famori got his bachelor degree in Photography from Tehran University of Arts and his master in Cultural Management from Islamic Azad University, Science and Research Branch. Since 2006, he has exposed his art in 28 international group exhibitions including: “The Identity Architecture Exhibition” at Plaza Casanardi Gallery in Venice, Italy and “The Art Box” in Basel, Switzerland. famori has exhibited the “Hypnotic Zone” collection in his first solo exhibition on the walls of Tehran’s Seyhoun Gallery in 2017.

The Hypnotic Zone, painted in eleven frames: is a combination of photography and classic and digital painting, which is implemented with a multi-stage digital print on the most classic material, i.e. canvas. The size of the works is 120*120cm allowing the audience to get involved in the image and to recognize all the details as independent visual elements at the same time.

According to Pythagoras (ancient Greek philosopher and mathematician), numbers are really powerful. “Everything is a number,” He believed that numbers, letters, and words represent the true nature of the universe. famori is the founder of using the symbolic side of numbers in stylistics in photo media painting in Iran, a part of which is displayed in eleven frames of The Hypnotic Zone. 

The collection has technically reached a three-dimensional space on a two-dimensional surface,  in which the new layers of the image will be created based on the adaption of eye pupil after staring without the need for three-dimensional polarized glasses. This imaginary and three-dimensional space gives each audience a unique opportunity to get a total different image from other’s in painting .The number of layers of pictures depends on the individual’s decode and marking of their subconscious. 

The title of each eleven paintings in the collection is a number from zero to ten. These eleven figures are reminiscent of the eleven stages from the moment of creation to the moment of reaching the end of the line. It also attemptes to form the first perusal of hypnotic collection by number coding and decoding as the first symbols in the audience mind.

According to famori, the feeling of suspense or uncertainty about the image felt by two different audiences has been one of the purposes of the creation. Confronting this collection, some audiences fall in love however some other are even terrified. Some of these paintings were formed during the process, and others originate from the artist’s dreams. The process of creation has been a path of discovering his own subconscious for famori.

Number zero

This piece is influenced by a dream of the artist; moreover, there are eleven layers of image in it. The concept of the universe is depicted where there is a mountain peak in the background. At the heart of that open universe is another world being seen as the cornea of the eye, which guides us to look at the world from this perspective at the moment of creation. On the way of reaching the eye, there is a gate that is supported by two pillars with Torso statues. As he states:” creation is nothing but a symbol of womanhood and fertility.”

Torso is a symbol for famori:  a statue of a woman without head, arms and legs still with a feminine nature. In the center of the cornea, which is actually dissolved in some way inside the world, is a red flower, as one of the symbols of creation. Fractal (the geometric structure in which each part is the same as its whole) can be seen in all layers of nature and creation. Even in the appearance of this red flower, we can see a transformation that is changing its nature. At the end of all this, a peak has been drawn, and if we reach it, we will make a decent and deportment so that we can look at the world differently from the eye drawn in the heart of the painting.

Number one

Painting No. one is the moment when we got on Earth. One pyramid a peak at the top and one on the bottom are drawn depending on the movement toward either of these directions. At the center of the universal work drawn by the artist is a snail in it, and in that world is another world, which refers to how parallel worlds move. It has been said that parallel worlds revolve around each other very quietly and like snails.

In the background of this work, we see the image of a mass of people. People who are counted as the cause and founder of the concept in parallel worlds with their variety in tastes and believes. No matter what the definition of this concept is, due to the fact that it is accepted by a mass of people it stays true. The tortuous path to reach these peaks defined both at the bottom and at the top, speaks of injustice. It is truly difficult to go up or down, we are facing a winding path. The heart of all these images created by famori is full of symbols that have been coded in people’s minds since the beginning of history. So everywhere in this image, each audience can find these symbols and define their world based on a personal point of view.

Number Two

 Here as well, we have two peaks at the bottom and on the top which are completely inside the parallel world. The peaks are faded the path is mostly obscure. It is exactly same as the real world, same as what happens to us. In the background, there are pictures of utopia old map. In the general background, a staring human being is drawn for us. At the center, there is a universe that has emerged as a cover for the moon. For the artist, the moon has always been a parallel world, because its inherent duty has always been to reflect part of the light, and it does not have a nature lonely. There are four snakes in the four corners of the work, symbolizing the four mental injuries that attack our mental framework. famori believes that human being is always in a paradigm (pattern of judgment) between these parallel worlds, which either accepts its existing philosophy or denies it.

Number Three

The main motivation in this work is the mass of people. When we talk about the number three, it is when we think out of the binary (displaying numbers based on two) thinking box,  Good and bad, zero and one perspectives, looking for a third element. On the other hand, the fractal three refers to the pyramid, who produce this pyramid illusion. As we move away from the center of the image, the faces of the masses become more visible. This is also happening in the outside world; we never know  about the faces  and identities create those who form the main ring at the center and top of the pyramid.

Like the Number Zero here, we have a red flower that has been poisoned again. According to the artist, the acceptance and transmission of this hermeneutic thought is done right after birth. Around the work, twelve images of the moon have been selected over a 28-day period in a dark and light system that shows that as the moon changes shape in the sky, the appearance of power also changes, but the nature and loop of power remains the same. famori believes that the effect of the concept of the moon on the body and mentality of the masses is obvious. There are a lot of hidden geometry and conceptual images in this work, such as poisonous mushrooms that are tangled in the corners of the work.

Number Four

The most famous work is No. four, which was first shown in Switzerland and later in Italy. The number four is defined as famori’s framework of mind in four elements, in four logical and mystical ways. In the center of the image, we see a beating heart, which is borrowed from the people and leaves it to themselves. In other words, it has a reflection that reflects the mental framework of the people. The artist believes that in the 21st century, when advertising as a pervasive element shapes the minds of all people, the container occupies the contained. Four men in the four corners of the work with a stick convey violence. According to famori, every society  uses this violence to convey its own intellectual framework, and there is no way out of it.

Number Five

This work is based on the pentagonal geometry. The artist has drawn two sections consisting of creatures reproduced in the mirror and two sections inferred from the mother symbol in the mirror. In the center, an alien is depicted sitting. In this work, famori believes that in our perception of creation, a large part has been assigned to non-organic beings and a part to the mother of the earth and another part to non-earthly and spatial beings in different proportions.

Number Six

The number six is the number of creation in all religions. It is said that God created the earth and the sky in 6 days and paid the number 7 to human. Arash Noor Aqaei writes in the book “Number, Symbol, Myth”, “In China, the number six is the number of the sky, and it also evokes the four main directions in addition to the top and the bottom. This number commemorates six days of creation in Sumerian, Hebrew and Christian culture”.

In this painting, famori touches one of the concepts of creation whithin nature itself. We see the a face and a mask in the center of the work, inside of which there is a symbol of the flower of life, which consists of 6 circles around a hexagon and a seventh circle: a human; a connecting ring. Everywhere on earth that creation happens, the number six exists, this hexagon is in the hive of bees, snow crystals, and salt crystals. Anyone who discovers it, is hidden over the sense that he actually put a mask on his face.

Number Seven

The number seven has a special sanctity among the different tribes. “Seven Amshaspands of the Zoroastrian religion, seven horses of the sun rotate in Indian mythology, seven cows and seven spikes that Pharaoh dreamed of, and seven gods of the Manichaean dynasty all speak of the sanctity of the number seven,” writes John Hinels in his book, “Recognition of Iranian Mythology”.

In the center of the work, the number 7 is drawn as a circle that symbolizes the world made in our minds. famori believes that our conception of paradise is the result of the storage of images in our genetics due to nature. Later generations, who received less of a picture of pure nature, made their subconscious unable to build anything outside of that circle in the construction of paradise and their utopia except geometry and cement architecture.

Number Eight

The story of the utopia is told by famori in number 8, which is considered as an evolutionary number. Ali Akbar Khanjani writes in his book Basics of Mystical Mathematics: “Eight in inside means searching for God , i.e. God guides human beings in order to find its humanity, and  to know God through the inner signs, this is the process of thinking and science, and numbers are the tools of this identification in human beings”. In the center of work, we see number 8 as an eye in which a path has opened, the path to reach the utopia in that climate and the soil. The artist has seen a mental path to reach the utopia in the whole of this work.

There are arches inside the eye that have been seen both in Roman times and in Islamic architecture, which is a combination of Sassanian, Indian, African and even Byzantine architecture. famori believes that all these roots, both in the utopia of the East and in the Western utopia, with all their apparent differences, have much in common.

Number Nine

The  symbolic image center depicts a mother who can not be distinguished as a white or a black. Humans with pointed hats look like the clothes of the Grand Cocleus Sect in front of the image, which, the halo of motherhood, makes them look like demons. famori considers the mother to be the only Enlightenment in the racist era of the contemporary era and has depicted it in number 9 in his collection.

The visual illusion of the work in a three-dimensional space at the lower center point of the frame is a monkey depicted in silence against oppression and racism. At the center of the upper half is a visual illusion of a dog as the guardian of the time, who is as well as his parallel image in the lower half, a spectator.

Number Ten

The eleventh and final work of the famori’s collection depicts the resurrection and the apocalypse. Asqar Heydari states in his book, Understanding the Spirits of Nations, : “In India, the number ten is the base for the next ten, and the Chinese use the number ten for astronomical purposes and prediction,while considering it to be the ultimate perfection”.

In painting number ten, a human’s feet are placed as observers at the top of the image and God in the center. All creatures are disappearing, but they are still moving toward the center and the Creator. At the bottom of the image, the devil is sitting as a passive observer. The overall geometry of the image is designed in the shape of a heart, and the hidden geometric concepts in the two triangles express its overall layout.

نوشته On Mohammad Ali famori’s “Hypnotic Zone”: The Adventure of discoverer cornea اولین بار در Honargardi. پدیدار شد.

Read the interview:

• At the first glance, your artworks resemble something between painting and illustration. Can you explain in this regard?

First, let me point out the difference between painting and illustration and then refer to my own.

It is true that nowadays the distinction between painting and illustration is fading gradually but there are still some differences which can be found. I think both media want to transfer some messages which in illustration this message transfer is done with the help of a story. But in painting the process of creating an artwork takes place in the artist’s mind. In the illustration, there is already a story that leads the artist but in painting, there is a spontaneity that makes it different from the illustration.

In my works, I was struggling between forms and their relation to each other and to the framework. Because there were a lot of soft, smooth and flexible forms in contrast to sharp and pointed ones, flowing from my mind, which in times these limitations were annoying. They are my mental illusions and I hope my audience can engage himself in my mentality and find his way through.

• what is your main concern in your artworks and what can you say is your personal signature?

My main concern in this collection is to show the effort for keeping order in the movement of twisting forms and protecting this cycle. A war that has been occurring in human history over and over again. Actually, the aim is to show the failure in protecting the cycle which is defeated beyond all the efforts and we see its destruction and collapse. The subject of this collection refers to a dilemma and internal problem, which is the result of the collapse of order in a cycle. The mental perception of an internal condition that cannot be seen but exists. Perhaps these works will be interpreted as feminist art, but they are not, they have only tried to express the problem that most women in the world have in a simple way. The problem is called the collapse of order in circular motion.

• You will have an exhibition in the Aliha Gallery recently. Which collection is going to be displayed and how long did it take to complete this collection?

The title of the set that is currently being displayed is called Reversible. There are thirteen panels in different sizes with acrylic and collage technique. The production of the present series took two years to complete.

• How do you see your career perspective?

I will always try to create a collection of works which I would never confine myself to using a particular style.

نوشته Interview with Nasrin Charkhat at Aliha Gallery اولین بار در Honargardi. پدیدار شد.

Countless artistic events are held around the world by private and public institutions, but they are getting pale and forgotten in Iran over the past three decades and this is mostly due to the distance of the community from cultural and artistic groups, which has undergone a different trend over the past few years.

The Art Festival of Iran is one of the few examples that have started its work after several years, and the young and experienced team has created many hopes and wishes in this process. In sum, this event is a competition with professional judgment including some teams of the valid galleries and people choice that is held on visual arts.

The process of the holdings is as follow: first, the artists send their works in the field of Painting, photography and the works created by digital methods on the festival web site online, one month is considered for sending the works, then these works is judged by people and the better works are selected based on the number of the votes, after that the site is closed for sending the works, the works that obtain the highest score by the judges will be presented as the winners.

The difference judgment of the festival is the strength of the event because it is done in two domains, means people selection and judge committee. In the first place, participants try to show their works among ordinary people and acquaintances in order to obtain more votes. This will be positive step for presenting visuals arts. Second, the judges are gallery owners and the experts who are active in the world of art. They have enough information about art business whether in Iran or outside of Iran.

It is custom that the judges are selected among different art pioneers and professors but the fact is something else. Selection of the judges among the known gallery owners of the country or organizers of the artistic events will provide better position for the artists. In the last festival most of the novice artists obtain opportunity to show their works among active art groups and collectors in the Museum of Contemporary Art of Iran and this is the main purpose of the festival. Also, the works are seen by over 200,000 voters, this is a good sign of the correct process of the people selection and attraction of the interest and permeability of the event in the community that even if they do not follow the artistic works but now they become acquainted with the visual arts of the today’s generation.

Given the fact that this collection is organized by independent and nonprofit groups, the need for financial support and the news of this festival is felt more than anything else.

take a look at the web site

http://artfestivals.ir

نوشته Iranian Art Festival a transnational event in the field of Visual Arts اولین بار در Honargardi. پدیدار شد.

Robert Bowen’s work is a strange, swirling brew of colorful contradiction that is not easy to define or even understand, but that seems quite the point. Throughout his body of work, Bowen takes familiar iconography and handily corkscrews it with his own unique brand of humor and distinct painting style. Bowen’s ability to reappropriate contradictory symbols into unsettling situations puts him in league with greats like Ron English, and Andy Warhol. He continues to walk the line between charming humor and blasphemous sarcasm with symbolic imagery that leaves the viewer both curious and confused. —Stacey Ransom

نوشته ROBERT BOWEN’S ANIMAL-MACHINE HYBRIDS اولین بار در Honargardi. پدیدار شد.

This version was painted around 1525. The subject is based on a third-century Greek poem by Theocritus, in which Venus unsympathetically laughs at her son, Cupid, when he tells her that he has been stung. She likens the bee stings and their pain to wounds he inflicts when he shoots people with his love arrows. The inscription in the top right of the painting refers to the poem, “life’s pleasure is mixed with pain.”

Cranach reiterates themes of love and temptation throughout the painting, most obviously with Venus’s nudity and the erotic nature of her pose. Her elongated body is typical of many of Cranach’s nudes, and was probably intended to appeal to the tastes of Cranach’s patrons, including the Elector of Saxony for whom this work may have been produced.

The tree, heavy and ripe with apples, may also be symbolic. The manner in which Venus grasps the branch is perhaps a deliberate and purposeful reference to the temptress Eve and forbidden fruit. The apple is also often associated with Venus and another love story wrought with pain: the Judgement of Paris in which Paris presents Venus with the golden apple and is promised the love of Helen in return, thus sparking the Trojan War.

By directing Venus’s knowing gaze at the viewer, is Cranach evoking collusion – implying that she shares the moral with the viewer? Or is he warning them against temptation?

Source : nationalgallery

نوشته Cupid complaining to Venus اولین بار در Honargardi. پدیدار شد.

At last week’s Eyeo Festival, Brain called for a move away from “scary new media art”—works that highlight nefarious possible futures—toward a more nuanced and complex reflection on relationships with technology today. Eyeo is a three-day art and technology conference that has taken place annually in Minneapolis since 2011. With a roster of speakers from diverse backgrounds—art, coding, academia, the private sector, or a mix of the above—it’s fitting that the event is held at the Walker Art Center, an institution long revered for experimenting with interdisciplinary art and new technologies.

With Unfit Bits, Brain and Mattu provide a critique of workplaces corroborating with insurance companies to surveil employees’ lives. But rather than leave their audience with a sense of doom and powerlessness in the face of privacy invasion, Brain and Mattu give us humor, and perhaps hope. Unfit Bits simultaneously indicts the policing of bodies via data collection and reminds us that we can always find ways to skirt the system.

Read more in artinamericamagazine

نوشته Fit for the Future: The 2016 Eyeo Festival اولین بار در Honargardi. پدیدار شد.

The first event of Iran Art Festival with the aim of introducing artistic elite to art communities inside and abroad officially began its work during a ceremony to announce the call for summer courses. In the first call the Festival is gathering artworks in painting and photography, and intends to hold calls every semester in summer and winter time to choose and introduce the best of visual art which is also exhibited both in Iran and abroad.

The festival announced its goals in summery as follows:

• Discover the talents and artistic elite to hold calls in various fields
• Introduce and display the works of art, especially new generation
• facilitate communication among members of the artistic community at home and abroad
• Create dynamic space to interact with artists and art lovers
• Sale of works of art around the world
• Create a space to display and present Iranian rich works of art, internationally

Juries

What distinguishes Iran Art Festival from others is its specific look into the juridical process. In the first event of this festival judgment is in two levels. In people’s vote everyone can cast his vote simultaneous with uploading images, each person can vote only one time for each artwork and at the end the automatic counting will announce the winners of people’s vote. The jury panel in the first period of Iran Art Festival consists of gallery directors of reputable galleries in Iran and Paris. They will judge works according to their experience in terms of artistic value, innovation and economics of art with futuristic look into talented work of art.

Galleries

Aliha Gallery

Aliha Gallery based in Tehran

Galerie Sonia Monti

Galerie  based in Paris

Seyhoun Gallery

Seyhoun Gallery based in Tehran and Newyork

Gallery 26

Gallery 26 based in Tehran

Lajevardi Gallery

Lajevardi Gallery based in Tehran

Calendar

• Opening Date: Friday, July 22, 2016
• Closing Date: Sunday, August 21, 2016
• Judging: August 27 – September 1, 2016
• Awards: Monday, September 5, 2016
• Exhibition: September 9 – September 21, 2016

Participants should notice the time table since the deadline will NOT be extended.

Registration Process

• Careful study of the call
• Selecting the artworks
• Registering in Iran Art Festival website
• Depositing registering fee
• Uploading the images

• Iran Art Festival’s website is designed to automatically prevent duplicate registration.
• Uploading images of art works is possible after payment is done which is not
• Entry is open to all Iranian artists, amateur and professional in painting and photography, worldwide.
• Entry fee for participants is 50,000 T (15 $) per field which is 3 artworks per field. If a participant wants to send works both in painting and photography the entry fee is obviously 100,000 T for 6 art works.

Awards

Awards are to be distributed during an official ceremony attended by leading artists, gallery owners, art collectors and custodians of Iran art in the amphitheater of Tehran Museum of Contemporary Arts.

• 3 Statuettes of Iran Art Festival for the first to third winners of jury panel in painting
• 3 Statuettes of Iran Art Festival for the first to third winners of jury panel in photography
• 4 Plaques of Iran Art Festival for the fourth to seventh winners of jury panel in painting
• 4 Plaques of Iran Art Festival for the fourth to seventh winners of jury panel in photography
• 7 Plaques of Iran Art Festival for the first to seventh winners of people’s vote in painting
• 7 Plaques of Iran Art Festival for the first to seventh winners of people’s vote in Photography

Exhibitions

The first fourteenth winners of juries and the first fourteenth of the people vote will be exhibited in Aliha Galley in Tehran and an art gallery in Paris for sale.

Besides, the first 30 works in each field will be permanently in Iran Art Festival website. Also these works will be sent for reputable galleries and their artists will be introduced to many art communities. Also Honargardi, Arthibition and Art People Gallery will promote top 28 artists.

Notifications And Results

Notification of results will be sent by email. Entrants should ensure that they provide an active email address and that spam filters are set to accept emails from Result@artfestivals.ir. Notifications will not be sent by post. Also you may login to the site using your username and send your result to your personal email.

Contact Us

The secretariat address:

Aliha Gallery At #31, 1st Floor, Ahmadi Moghadam Alley, Ramezanian Alley, Mahroozadeh Alley, Shariaty Ave., Tehran Iran

Postal Code: 19346-53748

Tel.: +98-21-26853208

Working Hours: Sunday to Thursday 4 to 8 pm

E-mail: info@artfestivals.ir

Web site : www. artfestivals.ir

نوشته Iran Art Festival First Call For Summer اولین بار در Honargardi. پدیدار شد.

We offer instruction in most media and genres. Art workshops include daily demonstrations, unique curriculum and one-on-one support. Class sizes are limited to 18 or 20 students, so you get more individual instruction. Please visit our website for our current line-up of classes and art workshops, and remember to check back at the end of the year when we post next year’s schedule. We hope to see you soon.

www.artinthemountains.com

نوشته Art in the Mountains – “Premier Destination Workshops!” Since 1983 اولین بار در Honargardi. پدیدار شد.

The dozen exhibited works share a concise visual vocabulary, repeatedly portraying certain items (flashlights, scissors, golden picture frames), suggestively Christian symbols (pietà embraces, outstretched arms, bodies passing through solid matter), and settings (the omnipresent blackness, though often also gridded floors). The consistency hints at narrative unity, as if each image were a screenshot from an online gaming universe or an outtake salvaged from the cutting room floor—fragments of a world, arranged in a semblance of order, a storyboard Woyzeck.

read more on art in america magazine

نوشته Tala Madani at Contemporary Art Museum St. Louis اولین بار در Honargardi. پدیدار شد.

I met the late David Cunningham while straphanging on the 27 Bryant bus that runs west from my office toward my home, from the industrial section of San Francisco they call South of Market on into the Mission. The janitorial firm for which I file and answer the phones bought our headquarters building in the mid-1980s, and it turned out to be on Folsom’s lucky side—built on rock instead of landfill. Everything I saw from my window the day of the 1989 Loma Prieta earthquake was subsequently demolished, buildings so weakened by the shake as to make human habitation untenable. New structures sprang up on the south side of Folsom, some of which we old-timers like and others we don’t. David Cunningham lived in the condo development across Folsom from my office; we call it the “ice cube tray building,” because it looks like a display of giant ice cube trays planted into the pavement, behind which dwell people with money who gaze back out at us, kings looking at cats for a change.

A brutalist dazzle of concrete, steel and translucent glass, the Yerba Buena Lofts, designed by Stanley Saitowitz, emerged in 2001 at a moment when ordinary housing was still widely available, when people scoffed at the idea of paying $400,000 for a bedroom in an ice cube tray. Even though the project opened right after 9/11, the 200 units quickly sold, and lights went on inside each cube. On the ground floor you could open a shop if you dared, and some dog walkers, music teachers and day-care people did. I would see David Cunningham, himself an architect, coming in and out as I sat behind my desk longing for a bigger life. What is he selling, I wondered. Turns out he was planning an art gallery, something fabulous, a pleasure dome he would call DCP—David Cunningham Projects, the logo a Gothic ambigram on a shield, like something on the chest of an archangel. It was before the iPhone, before Facebook got hold of me. Obama was still a senator. J.K. Rowling was still writing her Harry Potter books. Cunningham himself had just turned 40: the age, maybe, when you decide to take some risks, go for the thing you’re passionate about, open a “project space.” Today, when I stumble among San Francisco’s artists and writers and bohemians—frozen, paralyzed, in our crisis of hyper-professionalism and skyrocketing rents—I long to return to the idealism of David Cunningham and the opening of his cavern of dreams, the space that couldn’t sustain itself.

read more on art in america magazine

نوشته THE BITTERSWEET DREAMS OF DAVID CUNNINGHAM اولین بار در Honargardi. پدیدار شد.