We
are very proud to host Khosrow Hassanzadeh's second solo
show in Dubai, presenting two ambitious new bodies of work
entitled ‘Ready to Order'
and ‘Ya Ali Madadi'.
‘Ready to Order' is a collection of three dimensional large-scale
boxes; imagine busy window displays with ornate gilded frames.
At the center of the boxes individuals both famous and unknown
are immortalized with cardboard likenesses, positioned proudly
and surrounded by their typical universe of objects – statuettes,
tools of trade, family photographs, and glittery ornamentation
in a play of flashing lights, garlands and plastic foliage.
The first word that comes to mind having discovered Khosrow's
seven boxes is most probably kitsch . It is
a word often used but what is its full meaning? Turning
to the dictionary, we find kitsch is ‘associated
with sentimentalism and bad taste' and describes ‘ works of
art and other objects (such as furniture) that are meant to
look costly but actually are in poor taste' . Whether it tries
to appear sentimental, glamorous, theatrical, or creative,
kitsch is a gesture emulating the superficial values of art. Why
then is it so popular? Thomas Kulka, in his book ‘Kitsch
and Art', explains it as follows: ‘ They play on basic
human impulses irrespective of religious beliefs, political
convictions, race, or nationality. They exploit universal subjects
such as birth, family, love, nostalgia, and so forth. '
And Hundertwasser said ‘ The absence of kitsch makes life
unbearable '. If kitsch has always been embraced in the
popular realm, it is now unmistakably ensconced in the world
of fine art. ‘Ready-to-Order' can be interpreted as a gross
parody of Iranian society and its aesthetics but also as an
earnest effort to raise the craft of the unrefined artisan
to the high street.
One can see ‘Ready-to-Order' slogans all over the city of
Tehran , on banners at the entrance of restaurants and hospitality
halls, in daily newspapers and advertisements. The phrase is
aimed at the typical Iranian habit to ‘commission and order'
on the occasion of all sorts of celebrations. Whether for a
wedding, a birthday, a memorial for lost loved ones and religious
martyrs or a funeral, what matters is that the host has ‘ordered'
a lavish banquet, a socially meaningful token of affluence.
Initially inspired by the small boxes
found in the holy birthplaces of Imams and the tombs of martyrs,
Hassanzadeh likes to think of these custom boxes as shrines,
his bespoke homage to unrecognized or otherwise uncelebrated
subjects. His choice of subjects for portraiture began with
ordinary people like his mother, his friend, or himself and
eventually evolved towards popular icons. In one remarkable
example, the famous diva Googoosh appears from behind a beaded
curtain, wearing her myriad glamorous accessories: a diamond
tiara, a shiny costume with heavily jeweled belt, and a white
boa. The background complements this opulence with fake flowers
and blue lights. Another box is consecrated to the popular
singer Javad, whose name has become an adjective which means ‘kitsch'
in Farsi. Wearing his best orange suit and tie, his edified
figure adorned by lavish lily pads and sun flowers, he smiles
amidst a background of mirror work and wall-paper depicting
swans quietly swimming. The Pahlavan: beloved wrestler, paragon
of physical and moral strength for the local population,
carries serenely his championship medals and traditional
costume while his instruments, photos and lucky charms crowd
his box.
Fired by passion, Hassanzadeh has explored every stable of
the downtown bazaars to find the right objects to properly
pay tribute to the diva, the pop singer or the pahlavan. Yet,
a democratic artist, he is known to be inspired by the ordinary
people of his daily entourage, and even more by the disadvantaged
and abused, whom he is always ready to defend (see his Prostitute and Ashura series).
That being said, Khosrow is willing to extend his services
to anyone who would like to see themselves ‘Ready to Order.'
In the series ‘Ya Ali Madadi', whose title is taken from the
prayers of pahlavan wrestlers before a match, the artist expands
on his fascination with the Qajar-period heroes, here executed
with highly-charged acrylic colors and silkscreen on canvas. The
script ‘Ya Ali Madadi' whirls around Pahlavans holding each
other's hands and posing in the center of the scene while surrounded
by a Dervish, a court intellectual, a General and a Mullah.
By extension it has become a popular ‘good luck message', recalling
the values carried by Ali, the patriarch of the Shi'a tradition
known for his strength, humility and generosity towards the
poor.
Works from both ‘Ready-to-Order' and ‘Ya
Ali Madadi', are intended to be at once sentimental, patriotic,
quaint, spiritual, and inspirational. Representing many aspects
of Iranian culture, the result is optically intoxicating
as Hassanzadeh proves himself to be the hero of Iranian pop
and kitsch!
With the generous support
of Pictet & Cie,
B21 is happy to welcome Khosrow Hassanzadeh back in Dubai
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