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MortezaNiknahad  ✉️morteza.niknahad1984@gmail.com https://twitter.com/MortrzaNiknahad Visual Artist / photographer

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گزارشى درباره ى نمايشگاه ايران - مربوط به فستيوال عكاسى Rencontres d’Arles كه تير و مرداد ٩٦ در شهر اَرل در جنوب فرانسه برگزار شد - چاپ شده در مجله ى هارپربازار در شماره ٢٨ مجله. اين نمايشگاه آثار ٦٦ عكاس را در بر مى گرفت و به عكاسى ايران از انقلاب تاكنون پرداخته بود. كيوريتورهاى نمايشگاه، آناهيتا قبائيان و نيوشا توكليان بودند.

A review about the exhibition Iran, année 38 - curated by Anahita Ghabaian & Newsha Tavakolian -featured in @harpersbazaarart iss#ue 28, by Simon Bowcock.
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or centuries Iran has been known for its poetry, a way to say things that cannot be said directly... The modern version of poetry is photography.” These words are from a text by Iranian photogra- pher Newsha Tavakolian, an associate member of the world-renowned Magnum agency, and Ana- hita Ghabaian Etehadieh, the founder of Tehran’s Silk Road Gallery. It introduces Iran, Year 38, their ambitious, sprawling photography exhibi- tion divided into 8 sections, with work from 66 photographers covering the 38 years since Iran’s 1979 revolution.
Iran’s is a rich photographic culture, and a show covering so much ground could well feel overstretched. But it hangs together, and rewards time spent. Those unable to catch this landmark exhibition in France this summer (as part of the giant Rencontres d’Arles photography festival) or in Xiamen in China this winter (as part of another major festival) would do well to spend some time with the beautifully-produced and comprehensive exhibition catalogue.
The show begins with strong images by sev- eral Iranian photojournalists. 1979, The Upheaval is all tumult, res in the streets, de ance and jubi- lation. Through their drama and destruction, Kaveh Kazemi’s pictures of the action and after- math of the Revolution are among the most pow- erful works at the festival. Its centrepiece is a blow- up of his era-de ning photograph of a woman completely covered by her black chador. While one de ant hand is raised to obscure her face, in the other she holds a ri e....
#Iran#iranannee38 #photography #Harpersbazaarart #Mortezaniknahad #Behnamzakeri
@newshatavakolian
@anahita.ghabaian
@silkroadgallery
@harpersbazaarart
@behnamzakeri

انتشار عكسى از مجموعه مكان عمومى بهمراه يك يادداشت در تازه
ترين شماره ى مجله ى Harpers,BazaarArt
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harpersbazaarartOut now! Highlights from our #Autumnissue of @harpersbazaarart #HarpersBazaarArt on sale now #middleeasternart #contemporaryart #iranannee38 #Arles #MortezaNiknahad#BehnamZakeri

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Contemporary world has become a complicated one. “human/ity” is the true outcome of current worldwide relations. Relations such as individual, identical and also theoretical crises, which appear due to the dates of contemporary world in human being. Modern man is result of the experiences we had in the recent past centuries which is graspable with increasing speed in the contemporary human condition. The world which known as modern is the result of efforts, no matter it is true or not, for well-being after the renaissance. However does this well-being mean the mandatory distance between human and its world or human has an inclination to loneliness and solipsism from its first moment of genesis? South pole is a series based on human relations in contemporary world. solipsistic image of notions such as sorrow, loss, homelessness, loneliness and the state of being left alone in the context of what we can call it life. This serie wants to challenge the cold relations of human confronting world with an unconventional element . In this serie, a plastic with different scales would cover the surface of a human body or a thing which seems to have been excluded from the world a represented notion which seems to be a frozen.
#MortezaNiknahad #Art#Photo#instagram

silkroadgallery


Mangol Invasion / (١)حمله ى مغول ها
#MortezaNiknahad
2017


Mangol Invasion / (١)حمله ى مغول ها
#MortezaNiknahad
2017

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