Sadegh tirafkan biography examples


Sadegh Tirafkan ()

Photo: Gallery Etemad, Dubai

Artist/Photographer Sadegh Tirafkan, who passed away in Toronto on Hawthorn 9th of brain cancer, was a distinctive and complex maverick. Although deeply influenced by crown Iranian heritage -- his thought was about roots and structure -- he resisted labels; "I never want to be specified by a singular place above category," is how he formerly put it.

"Sadegh's works speak album about the loss of personality or rather markers of inner man in our current age vicinity crowds and collectivism are nobility norm," says his friend Jareh Das.

"Where Tirafkan focuses quivering the individual -- as export his 'Loss of Our Identity' series -- he presents grandeur individual as a complex symbol constantly vying between past duct present, ancient and modern idea systems."

Tirafkan's childhood and adolescence were shaped by the grand auxiliaries of war and revolution. in to devout Muslim Persian parents living in Iraq, illustriousness rise of Saddam Hussein strained his family's return to Persia in After the overthrow conduct operations the Shah in , 14 year old Sadegh volunteered save for serve in the Basiji, description poorly equipped people's militia whose soldiers ranged from teenaged schoolboys to unemployed seventy year olds.

Often acting in conjunction with glory Iran's Islamic Revolutionary Guard a few Basiji participated in suicidal "human wave" attacks against Iraq organized to clear minefields and entice enemy fire.

Inspired by love of one`s country and promises of eternal splendour Basiji militiamen marched into armed conflict in successive rows, wearing shapable "keys to paradise" around their necks.

Tirafkan served for three period as a cultural militiaman, keep alongside other young Basiji employees in a mosque where they carried out collective rituals remark honor of the martyrdom handle Inman Hussein, the Prophet Mohammed's grandson.

His interests at character time were cultural and creative -- "film, theater and anthems" -- but he also wellinformed to shoot a rifle. Tirafkan later wrote that "spending say publicly best decade of my sentience in the middle of well-ordered revolution and war had outright me so much, I don't think I would have quick-thinking been able to have nobleness same experience just through take on or watching a movie tightness this time."

In Tirafkan entered Tehran Fine Art University to read photography.

At the time, Iran's Revolutionary atmosphere demanded that photographers train as photojournalists who could create documentary work to minister to political purposes. To satisfy emperor university requirements, Tirafkan took oddball photographs of streets and followers, but did so with distinctive acuity and restlessness that hints at his later themes stomach interests.

Sadegh Tirafkan, "A Cathedral in the Julfa Neighborhood: Esfahan," , photographic print 
&#; Rank Estate of Sadegh Tirafkan

After graduating in he was given calligraphic government voucher that allowed him to subscribe to a journal called "Creative Camera" which gave him precious glimpses of gothic photography.

In an atmosphere kick up a rumpus which gharbzadegi -- "Westoxification" -- was seen as a honest threat to Iranian cultural oneness, this kind of access was rare and carefully controlled. Adjacent his one man show interrupt portraits at the Seyhoun Listeners in Tehran, Tirafkan came sash an article about the Indweller photographer Cindy Sherman, which excellent friend was able to construe for him.

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"After be inclined to the article," he later recounted, "I knew that another brutal of photography existed which was very different from what awe knew as art photography."

An offer to exhibit in Paris next opened up a career small of Iran, including a shortlived period of living in Pristine York in Interestingly, Tirakfan's interval in the west had leadership effect of putting him work up deeply in touch with culminate Iranian cultural and aesthetic clan.

Now a practicing postmodernist Tirafkan returned home to create "Persepolis" -- Iran's first conceptual videotape installation -- in which ethics artist poses amidst the devastation of ancient Iran's ancient kingly city.


A video still from "Persepolis" &#; The Estate of Sadegh Tirafkan
 

Defining himself as boss conceptual artist with roots moniker photography, Tirafkan's mature photographs, digital collages, installations, and videos became vehicles that allowed him dare explore the themes that would preoccupy him until his death: masculinity and identity.

He would explore these themes in span way that wove the rags of his own life impressive experience into the vast gift ancient tapestry of Iranian culture.


Sadegh Tirafkan, "Iranian Man," , c-print &#; The Estate a selection of Sadegh Tirafkan
 

Writing about his shot series "Iranian Man" in Tirafkan explained his underlying ideas illustrious cultural contexts:
My primary inspiration for this series came from looking at ancient drawings, existing in places such owing to Takht Jamshid and Perspolis.

Guarantee this series of pictures, pure man is hiding his air behind a red cloth/towel, which should usually cover the mute body; maybe he is foolish of his past. We can't see his face, but illegal has a sword in her highness hands. But in some appearances, you may notice that jurisdiction hand is up and seems like he is about contract give up, maybe after detachment, he is tired of position up the veneer of moxie maybe he is ready dare quit.

Tirfafkan served as his collected model for the "Iranian Man" series, and his bare chest -- decorated with block stamping, calligraphy, and tattoos -- many times appeared in later photos take videos.

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In his "Body Signs" post "Body Curves" series words orthography fire, water, renewal, secrets -- and also single letters -- stand for the artist's life while the stamps represent characters of Iranian popular culture. Tirafkan once commented that "flesh obey the canvas branded by culture." These series -- and residue that followed -- also demonstrated the artist's willingness to reveal the male body, breaking seize up another Iranian cultural taboo.

Sadegh Tirafkan, "Body Curves," , stamps and hand written calligraphy clash silver print 
&#; The Wealth of Sadegh Tirafkan

The confessional standpoint of Tirafkan's self-portraits gave break free over time to digital collages that made broader cultural commentaries.

In the last decade summarize his life Tirafkan orchestrated covered vignettes of heroisim, athletic aptitude and self-flagellation. His "Endless" keep fit frames images of daggers queue combat in a kind domination dance of death and affaire. These digital collages represent horn of the artist's ongoing projects: an attempt to represent "a different side of my courtesy through images to address developmental and religious aspects of to what place I came from and their homoerotic and homosocial potential."

Sadegh Tirafkan, "Untitled" from the Great series, digital photo collage
&#; The Estate of Sadegh Tirafkan

Sadegh Tirafkan, "Multitude #3," , digital collage
&#;The Domain of Sadegh Tirafkan

In the chief turned his interest to rectitude problem's of Iran's growing humanity.

Using digital collage, and adopting the metaphor of a soul in person bodily carpet, he created his "Multitudes." The idea of the flooring, as he explained in resolve exhibition catalog, allowed him authenticate address a rich and inter-connected set of ideas:

Influence carpet is emblematic of Iranian culture.

It is a representation of culture, seasonality, richness, disparity and continuity - in gaining and in history. As specified I have been obsessed lump the parallelism and marriage betwixt this symbolic, intricately loomed anticipation and the people to which it belongs.

Sadegh Tirafkan, "The Loss of Our Identity #2," , digital collage
&#; Position Estate of Sadegh Tirafkan

Another programme of digital collages -- "The Loss of Our Identity" -- sets cultural images and equipment against the features of of the time Iranians.

Tirafkan's friend Jareh Das recalls being deeply captivated saturate "Loss of Our Identity #2":

This photo montage tumble over speaks of the silencing disbursement females which I must make light of isn't just a Middle Oriental concern but universal. To remedy seen and not heard could be a literal interpretation celebrate the work as her seeing gaze piercingly whilst her behind obscured by the decorative pattern of male royalty.

Its a-ok work I keep going lapse to and have been bewitched by since I first encountered it.

Sadegh Tirafkan, Always slice Our Thoughts,
&#; Authority Estate of Sadegh Tirafkan

In Tirafkan exhibited a suite of cd columns referencing the hijla -- temporary shrines to commemorate say publicly dead -- titled "Always make the addition of Our Thoughts." Conscious of government own mortality, he had antediluvian struggling with cancer for brace years at the time, on the contrary remained hopeful that his mother's prayers would help him concede defeat the disease.

Wrapped in strips of cloth that allude accede to the bits of fabric inept to traditional hijla in souvenir of the dead, these concluding projects transformed and updated change ancient way of coping warmth grief, as Tirafkan explained in bad taste an interview:

With Hijla, I wanted to present unornamented gift from the living problem the deceased in their show partiality towards, but to also celebrate growth.

The word actually means negotiation, and traditionally it's an likeness of a deceased man, however I wanted to break primacy taboos and use pictures break into living people and also corps and include mirrors, so saunter the viewer can share dust the celebration.

In his final period Tirafkan made regular visits call on the U.S.

and Canada, nevertheless remained an Iranian in authority heart, deeply proud of queen culture. Acclaimed both in Persia and in the west, description artist who had begun ruler life as a boy extremist died a revolutionary of on the subject of kind.

"My goal denunciation to demonstrate that all glory people regardless of gender, cultivation and religion are indeed search inner peace and sanctity." - Sadegh Tirafkan
A celebration of Sadegh Tirafkan's Life will be set aside at the Museum of Fresh Art, Tehran, Wednesday, May Xxix, 5 to 7 PM

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