PERSIAN VISIONS: CONTEMPORARY PHOTOGRAPHY FROM IRAN JOHNSON MUSEUM OF ART CORNELL UNIVERSITY ITHACA, NEW YORK JANUARY 27-MARCH 18, 2007 In a time when pronouncements from the White House and the United States press attempt to justify military action against Iran, the personal and political expressions in Persian Visions: Contemporary Photography from become all the more poignant. In the current climate, this exhibition that has been curated for U.S. venues becomes a quiet intervention, an entreaty for sanity, an all-too-rare conduit for certain Iranian secular and intellectual voices. It is a wonder that this exhibition exists at all, especially since no corporate sponsor had the courage to fund it, and the works themselves were even threatened with deportation by U.S. Customs. While current viewers of this already somber exhibition receive the works with an undeniable gravitas, the displayed photographs do not convey urgency; indeed, most were created a few years ago in the relative peace following the Iran-Iraq war. The balance of pieces included in Persian Visions engage concepts of mediated looking, identity constructions, and the creation of beautiful images. These twenty Iranian photographers have much more in common with the international scene of art fairs and biennials than with radical Islamic stereotypes cultivated by the U.S. news media. Persian Visions offers an alternative to the hysterical corporate-state-sponsored images of raving clerics, oppressed women, and gun-wielding revolutionaries. This exhibition visualizes what critical thinkers know, but what is rendered invisible in the U.S., that Iran is a complex society with its own psychodynamics and conflicting viewpoints and certainly not the monolithic rogue state situated on the axis of evil. Despite prevailing anti-Iran sentiments, this exhibition pleasantly reminds us that Iranian artists study abroad in premier institutions, show in European and U.S. galleries, and represent their country in prominent international exhibitions. Their endeavors have been a part of the decade-and-a-half tide of identity art in which unique perspectives from numerous points on the globe (though they may nod to western art critical discourse) have been successfully parlayed on the market as vestiges of avant-garde originality. With its unassuming conceptual play and media awareness, an untitled photo-collage (n.d.) by Yahya Dehghanpoor would be equally at home in Chelsea, Mitte, or any international art city. The collage is a grid of twenty-one color prints floating in clear glass, all of which show five horizontal and parallel electrical wires against a blue sky with white clouds. The black lines read as musical staffs, each print a measure, and the changing clouds as a Cagean chance composition. The piece seems less surprising when one learns that Dehghanpoor was educated in San Francisco, exemplifying the worldliness of these artists. [ILLUSTRATION OMITTED] Other works possess equal conceptual rigor but situate subjects firmly in Iran. Sadegh Tirafkan's Persepolis (1995-98) combines photographs and video. Mounted on the gallery walls, flat screen televisions uncannily read as framed photographs, especially as they are similar in size to the prints included in the installation. On two video screens, Persepolis shows a man strolling through this archaeological site. The images of this man walk toward each other on the same path but from opposite ends, as each finishes at the other's starting point. Though they seem to walk in contemporaneity while presented along with unrelenting audio of historical debris crunching underfoot the figures never intersect. An intersection with two other men and a chador-clad woman is staged in the accompanying prints. Persepolis employs a meaningful subtlety lost on those not patient enough to allow the work to reveal its paradoxes. …
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