Mohammed afkhami wedding

The first book on his Iranian collection, Honar: The Afkhami Collection of Modern and Contemporary Iranian Art, offers an unparalleled look at the finest contemporary Iranian art being made by artists working within Iran and in the West. Sumptuously designed and carefully curated, the vibrant volume features over two hundred contemporary artworks and a small selection of precious medieval and early modern material. And his maternal grandfather, Mohammad Ali Massoudi, compiled one of the most significant private collections of calligraphy in Iran some examples were exhibited in at the Reza Abbasi Museum in Tehran, founded in under the auspices of Queen Farah Pahlavi.

My grandmother is much more into Islamic art, antiquities, that stems back thousands of years until the early part of the century. Truly a global citizen, Mohammed was born in Switzerland in to Iranian parents, and spend his early childhood in Tehran. Following the revolution inhis mother left her homeland and settled in Europe. Mohammed grew up in London and Switzerland before attending the University of Pennsylvania.

Today, he divides his time between New York, Dubai and Switzerland. He also has a wedding to plan. I thought, lets go and explore this place culturally. A good friend of mine said you should go check out this emerging contemporary art scene and I was like, absolutely.

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I had no notions, preconceptions. He began to collect, meet the artists, often buying directly from them as many were not represented. The majority are focusing on regional art.

Mohammed \u0026 Dallal . WEDDING 2020 (KBSTUDIO)

He started at a good time, with Iranian art gaining pace in the market. If I look at my first works, they were attainable to anybody who had a reasonably salary.

You see works that are abstract, works that are more political, some that are very mystic, you seen every type of medium. But art is one where you can have less conflict and more agreement.

We can both agree that an artwork is beautiful. Then it became a sort of responsibility that just came with collecting. It was a friend of mine, Maliha al Tabari, who runs a gallery called Art Space, one of the first galleries in Dubai, and she had a show of oil on canvas with antiquity-looking pots.

Then you had more established stallwarts like Shirin Neshat, who was already toast of the arts community in New York, represented by dealer Barbara Gladstone.

I would say she probably has more non-Middle Eastern collectors than Middle Eastern collectors.Nice post. I like the way you start and then conclude your thoughts. Thanks for this nice information. I really appreciate your work, keep it up.

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A fantastic presentation. Very open and informative. You have beautifully presented your thought in this blog post. Wedding Music. No part of this blog may be reproduced without written permission from the author.

History - Royalty - Genealogy - Traveling - In the news. Chris O'Neill. Posted by Dag T. Hoelseth at Newer Post Older Post Home. Subscribe to: Post Comments Atom. Dag T. Hoelseth This blog is written by Dag T.

Magic of Persia: Remembering Tomorrow

Hoelseth, a Norwegian historian specialising in royal history. I have a Cand. Det norske monarkietwhich dealt with the royal election in Norway and how the new dynasty "became Norwegian". I am the author of Historisk utredning om Kongehuset, dets apanasjer og disponible statseiendommerwhich was published on behalf of the Palace Committee in The report focused among others on the history of the Norwegian civil list from to the s as well as the properties the king of Norway has to his disposal.

I have made contributions to several antologies and also written articles for various publications. More often I have operated "behind the scene", consulting newspapers etc.

Among my other interests are genealogy, Norwegian-American emigration history, US presidential history, traveling, football and ice hockey.

Iran: reframed

View my complete profile.The first book on his Iranian collection, Honar: The Afkhami Collection of Modern and Contemporary Iranian Art, offers an unparalleled look at the finest contemporary Iranian art being made by artists working within Iran and in the West. Sumptuously designed and carefully curated, the vibrant volume features over two hundred contemporary artworks and a small selection of precious medieval and early modern material.

And his maternal grandfather, Mohammad Ali Massoudi, compiled one of the most significant private collections of calligraphy in Iran some examples were exhibited in at the Reza Abbasi Museum in Tehran, founded in under the auspices of Queen Farah Pahlavi. My grandmother is much more into Islamic art, antiquities, that stems back thousands of years until the early part of the century.

My great grandmother was the founder of the first modern institute of art for women only. Interestingly, all the people from her line — her, my grandmother, my uncles, my father, all could paint and draw. Truly a global cictzen, Mohammed was born in Switzerland in to Iranian parents, and spend his early childhood in Tehran. Following the revolution inhis mother left her homeland and settled in Europe.

Mohammed grew up in London and Switzerland before attending the University of Pennsylvania. Today, he divides his time between New York, Dubai and Switzerland. He also has a wedding to plan. I thought, lets go and explore this place culturally. A good friend of mine said you should go check out this emerging contemporary art scene and I was like, absolutely. I had no notions, preconceptions.

He began to collect, meet the artists, often buying directly from them as many were not represented.

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The majority are focusing on regional art. He started at a good time, with Iranian art gaining pace in the market. If I look at my first works, they were attainable to anybody who had a reasonably salary.

You see works that are abstract, works that are more political, some that are very mystic, you seen every type of medium. But art is one where you can have less conflict and more agreement.

We can both agree that an artwork is beautiful. Then it became a sort of responsibility that just came with collecting. It was a friend of mine, Maliha al Tabari, who runs a gallery called Art Space, one of the first galleries in Dubai, and she had a show of oil on canvas with antiquity-looking pots.

Then you had more established stallwarts like Shirin Neshat, who was already toast of the arts community in New York, represented by dealer Barbara Gladstone.

I would say she probably has more non-Middle Eastern collectors than Middle Eastern collectors. Her work is appreciated everywhere. London has been open to Middle Eastern art, with dealers such as Sophia Contemporary open up in recent years. Iran: reframed 27 Jul, BusinessCulture.New customers only Cancel anytime during your trial. Sign in. Accessibility help Skip to navigation Skip to content Skip to footer. Choose your subscription. Trial Try full digital access and see why over 1 million readers subscribe to the FT.

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When we met there were quite a few people present. Ali was in the midst of making four big works and a few smaller works. He was dead set on placing his larger works in institutions — larger works meaning over two meters high. We spoke and I told him that I would be a long-term collector.

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I finally spoke to his dealer and managed to get a big piece — at last! Ever since that day Ali and I have been great friends. We recently saw each other in London and also went to Venice together.

The reason why we are friends is that we are also peers. And being an Iranian myself I know some of the struggles that he has been through.

The reason why I love his work is that he has taken the traditional themes of Iranian folklore and culture and abstracted them on canvas. He also blends them with post-Renaissance influence. I have a single masterpiece on display in my home where it has been positioned on its own wall with customized lighting so that the viewer can zoom in on the detail of the work. Ali makes maybe at best 15 or 20 works a year and maybe four or five of great magnitude reflecting his belief in giving his artwork to institutional collections.

He is very disciplined about his career and he has the right mentality to grow it. Mo: How much influence do you draw from your Iranian heritage when making your works? What influences you to create your art? Ali: I think the influences always work their way into the paintings subconsciously and somewhat obliquely.

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It always works better this way, when the imagery comes from your memory and imagination. Since I am Iranian and am very much interested in its culture historically and lived there a quarter of my life, there are certainly some Iranian influences that come through in my paintings.

But of course when it comes to my work there are no borders or limits to where the influences come from. Mo: If there were a dream location to exhibit your work, where would it be and why? Ali: At this point I would like to have a traveling Museum show. Mo: As an artist, how important is it to you that your works end up in collections you admire? Ali: It is very important for me to know that my work ends up in the collection of a private or public institution that I admire and know that the collectors are passionate about my work.

I like the relationship and conversation that comes from collectors who truly care about the pieces they are acquiring and are really interested in how art works relate to each other throughout history.The collapse of the private equity firm Abraaj Group and court-supervised liquidation of its assets has had far-reaching effects in the Gulf art market. The company and its chairman Naqvi are prominent art collectors of Arab, Iranian, South Asian and traditional Islamic and Indian art, often featured in retrospective exhibitions, monographs and publications.

These works were bought largely from auction and they were among the most touted lots of the period, when prices reached a meteoric level. The swift rise and abrupt fall of the Abraaj Group sees its substantial artworks being auctioned off. It has a relevance to the Gulf boom and the sudden development of the Dubai artscape.

This was not just about the attempt to raise cash. Termed a fire sale, it was also about the massive price drops. A painting previously sold for one million US dollars hammer price — meaning without fees and commission — was given a low estimate at Bonhams of 66, dollars.

All works with a low estimate of 50, UK pounds or under were offered without reserve. Every lot found a buyer, making this a white glove sale. Estimated atpounds, the highest price secured waspounds for a painting by Indian artist Manjit Bawa.

The works are devoid of landscapes or other superfluous details, recalling the style of Rajput and Pahari miniature painting.

The coexistence of man and animals is a recurring depiction in his paintings, here exemplified by a seated woman, in traditional Punjabi clothing, surrounded by dogs. The painting was sold to an anonymous buyer from India for three times the price it last secured at an auction 12 years ago, according to the auction house records.

Two mid-century paintings by the Syrian artist Fateh Moudarres were each given low estimates of 7, pounds and achieved 20, pounds each.

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Not all of the works fared so well. The swift rise and abrupt fall of the Abraaj collection has a relevance to the Gulf boom and sudden development of the Dubai artscape. They went for headline lots. The whole art ecosystem arrived more or less at once: galleries, fairs, auctions, museums and exhibitions, and Abraaj was a major player in the scene.

The current auction and loss of Abraaj as art patron is a debacle that will rattle confidence in this nascent art market.

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Notes On The Iranian Art Scene

Judges, military officers not entitled to plots: Isa. Ministry disapproves of two-finger test, seeks its discontinuation.Kiarostami had worked extensively as a screenwriterfilm editor, art director and producer and had designed credit titles and publicity material. He was also a poet, photographer, painter, illustrator, and graphic designer.

These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues. Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, [9] for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras.

He is also known for his use of Persian poetry in the dialogue, titles, and themes of his films. Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works.

Kiarostami was born in Tehran. His first artistic experience was painting, which he continued into his late teens, winning a painting competition at the age of 18 shortly before he left home to study at the University of Tehran School of Fine Arts. As a painter, designer, and illustrator, Kiarostami worked in advertising in the s, designing posters and creating commercials. Between andhe shot around advertisements for Iranian television.

In the late s, he began creating credit titles for films including Gheysar by Masoud Kimiai and illustrating children's books. Its debut production, and Kiarostami's first film, was the twelve-minute The Bread and Alleya neo-realistic short film about a schoolboy's confrontation with an aggressive dog. Breaktime followed in The department became one of Iran's most noted film studios, producing not only Kiarostami's films, but acclaimed Persian films such as The Runner and Bashu, the Little Stranger.

In the s, Kiarostami pursued an individualistic style of film making. Bread and Alley was my first experience in cinema and I must say a very difficult one. I had to work with a very young child, a dog, and an unprofessional crew except for the cinematographer, who was nagging and complaining all the time. Well, the cinematographer, in a sense, was right because I did not follow the conventions of film making that he had become accustomed to.

The Traveler tells the story of Qassem Julayi, a troubled and troublesome boy from a small Iranian city. Intent on attending a football match in far-off Tehran, he scams his friends and neighbors to raise money, and journeys to the stadium in time for the game, only to meet with an ironic twist of fate. In addressing the boy's determination to reach his goal, alongside his indifference to the effects of his amoral actions, the film examined human behavior and the balance of right and wrong.

It furthered Kiarostami's reputation for realismdiegetic simplicity, and stylistic complexity, as well as his fascination with physical and spiritual journeys. In earlyhe released Colorsfollowed by the fifty-four-minute film A Wedding Suita story about three teenagers coming into conflict over a suit for a wedding. Kiarostami's first feature film was the minute Report It revolved around the life of a tax collector accused of accepting bribes; suicide was among its themes.

Inhe produced and directed First Case, Second Case. In the early s, Kiarostami directed several short films including ToothacheOrderly or Disorderlyand The Chorus