From the earliest uses of lapis lazuli in Ancient Egypt, through the Renaissance when the semi-precious stone was used to create ultramarine, a colour so venerated it was reserved to represent the Virgin and denote her heavenly robes, to Picasso's Blue Period and Yves Klein's patented IKB, blue has occupied a special place in visual culture.
Registration details released on Wednesday 24 February, 12pm GMT
An exhibition of work by 19 artists celebrating the colour blue.
Milton Avery, Jules de Balincourt, Ali Banisadr, NS Harsha, Secundino Hernández, Ilse D’Hollander, Chantal Joffe, Isaac Julien, Idris Khan, John Kørner, Chris Ofili, Celia Paul, Grayson Perry, Howardena Pindell, Tal R, Paula Rego, Do Ho Suh, Sarah Sze, Flora Yukhnovich.
Exploring 5,000 years of art, design and culture, Epic Iran will shine a light on one of the greatest historic civilisations, its journey into the 21st century and its monumental artistic achievements, which remain unknown to many.
A Boundless Drop to a Boundless Ocean presents artworks by 21 US-based artists of Arab and Iranian heritage shown simultaneously in galleries at the Orlando Museum of Art and the Tahrir Cultural Center of the American University in Cairo. Curated by Dr. Shiva Balaghi, with support from Coralie Claeysen- Gleyzon, the exhibition will be on view from January 29 through May 2, 2021. The exhibition’s title, taken from Kahlil Gibran, describes an immigrant's journey as a creative negotiation between the past and the present, between here and there. Along the way, diasporic artists create their own visual language that conveys meaning across cultural, linguistic, and social borders. Featured artists include Shiva Ahmadi, Diana Al-Hadid, Farah Al Qasimi, Siah Armajani, Ali Banisadr, Huguette Caland, Ala Ebtekar, Lalla Essaydi, Amir H. Fallah, Kahlil Gibran, Monir Shahroudy Farmanfarmaian, Sherin Guirguis, Pouran Jinchi, Hayv Kahraman, Arghavan Khosravi, Youssef Nabil, Jordan Nassar, Shirin Neshat, Nicky Nodjoumi, Kour Pour, and Michael Rakowitz.
Ali Banisadr composes abstract dreamscapes that describe his impressions of the trauma of the war and conflict he experienced as a child in his native Tehran. The artist considers his MATRIX installation, as well as his relationship to art history and sound in discussion with distinguished critic and professor emeritus of art history Robert Hobbs.
Occupying the “between space” of fantasies and dreams, Ali Banisadr’s lively paintings explore intangible worlds balancing figuration and abstraction, order and disorder, energy and entropy. The artist’s process is rooted in synesthesia—an internal response to sound that takes visual form as energy and rhythm in his painterly compositions. This creative approach began in Iran when he was a boy, in response to Iraqi bombings. Fleeing to Turkey, then California, and now living in New York, Banisadr’s life experiences have fueled his interest in different cultures, art history, and the current events that inform his art. Hallucinogenic or monochromatic color palettes heighten the drama of veiled masses in motion or commotion as if on a stage. He differentiates individual figures by pattern and style, variously applying paint with brushes, rags, and sticks. Like an all-seeing eye, Banisadr observes and considers societies past, present, and future and acts as a social critic on the human condition.
Known for his wide-ranging sources of inspiration, Banisadr asked to curate a small selection of Wadsworth collection works that illuminate his artistic interests. Within the MATRIX gallery, Banisadr has assembled prints, drawings, paintings, and a construction dating from the 16th to the 20th century from a variety of cultures. These include a panel painting after Hieronymus Bosch, Caprichos prints by Francisco Goya, woodblock landscape prints by Utagawa Hiroshige, and an assemblage by Joseph Cornell. Whether abstract or representational, Banisadr finds a kinship in their subject matter: strangely vivid worlds often animated with disturbing creatures.
Taking a broader view of the collection, Banisadr has also created a video collage of works on view throughout the museum that inspire him. Interested in showing his artist’s eye, the collage presents specific details in works of art where his focus is drawn. Banisadr’s video collage will be accessible both in the gallery and remotely on the Wadsworth’s social media channels and on thewadsworth.org.
The Benaki Museum is hosting Ali Banisadr’s first solo exhibition in Greece entitled Ultramarinus – Beyond the Sea, at the Spyridon & Eurydice Costopoulos Gallery, Museum of Greek Culture, curated by Polina Kosmadaki, Curator of Modern and Contemporary Art and Head of the Benaki Museum Paintings, Drawings and Prints Department.
The exhibition title refers to Ultramarine, the blue colour pigment used as early as the Middle Ages, which was originally extracted from the gemstone lapis lazuli and is believed to encapsulate all shades of water and skies. Artists such as Kandinsky associated Ultramarine with the awakening of the transcendental element. Moreover, in Eastern philosophy, this colour is linked to the sixth chakra (or “third eye”), the awakening of “elevated consciousness”.
The religious, cultural and supernatural connotations of such a unique colour are crucial to Banisadr’s expressive works, in which interrelations with ancestral forms of painting are consolidated. In this exhibition, the dialogue between key works of the artist’s oeuvre and Islamic and Chinese ceramics of the Benaki Museum collections serves as a foothold for projecting the past onto the present. The free associations of forms, sources and various narratives are driven by this powerful colour which dominates Banisadr’s ardent landscapes. In particular, a section of the exhibition features works in blue and white, which act as a kind of essay on the symbolism and “magical” properties of the colour blue.
Paintings and works on paper by Ali Banisadr, who was born in Tehran in 1976, are characterised by dreamlike, hallucinatory and often seemingly chaotic landscapes. Inspired by childhood memories, imaginary scenes, the history of painting and sound, these themes underscore his paintings which have been the subject of numerous solo and group international exhibitions and which are housed in some of the world's most important museum collections.
ALI BANISADR AND PATRICIA HICKSON, THE EMILY HALL TREMAINE CURATOR OF CONTEMPORARY ART AT THE WADSWORTH ATHENEUM MUSEUM OF ART, DISCUSS HIS NEW PAINTING 'RED', ALONGSIDE SELECT WORKS BY MAX ERNST, AND BANISADR’S UPCOMING MATRIX EXHIBITION THIS FALL.
Ali Banisadr’s latest painting, Red, embodies the existential force of the natural world and the artistic urge to reconcile chaos through the act of creation. Banisadr began the large-scale painting in late 2019 before stepping away from the work in January 2020. Despite its appearance of completion, Banisadr “had a sense that I needed to do more to it.” After the global pandemic struck and countries across the world went into lockdown, he says, “the work made sense to me in a new way.” Banisadr then revisited the painting with renewed dedication, finishing at the end of March 2020.
Video of live conversation with special guest Ali Banisadr and host David Anfam to discuss creative life in the context of our new social reality. This gathering will conclude with a poetry reading by a member of our staff.
With his first German solo show at Blain|Southern Berlin open until 17 November, the New York-based artist discusses using drawings to make sense of his intense childhood in Iran and sound being a guiding force