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SLAVS AND TATARS: NOSE TO NOSE: PEJMAN FOUNDATION, TEHRAN, IRAN

展览历史 exhibition
2017年5月5日 - 7月21日
  • 展览现场
  • 新闻稿
展览现场
Open a larger version of the following image in a popup: Image of Slavs of Tatars installation view with carpets hanging
Open a larger version of the following image in a popup: Image of Slavs of Tatars installation view
Open a larger version of the following image in a popup: Image of Slavs of Tatars installation view
Open a larger version of the following image in a popup: Image of Slavs of Tatars installation view
Open a larger version of the following image in a popup: Image of Slavs of Tatars installation view
Open a larger version of the following image in a popup: Image of Slavs of Tatars installation view
Open a larger version of the following image in a popup: Image of Slavs of Tatars installation view
新闻稿

Pejman Foundation: Argo Factory is proud to present “Nose to Nose” Slavs and Tatars’ first exhibition in Iran. The second installment of their mid-career survey, the exhibition at Pejman Foundation’s newly opened Argo Factory in downtown Tehran, appropriately enough a stone’s throw from the Russian embassy, will feature all three axes of the artists’ practice: publications, lecture-performances, and exhibitions. Marking ten years of the collective’s activity, art becomes a platform of translation – of one organ into another, the heart into the mind, the stomach into the head, as part and parcel of any Abrahamic understanding of hospitality.


The collective’s Eurasian remit – “between the former Berlin Wall and the Great Wall of China” in their own words – acts as a foil to an understanding of ourselves as multiple subjectivities. Their focus has a particular resonance in a capital and country whose history, traditions, and culture offer some of the more compelling arguments today against reductive nationalism and for an elaborate syncretism, in this case between Persianate, Arabic, Russian, and Turkic spheres of influence, to name a few.
Across a range of sculptures, balloons, audio works and publications, “Nose to Nose” looks to the Sufi notion of hamdami, the breathing together of sensuality and spirituality. Their “Not Moscow Not Mecca” installation, first exhibited at the Vienna Secession in 2012, will be restaged as an anti-anthropocentric altar: a retelling of faith via fruits and flora. Slavs and Tatars’ insistence on metaphysical and intellectual contamination marks their unique place in contemporary art. Like their anti-modern mascot, Molla Nasreddin, the artists suggest looking to the past while moving resolutely forward: not in order to return to a Modernist internationalism, nor to reactivate a revanchist nationalism, but rather to sharpen a popular understanding of the cosmopolitan. Their means of doing so passes via a focus on infra-politics–the importance of whispers, utterances, and sayings often invisible to the official register but no less traded amongst people.

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    Slavs and Tatars

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