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Solo Exhibition

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Streetfighter black on orange, 2013 Embroidery on Canvas 137 X 104 Cm 54 X 41 in © Courtesy of the Artist and Galerie Rodolphe Janssen
Solo Exhibition

Rue de Livourne 35
Livornostraat
1050 Brussels
Belgium
March 28th, 2013 - May 11th, 2013
Opening: March 28th, 2013 6:00 PM - 9:00 PM

QUICK FACTS
WEBSITE:  
http://www.galerierodolphejanssen.com
NEIGHBORHOOD:  
Center - Uptown
EMAIL:  
info@galerierodolphejanssen.com
PHONE:  
t +32 2 538 08 18
OPEN HOURS:  
Tue-Fri 10-6; Sat 2-6
TAGS:  
Embroidery

DESCRIPTION

Galerie Rodolphe Janssen is proud to present its second exhibition of Iranian artist Farhad Moshiri. The exhibition will show a selection of new paintings as well as «I’m in heaven» a wall installation with knives created specifically for the show.

The work “Streetfighter black on orange” is a bright beaded canvas portraying two gentleman embracing one another in a movement both aggressive and erotic. A duality that opposes the violence of the subject and the grace of the embroidery. The beaded embroideries are realized by housewives in Teheran. It is a challenge for Moshiri to use a technique such as embroidery that has a high value in Iran and to turn it into something with western contemporary values.

«I’m in heaven» is an installation composed of knives; objects that by their very nature, present an undisputable association with violence. To this violence, Moshiri opposes a word that is the contrary of the world of knives such as «I’m in heaven» or «Life is beautiful» (as shown in the Palazzo Grassi in the Fran- cois Pinault’s collection exhibition in 2011) or even «Home Sweet Home».

Farhad Moshiri develops a colorful and attractive work from where a more complexe reality originates. His inspirations are : woman, kitsh, pop culture, globalization. But also the duality between the East and the West, the culture shock, his origins and his relation to the Iranian culture. About pop culture he says : “I’m actually interested in second-generation pop culture, where culture is adapted, culture that is fed down by the media, [one that] is adapted by the general public”. “A very understandable example is when Coca-Cola is written in Arabic; the overall look and aesthetic of the bottle changes.”