt, Sudan und Great Britain. In Alexandria he held a workshop at the Bibliotheca Alexandria with music students and developed some songs that were later performed in the Great Hall of the Bibliotheca. In Sudan ́s capital Khartoum he held a workshop at the University of Music Sudan and also one at an elementary school, recording some of his songs with children between the age of 7 to 10. In Birmingham’s Aston University he held a 2 weeks course on German and Austrian pop culture and discussed current political events in Germany and how they have influenced his work. He will be returning in Spring 2017. 2016 he spend several months in sicily ́s capital Palermo working with the artist Uwe Jäntsch on a soundtrack for his famous outdoor installa- tion Piazza Garrafello. Andreas Spechtl also frequently participates in panel discussions throughout Germany and Austria, regarding the topics music production, literature, poetry and politics.
With his Band Ja, Panik he recently published a book called FUTUR II, which was critically acclaimed throughout Germany, Austria and Switzerland.
His group Ja, Panik is traded as one of the most influential music groups in Germany of his generation. They have reached several billboard chart entries in Germany, Austria and Switzerland and released 5 full length albums in their ten years of existence.
Andreas Spechtl started to play the piano when he was 6 years old and changed to the electric guitar at the age of 10. He studied guitar until the age of 22 at Joseph Haydn Conservatory in Eisenstadt/Austria. Over the years he also taught himself to play the drums and the electric bass. In recent years he expanded his interests to sound production and electronic music. He arranged and produced two albums for the acclaimed german singer Christiane Rösinger and released his first Solo Album Sleep in 2015, which he recorded and played largely on his own. This album marked a turning point in his career as he moved away from his roots in classical songwriting towards an approach grounded in old dub techniques using the mixer and diverse effect devices as his main instrument. His album was described as a very genuine mixture of Ambient, Dub, Folklore and Italian Film Music of the 60ies.
He himself always states the importance of working in different layers. The first layer, and starting point, are mostly field recordings Spechtl habitually does when on the road with the band or traveling on his own. What he is most interested in is recording background noises, the humming of taxi motors or the summery nighttime chatter in front of a bar. These background noises of politics, machineries and everyday chatter are the actual starting point – the ambience which he’s recording and gradually turning into tracks. He somehow sees this recordings as the lyrical layer in his work, that has now turned mostly instrumental. What he once used to sing about, talks now for itself.
Last day of Limited Access Festival at Aaran Projects, we will have a special guest Erfan Abdi will share his Notesaaz experience with us with a short performance at the end.
Erfan Abdi (1983 – Tehran) is an artist, designer and performer based in The Hague, the Netherlands since 2009. He graduated from the Masters program at the Artscience Interfaculty, Royal Conservatoire The Hague in 2011. Holding a Bachelor’s degree in graphic design from the University of Tehran (2006) he has a background in visual art and design, while he has also experimented with electronic music, video, computer programming and physical computing.
He takes advantage of the possibilities offered by technology with a DIY attitude, and constructs his instruments from found or re-purposed material, seeking new ways of relating to the world of production and consumption. He researches the concept of active perception in the context of performing arts, and the interactions between performer, instrument and audience.
Erfan Abdi has presented his works in several venues and places including Todaysart (The Hague), Arselectronica (Linz), STRP (Eindhoven), NIME (conference on New Instruments for Musical Expression, 2013, Deajeon), Logos (Gent) and Steim (Amsterdam).
Notesaaz is an instrument for live electronic improvisation that can be experienced through sound and image. It is both a new physical interface meant for musical performance and a proposal for a three stage process where the physical controller is used to navigate within a graphical score that on its turn controls the sound generation. By showing the dynamic score to the performer and the audience, Notesaaz shows new possibilities for staging the performer instrument relationship, inviting the audience to engage more in what is played and to anticipate on what happens next.
Performance Duration: 15 minutes
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).
New Media Society in collaboration with Lajevardi Collection presents:
New Media Talk Serie #9 | Daniel Kötter
Q&A Daniel Kötter in conversation with Amirali Ghasemi
Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world.
Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit.
His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals.
Kötter’s series of installations, films, and discursive work on urban and socio-political conditions of performativity has been under development since mid-2009 under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck).
His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture.
state-theatre is a series of six experimental documentaries that explore urban conditions for performance based on six case studies in Lagos, Tehran, Berlin, Detroit, Beirut and Mönchengladbach.
state-theatre departs from places that have shed their apparent societal functions: deserted areas, construction sites, unused or reinterpreted buildings – empty spaces in the urban fabric, places that were originally meant as allegoric gathering places: theaters.
The third session from New Media Society talk series will take place at Aaran Gallery with Staci Gem Scheiwiller. The title of the talk is “Teleologies of New Media: Digimodernism, Post-Postmodernism, and the Post Contemporary”
professor Scheiwiller is an assistant professor of Modern Art History at California State University, Stanislaus. She received her Ph.D. in the History of Art from the University of California, Santa Barbara, in 2009. Her field is Modern and Contemporary Art, and she also specializes in theories of postcolonialism and gender. Currently, she is focused on issues of modernity and modernism in Iran during the nineteenth and twentieth centuries and finishing a manuscript on the constructions of gender and beauty in Qajar photography.
This presentation will be an exploration of the contemporary condition of art and culture in relation to New Media, as it will attempt to trace moments from the modern and postmodern to where we are now. As many theorists proclaim postmodernism is dead, we may now be living in an age described as “digimodernism,” cumbersomely as “post-postmodernist,” or more esoterically as “postcontemporay,” all accompanied by buzz words, such as “globalism” and “globalization.” So if technology is becoming the baseline of our cultural production in terms of New Media, then a teleology of art and art history may follow suit, begging the ultimate question: Where is all this technology leading to, especially in relation to art? What is the endgame, if there is one?
When: Saturday, June 6th, 6:00 p.m.
Where: AAran Art Gallery. Tehran.
No 12 dey street. North Kheradmand ave.
Tel +9821 88829086- 9
Born in Tehran in 1983, Bita Razavi lives and works in Helsinki and Metsakivi, Estonia. She graduated with a Bachelor’s degree in Music from Tehran
Art University and holds a Masters in Fine Art from the Finnish Academy of Fine Arts. While collective memory, collaboration and socio-political observation are the essential elements in Razavi’s recent practice, the dialectic between bringing what is personal to the public sphere and the impossibility of total exposure because of law or social pressure has created a secretive and
criminal aspect in most of her works.
She has exhibited her works at 3rd New Art Biennial of Tehran, 1st Trondheim Biennial, XV Biennale de la Méditerranée, Helsinki Photography
Biennale, Helsinki Design Museum, Helsinki Photography Museum, SESC Pompeia, Gothenbug biennial and Cité international des Arts, Paris.