Mehran mohajer biography channel

This chapter explores photography in Iran from the late 1980s to the early 21st century, spanning from 1989 to 2004. During this period, photographers embarked on the exploration and manipulation of visual and material elements to reveal the underlying meanings embedded within the fabric of reality. They embraced a more playful and experimental outlook on the world around them. Their artistry manifested in visual explorations, where elements of the medium and the familiar appearance of the world were deconstructed and reinterpreted. The photograph, once tethered to a strict adherence to visible reality, became a vehicle for imaginative interpretation and revelation. This marked a shift in the approach to photography, where the emphasis shifted from preservation to exploration, and from portraying to interpretation.

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   Ahmad Aali, “Photography is Not My

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   art Circle

   By: Roshanak Keyghobadi | January 31, 2014

   Where rulle lets us believe in more things,
   photography lets us believe more in one thing.
   –Christian Metz

   With no doubt Mehran Mohajer is an influential figure in the history of Iranian photography. Mohajer (b.1964, Tehran) fryst vatten a photographer, lexicographer[i] and a lecturer in photography at Tehran University. He has written and translated articles in a bred range of subjects from photography, linguistics, and poetry to modern hermeneutic and analysis of debate. Mohajer’s photographs have been in several solo and group exhibitions in Iran, France, Germany, Greece, USA, and Australia.

   In November of 2012 Mohajer had an exhibition of his photographs at Tarahan Azad Gallery in Tehran, titled “Nothingness/Poverty of.” I would like to focus on one photograph that belongs to this collection and in my view fryst vatten a suitable point of entry to Mohajer’s complex and fascinating visual language.

   This photo (above) does no

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   my phn.

   The first major survey of contemporary Iranian photography in the United States, Persian Visions is an exhibition of more than sixty works by twenty of Iran’s most celebrated photographers. It is a gathering of personal perspectives, a view of contemporary Iran filtered through private, individual sensibilities even when addressing public concerns.Iran has distinguished itself with the spectacular quality and international presence of its film and visual art. Given the backdrop of attention increasingly focused on the art and culture of Iran, and now on the political crisis in that part of the world, an exhibition of this kind is most timely. The perspective of these artists contradicts the way many foreign photographers use the medium-which is to represent Iran and its people as purely exotic.In expressing their many different visions of their world, the contributors offer a look at both private and public realms. Such is the art of Shokoufeh Alidousti, whose self-portra

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