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Mohammad Eskandari

Group Exhibition


Group Exhibition

Opening on 4th March 2022
On view until 1st April 2022

Manijeh Armin- Tajsar Jafari- Marjan Hoshiar- Koosha Moossavi- Arezoo Shahdadi- Shahrzad Araghinejad- Mehdi Farhadian- Allahyar Najafi- Parsoua Mahtash- Mohammad Eskandari- Nastaran Safaei- Parisa Taghipour- Mahya Giv- Maryam Farshad- Sara Tavana- Rene Saheb- Manijeh And Parisa Hejazi- Salé Sharifi

A Flower Blossoms for its Own Joy.
Oscar wilde

We celebrate the arrival of the Iranian New Year and a New Century by showcasing works of artists whose practice is mostly influenced by nature. On this occasion, it is fitting to quote an Ode to A Garden Carpet – By an unknown Sufi Poet (Circa 1500):
Here in this carpet lives an ever-lovely spring, un-scorched by summer’s ardent flame, safe too from autumn’s boisterous gales, Mid winter’s cruel ice and snow, ‘Tis gaily blooming still. Eyes hot-seared by desert glare find healing in its velvet shade. Splashing foundations and rippling pools in cool retreats, sore-wearied limbs restore, and tired hearts awaken with joy. The way was cruel.
Baffled by monotony and mocked by phantoms, delirious, beset by stalking death in guises manifold; The dreaded jinns, the beasts ferocious, the flaming heat and the exploding storms; from all these perils here at last set free; in the Garden all find security.
Here the long-laboring Earth, at last, gives birth. From apparent death, a new and lovely world is born; the jacinth imprisoned lies below the desert’s dusty floor. The stony wilderness is so bleak and bare, in ageless patience broods, aware of life within, the promise of fertility and abundance. Ever longing for deliverance. The world, at last, reveals its destiny.
Can we not then capture and restore The loveliness that gave us hope, still brightly mirrored on memory’s gliding waters or snared in the poets’ invisible net, so wide, so fragile, yet captor and conqueror of realities elusive?
Wrought in gold and azure, bright as carved metal. Dream-like foliage in sparking tones is caught, or else, in sumptuous shades of glossy lacquer, quiet but intense; in muffled browns and honey pure, Jasper cool and mellow cinnabar, that fairyland comes real again.
In sudden collisions, find sweet embrace; in rhythms enchanting, with stately pace, rollicking speed; emerging, retreating, reversing, in peaceful finality. Their conflicts reconcile, all in confederation blending like a chorus in part-song gladly singing, In contrapuntal play rejoicing, floating soft or wildly free, yet anchored in eternity.

Solo exhibition of Mohammad Eskandari

Opening at Aaran Projects on 23rd February 2018

The painterly narrative of Mohammad Eskandari is always laden with symbolism. In the new set of ‎works that include life size portraits of his friends, it is the figures that become the symbol; the symbol ‎of a brave generation that was born right after the revolution. Jumping, shouting, standing firm; ‎confidently reaching to touch the sky all the while defying gravity of the situation and the hardship they ‎have had to live with. Boxed in these canvases are a past that is unresolved and a future that is as ‎uncertain as it can be. The figures in these paintings trace the hopes and dreams of generations of ‎Iranians that have struggled to bring order to their lives, an objective that as time goes by seems more ‎like an illusion. But illusion is as true as a truth, even if it can only express partial or fractured truth. ‎
This is the brave face of Iran; the fallen and the raised, in circular runs, time after time, one can almost ‎hear them singing our beloved songs of freedom and resistance; generations of disillusioned Persians ‎but not the defeated.‎
In his amazing three-meter length canvas two different generations pass through the gates of “Azadi ‎Tower” (Liberty Tower), as if they are being baptized under its doom, right beneath the majestic Alborz ‎mountain range in Tehran, three symbols of city of Tehran, -heart of the country- come together to ‎create a breath taking, awe inspiring narration. And the little boy who is saddened and who is ‎frustrated, but he will rise up, as he ought to because For darkness to exist, there must be light.‎
The regular irregularity of our lives, the pain of Iran, and its illusionary dimensions are the undertone of ‎these paintings. Mohammad Eskandari’s soulful and dexterous practice and his ability in depicting ‎ecstasy and agony is exemplary. He has chosen to celebrate and salute his generation and like many of ‎his compatriots he pushes the boundaries in his everlasting search for “spring”, fluctuating in ‎permanent disorder and chaos but always insisting on hope.‎
We are constantly reminded of the fate of our legendry bird: The Phoenix who is believed to possess ‎the knowledge of all times, from ashes she rises to create wonderment, she plunges in to flames to be ‎purified, to rise again, every time stronger, every time mightier.‎
Nazila Noebashari

Opening at Aaran Projects on 29th January.

This exhibition is dedicated to ten of the leaders, activists and journalists who were brutally murdered during the Constitutional Revolution in Iran (1905-1907). Their names are engraved on conscience and history of this country:
Mirza Reza Jahangir Khan Sour Esrafil – Journalist
Sheikh Ahmad Rouh ol Ghodos – Journalist
Malek ol Motekalemin – Leader and Grand orator of Constitutionalists
Ghazi Ardaghi – Activist
Mirz Ebrahim Agha Tabrizi – Member of Parliament and Journalist
Seyed Jamal ol Din Vaez Esfahani – Leader of Constitutionalists
Sheikh Ahmad Rouhi – Activist and Journalist
Seyed Mohammad Tabatabaie – Leader and Activist
Saqat ol Eslam Tabrizi – Leader and activist and Author
Prince Yahya Miraz Eskandari – Member of Parliament and Journalist

The Persian Constitutional Revolution took place between 1905 and 1907. The revolution led to the establishment of a Parliament in Iran and opened the way for cataclysmic changes in Persia, heralding the modern era and the rule of law and promising freedom of speech.
The monarch Mozaffar ad-Din Shah signed the constitution in 1906, but he died shortly after and was replaced by his son, Mohammad Ali Shah. The latter abolished the constitution and in June of 1908, with support of British and Russians, bombarded the Parliament. Russian colonel Vladimir Liakhov who was the commander of the Persian Cossack forces, formed as a elite cavalry unit in 1879, lead the forces in shelling the Majles, killing hundreds of people and later on executing leaders and Journalists of the Constitutional Movement. The Shah kept himself confined to his residence at Bagh-e Shah fort in west of Tehran. A number of captured constitutionalists were imprisoned at Bagh e Shah and tortured and killed.
In retaliation and by July 1909, pro-Constitution forces marched from provinces of Azerbaijan and Gilan towards the capital and were joined with forces of tribes of Bakhtiari and Qasqai. They were able to capture Tehran and re-establish the constitution.
On 16th July 1909, the parliament voted to place Mohammad Ali Shah’s 11-year-old son, Ahmad Shah on the throne. Mohammad Ali Shah abdicated and fled to Russia, later to Turkey and died in San Remo Italy. Every Shah of Iran since Mohammad Ali Shah has died in Exile.

Presenting works by Malakeh Nayiny and:
Alireza Adambakan – Ala Ebtekar – Mohammad Eskandari – Asghar Aharipour – Mehrdad Jafari – Azam Hosseinabadi – Hamid Hemayatian – Nasim Davari – Maryam Sepiyani – Nastaran Safaei – Emitis Abbassioun – Shirin Fathi – Hadis Fakhr – Reihane Taravati – Farshid Larimian – Dehghan Mohammadi – Allahyar Najafi.

Opening at Aaran Projects on 20th November 2015.

In Arts, liberated from constraints of reason and logic, artists conceive and combine new forms that enrich our lives, in mythology too, we entertain a hypothesis, to perhaps find answers and solutions to our world which essentially is a puzzle. What if this world were not all that there is?

Humans beings are unique in retaining the capacity for play and amusement. More often than not we forget this gift. The power of imagination which forms our mental image of something that is not perceived through the five senses, should not be underestimated. It is essential to recognize the importance of this force that breaks down borders and teleports us beyond our circumstances, and abilities. A world of wondrous charm and endless stories, unrestrained fancy and extremes that challenge belief.

The artists working in the realm of fantasy, violate in a variety of ways, standard expectations by drastic experiments with subject matter, form and style. Constant fusion of every day with the fantastic, mythical and nightmarish. These trail blazers render a world that blurs traditional distinctions between what is serious, trivial, horrible, absurd or tragic.

Once upon a time, Lamassus and Griffins guarded the Capital city of Persian empire, they still do. An echo of a time where kings were transported to the sky by giant birds, and snakes growing from man’s shoulders feasted on human brain, and the white Div was defeated by the super hero and Simorgh was busy saving the albino child. A recurring magical abstractness that permits representation to take a timeless character; recalling the past, expressing hope for future and affirming continuity.

Solo show by Mohammad Eskandari

Eskandari’s Butterfly Stickers
By Talinn Grigor

There is a simultaneous sense of futurity and historicity in the five large canvas paintings, and one video work, by artist Mohammad Eskandari. His superb mastery over the brush comes from having been born into an artistic family as well as a successful artistic education and career. Yet, these images are not merely an outcome of skill and upbringing. Through that inheritance, these works convey a deep insight into Iranian history, Iranian symbolism, Iranian modernity, Iranian wealth, and Iranian pain.On these canvases, Eskandari embraces the Qajar and Pahlavi pardeh khani tradition. An old Iranian artistic method, that I would trace even further back to Sassanian rock-cuts, portable paintings on large canvases (pardeh) used to illustrate the Battle of Karbala, Koranic stories, and the epic of the Shahnameh. Reviving the large-scale technique, the artist invokes other forms of historical accounts that speak so clearly about a tentative future. Thus, Eskandari selects fragments of rich architectural and geographic past: a gate, an Eyvan, a summit, and a forest collide into a future shaped by human agency that remains unresolved. Historical monuments, national symbols, fragments of natural landscape, and separate figures all hover on the painterly surface – somehow in a state of constant flux, a state of abstraction and foolishness that makes total sense. The painter speaks to his audience. The painter invites his viewer to inhabit a space of ambivalence and absurdity… a place that goes somewhere but that is certainly irresolute…
Excerpt from text by Talinn Grigor for catalogue of exhibition

Talinn Grigor (Ph.D., MIT) author of the book “Contemporary Iranian Art: From The Street To Studio”, is an Associate Professor of modern and contemporary architecture in the Department of Fine Arts at Brandeis University, Boston. Her research concentrates on the cross-pollination of architecture and (post)colonial politics, focused on Iran and India.

Group show to commemorate 60th anniversary of Coup d’etat

Artists: A-Petgar (1914-1992), Bahman Jalali (1944-2010), Ahmad Aali, Rana Javadi, Mohamad Mehdi Tabatabaie, Farsad Labbauf, Behrang Samadzadeghan, Barbad Golshiri, and Mohammad Eskandari

And screening of Documentary film “Remembering A National Leader” by renowned director, Hossein Torabi.

Sixty years ago in august 1953 a coup d’etat orchestrated by British and American governments removed Dr.Mohammad Mosaddegh (1882 –1967), the democratically elected prime minister of Iran, from power and changed the fate of millions of people in this part of the world.
Dr. Mosaddegh was imprisoned and endured solitary confinement for three years, then he was put under house arrest until his death in 1967. Only a handful were allowed to attend his funeral, and he was buried in the living room of his house in Ahmadabad. He lies in his land deprived of a tombstone.
For decades there has been frequent attempts to obliterate his name from public life and even deny his image from the people of this ancient land. This exhibition while not attempting to, has in fact unearthed and discovered works of art that have been hidden in archives and store rooms. In a humble way this exhibition is a tribute to this extraordinary nobleman and a show of denial to those who still believe that the history is written by conquerors.

Solo show by Mohammad Eskandari

When a tuneless balance, weights up hope and despair in it’s two scales, a dynamic passivity is created.
To feed the hungry, the herd of gazelles is diminished. Some migrate and the worn outs are hunted out, yet if there are no gazelles left in the plains, tigers and hyenas will have the same fate.
This exhibition is the result of the same passivity that appears to be dynamic, for a three-year time stands between its inception and completion.
Mohammad Eskandari