This exhibition presents a retrospective of Parviz Kalantar’s oeuvre starting by his early period marked by Saqa Khaneh movement and encompassing his recent works.
Kalantari`s art throughout the Saqa Khaneh period back in the 60s employed “found objects” that can be interpreted as the artists effort to aesthetically document the urban legends of his homeland. After that period and only for a short while, Kalantari, in his “With Tribes” series, laid his focus on the forms and shapes of the human body in paintings that somehow refer to the facts of the time.
The clay plaster works of the artist, now regarded as his trademark, began in the 70s. The use of clay plaster in these works was initially the artist’s choice of material, but gradually transformed into a context to symbolize his mentality of the homeland.
Both in his combined objects works like “In Praise of Lorca”; in which he used old watches; and his clay plaster used as an instrument for some morphological experiences in human body series of “Clay Roofs”, we can see the artist’s practice of a vast array of visual medium all the way through his artistic activity.
When roofs, walls and gates of clay plastered houses shatter as depicted in “High Modernism” series; when the emergence of a phenomenon is witnessed in “Passing and…”; or as in “Persian City” in which an analytical attitude towards light and texture in Iranian architecture can be traced; and even in his latest series called “Nightly”; the artist’s understanding of culture, history, beliefs, hopes and fears of the Iranians is clearly grasped.
Date of Exhibition
Starts: November 8, 2013
Ends: December 27, 2013