A Lake ni Urmia sh Iran Ka p o or
Farsophone London Legal Walk
Shirin Neshat
May 2016
A zi z A rt
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1.Shirin Neshat 9. Competition 10.Anish Kapoor 17. Competition 18.London Legal Walk 20.Lake Urmia
Director: Aziz Anzabi Editor and translator : Asra Yaghoubi Research: Zohreh Nazari
Shirin Neshat born 1957 is an Iranian visual artist who lives in New York City, known primarily for her work in film, video and photography.Her artwork centers around the contrasts between Islam and the West, femininity and masculinity, public life and private life, antiquity and modernity, and bridging the spaces between these subjects. Neshat has been recognized countless times for her work, from winning the International Award of the XLVIII Venice Biennale in 1999,to winning the Silver Lion for best director at the 66th Venice Film Festival in 2009,to being named Artist of the Decade by Huffington Post critic G. Roger Denson.
Background Neshat is the fourth of five children of wealthy parents, brought up in the religious town of Qazvin in north-western Iran under a "very warm, supportive Muslim family environment",where she learned traditional religious values through her maternal grandparents. Neshat's father was a physician and her mother a homemaker. Neshat said that her father, "fantasized
about the west, romanticized the west, and slowly rejected all of his own values; both my parents did. What happened, I think, was that their identity slowly dissolved, they exchanged it for comfort. It served their class”. As a part of Neshat’s “Westernization” she was enrolled in a Catholic boarding school in Tehran. Through her father’s acceptance of Western ideologies came an acceptance of a form of western feminism. Neshat’s father encouraged each of his daughters to “be an individual, to take risks, to learn, to see the world", and he sent his daughters as well as his sons to college to receive their higher education.
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After graduating school, she moved to New York and married a Korean Education curator, Kyong Park,who was the In 1975, Neshat left Iran to study director and founder of Storefront art at UC Berkeley and completed for Art and Architecture, a nonher BA, MA and MFA. profit organization.Neshat helped Park run the Storefront, where she was exposed to many different Work ideologies and it would become a Neshat’s earliest works were place where she received a much photographs, such as the Unveiling needed experience with and (1993) and Women of Allah exposure to concepts that would (1993–97) series, which explore later become integral to her notions of femininity in relation to artwork. Islamic fundamentalism and During this time, she did not make militancy in her home country. As a any serious attempts at creating way of coping with the discrepancy art, and the few attempts were between the culture that she was subsequently destroyed. In 1990, experiencing and that of the preshe returned to Iran. "It was revolution Iran in which she was probably one of the most shocking raised, she began her first mature experiences that I have ever had. body of work, the Women of Allah The difference between what I had series, portraits of women entirely remembered from the Iranian overlaid by Persian calligraphy. culture and what I was witnessing Her work refers to the social, was enormous. The change was cultural and religious codes of both frightening and exciting; Muslim societies and the I had never been in a country that complexity of certain oppositions, was so ideologically based. Most such as man and woman. Neshat noticeable, of course, was the often emphasizes this theme change in people's physical showing two or more coordinated appearance and public behavior films concurrently,
creating stark visual contrasts through motifs such as light and dark, black and white, male and female. Neshat has also made more traditional narrative short films, such as Zarin. The work of Neshat addresses the social, political and psychological dimensions of women's experience in contemporary Islamic societies. Although Neshat actively resists stereotypical representations of Islam, her artistic objectives are not explicitly polemical. Rather, her work recognizes the complex intellectual and religious forces shaping the identity of Muslim women throughout the world. Using Persian poetry and calligraphy she examined concepts such as martyrdom, the space of exile, the issues of identity and femininity. In 2001-02, Neshat collaborated with singer Sussan Deyhim and created Logic of the Birds, which was produced by curator and art historian RoseLee Goldberg. The full length multimedia production premiered at the Lincoln Center Summer Festival in 2002 and toured to the Walker Art Institute in Minneapolis and to Artangel in
incorporate music, Neshat uses sound to help create an emotionally evocative and beautiful piece that will resonate with viewers of both Eastern and Western cultures. In an interview with Bomb magazine in 2000, Neshat revealed, "Music becomes the soul, the personal, the intuitive, and neutralizes the sociopolitical aspects of the work. This combination of image and music is meant to create an experience that moves the audience." Neshat was profiled in The New Yorker magazine on October 22, 2007. When Neshat first came to use film, she was influenced by the work of Iranian director Abbas Kiarostami.She directed several videos, among them Anchorage (1996) and, projected on two opposing walls: Shadow under the Web (1997), Turbulent (1998), Rapture (1999) and Soliloquy (1999). Neshat's recognition became more international in 1999, when she won the International Award of the XLVIII Venice Biennale with Turbulent and Rapture, a project involving almost 250 extras and produced by
the Galerie Jérôme de Noirmont which met with critical and public success after its worldwide avantpremière at the Art Institute of Chicago in May 1999. With Rapture, Neshat tried for the first time to make pure photography with the intent of creating an aesthetic, poetic, and emotional shock. Games of Desire, a video and still-photography piece, was displayed between September 3 and October 3 at the Gladstone Gallery in Brussels before moving in November to the Galerie Jérôme de Noirmont in Paris. The film, which is based in Laos, centers on a small group of elderly people who sing folk songs with sexual lyrics - a practice which had been nearing obsolescence. In 2009 she won the Silver Lion for best director at the 66th Venice Film Festival for her directorial debut Women Without Men, based on Shahrnush Parsipur's novel of the same name. She said about the movie: "This has been a labour of love for six years.(...) This film speaks to the world and to my country."The film examines the 1953 British-American backed
coup, which supplanted Iran's democratically elected government with a monarchy. In July 2009 Neshat took part in a three-day hunger strike at the United Nations Headquarters in New York in protest of the 2009 Iranian presidential election Exhibitions and film festivals Since her first solo exhibition, at Franklin Furnace in New York in 1993, Neshat has been featured in solo exhibitions at the Museo de Arte Moderno, Mexico City; Contemporary Arts Museum, Houston; Walker Art Center, Minneapolis (2002); Castello di Rivoli, Turin; Dallas Museum of Art (2000); Wexner Center for the Arts, Columbus; the Art Institute of Chicago; the Serpentine Gallery, London; Museo de Arte Contemporáneo de Castilla y León, León; and the Hamburger Bahnhof, Berlin (2005). In 2008, her solo exhibition “Women Without Men” opened at the ARoS Aarhus Kunstmuseum, Denmark, and traveled to the National Museum of Contemporary Art, Athens
, and to the Kulturhuset, Stockholm. She was included in Prospect.1, the 2008 New Orleans Biennial, documenta XI, the 2000 Whitney Biennial, and the 1999 Venice Biennale. In 2012 Shirin Neshat had a Solo Exhibition in Singapore, Game of Desire at Art Plural Gallery.A major retrospective of Neshat’s work, organized by the Detroit Institute of Arts, was scheduled to open in 2013. Since 2000 Neshat has also participated in film festivals, including the Telluride Film Festival (2000), Chicago International Film Festival (2001) San Francisco International Film Festival (2001), Locarno International Film Festival (2002), Tribeca Film Festival (2003), Sundance Film Festival (2003), and Cannes Film Festival (2008). In 2013 she was a member of the jury at the 63rd Berlin International Film Festival Recognition Neshat was artist in residence at the Wexner Center for the Arts (2000) and at MASS MoCA (2001). In 2004 she was awarded an
honorary professorship at the Universität der Künste, Berlin In 2006 she was awarded The Dorothy and Lillian Gish Prize, one of the richest prizes in the arts, given annually to “a man or woman who has made an outstanding contribution to the beauty of the world and to mankind’s enjoyment and understanding of life.” In 2010 Neshat was named Artist of the Decade by Huffington Post critic G. Roger Denson, for "the degree to which world events have more than met the artist in making her art chronically relevant to an increasingly global culture," for reflecting "the ideological war being waged between Islam and the secular world over matters of gender, religion, and democracy," and because "the impact of her work far transcends the realms of art in reflecting the most vital and far-reaching struggle to assert human rights." In 2015 Neshat was selected and photographed by Annie Leibovitz as part of the 43rd Pirelli Calendar which celebrated some of the world's most inspiring women.
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Sir Anish Kapoor CBE RA born 12 March 1954 is a British-Indian sculptor. Born in Bombay,Kapoor has lived and worked in London since the early 1970s when he moved to study art, first at the Hornsey College of Art and later at the Chelsea School of Art and Design. He represented Britain in the XLIV Venice Biennale in 1990, when he was awarded the Premio Duemila Prize. In 1991 he received the Turner Prize and in 2002 received the Unilever Commission for the Turbine Hall at Tate Modern. Notable public sculptures include Cloud Gate (colloquially known as "the Bean") in Chicago's Millennium Park; Sky Mirror, exhibited at the Rockefeller Center in New York City in 2006 and Kensington Gardens in London in 2010; Temenos, at Middlehaven, Middlesbrough; Leviathan, at the Grand Palais in Paris in 2011; and ArcelorMittal Orbit, commissioned as a permanent artwork for London's Olympic Park and completed in 2012. Kapoor received a Knighthood in the 2013 Birthday Honours for services to visual arts. He was awarded an honorary doctorate degree from the University of Oxford in 2014.In 2012 he was awarded Padma Bhushan by Congress led Indian government which is India's 3rd highest civilian award.
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Career was acclaimed for his explorations Anish Kapoor became known in the of matter and non-matter, 1980s for his geometric or specifically evoking the void in both biomorphic sculptures made using free-standing sculptural works and simple materials such as granite, ambitious installations. Many of his limestone, marble, pigment, and sculptures seem to recede into the plaster.These early sculptures are distance, disappear into the ground frequently simple, curved forms, or distort the space around them. usually monochromatic and In 1987, he began working in stone. brightly coloured, using powder His later stone works are made of pigment to define and permeate solid, quarried stone, many of the form. "While making the which have carved apertures and pigment pieces, it occurred to me cavities, often alluding to, and that they all form themselves out of playing with dualities (earth-sky, each other. So I decided to give matter-spirit, lightness-darkness, them a generic title, visible-invisible, consciousunconscious, male-female, and A Thousand Names, implying body-mind). "In the end, I’m talking infinity, a thousand being a about myself. And thinking about symbolic number. The powder making nothing, which I see as a works sat on the floor or projected void. But then that’s something, from the wall. The powder on the even though it really is nothing." floor defines the surface of the Since 1995, he has worked with the floor and the objects appear to be highly reflective surface of polished partially submerged, like icebergs. stainless steel. These works are That seems to fit inside the idea of mirror-like, reflecting or distorting something being partially there." the viewer and surroundings. Over Such use of pigment characterised the course of the following decade his first high-profile exhibit as part Kapoor's sculptures ventured into of the New Sculpture exhibition at more ambitious manipulations of the Hayward Gallery London in form and space. He produced a 1978. number of large works, including In the late 1980s and 1990s, he Taratantara (1999)
A35-metre-high piece installed in 2009at the Royal Academy in the Baltic Flour Mills in Gateshead, London.Some his work blurs the England, before renovation began boundaries between architecture there; and Marsyas (2002), a large and art. In 2008, Kapoor created work consisting of three steel rings Memory in Berlin and New York for joined by a single span of PVC the Guggenheim Foundation, his membrane that reached end to first piece in Cor-Ten, which is # end of the 3,400-square-foot formulated to produce a protective (320 m2) Turbine Hall of Tate coating of rust.Weighing 24 tons Modern. Kapoor's Eye in Stone and made up of 156 parts, it calls to (Norwegian: Øye i stein) is mind Richard Serra’s huge, rusty permanently placed at the shore of steel works, which also invite the fjord in Lødingen in northern viewers into perceptually Norway as part of Artscape confounding interiors. Nordland. In 2000, one of Kapoor's works, Parabolic Waters, consisting In 2009, Kapoor became the first of rapidly rotating coloured water, Guest Artistic Director of Brighton was Festival. Kapoor installed four shown outside the Millennium sculptures during the festival: Sky Dome in London. Mirror at Brighton Pavilion gardens; C-Curve at The Chattri, Blood The use of red wax is also part of Relations (a collaboration with his repertoire, evocative of flesh, author Salman Rushdie); and 1000 blood, and transfiguration. In 2007, Names, both at Fabrica. He also he showed Svayambh (which created a large site-specific work translated from Sanskrit means titled The Dismemberment of "self-generated"), a 1.5-metre Jeanne d’Arc and a performanceblock of red wax that moved on based installation: Imagined rails through the Nantes Musée Monochrome.The public response des Beaux-Arts as part of the was so overwhelming that police Biennale estuaire; this piece was had to re-divert traffic around shown again in a major show at the Curve at the Chattri and exercise Haus Der Kunst in Munich and in crowd control.
In September 2009, Kapoor was hope, be a contemplative and the first living artist to have a solo poetic experience." exhibition at the Royal Academy of In 2011, Kapoor exhibited Dirty Arts. As well as surveying his Corner at the Fabbrica del Vapore career to date, the show also in Milan.Fully occupying the site's included new works. On display "cathedral" space, the work were Non-Object mirror works, consists of a huge steel volume, 60 cement sculptures previously metres long and 8 metres high, that unseen, and Shooting into the visitors enter. Inside, they gradually Corner,a cannon that fires pellets lose their perception of space, as it of wax into the corner of the gets progressively darker and gallery. Previously shown at MAK, darker until there is no light, forcing Vienna, in January 2009, it is people to use their other senses to a work with dramatic presence guide them through the space. The and associations and also entrance of the tunnel is gobletcontinues Kapoor's interest in the shaped, featuring an interior and self-made object, as the wax builds exterior surface that is circular, up on the walls and floor of the making minimal contact with the gallery the work slowly oozes out ground. Over the course of the its form. exhibition, the work was In spring 2011, Kapoor's work, progressively covered by some 160 Leviathan,was the annual cubic metres of earth by a large Monumenta installation for the mechanical device, forming a sharp Grand Palais in Paris. Kapoor mountain of dirt which the tunnel described the work as: "A single appears to be running through. object, a single form, a single colour...My ambition is to create a space with in a space that Public commissions responds to the height and Turning the World Upside Down, luminosity of the Nave at the Israel Museum, 2010 Grand Palais. Visitors will be invited to walk inside the work, to immerse themselves in colour, and it will, I
Kapoor's earliest public in Italy, as part of the project commissions include the Cast Iron ArtePollino – Another Mountain at the Tachikawa Art South.Kapoor's work, Cinema di Project in Japan, as well as an Terra (Earth Cinema), is a 45m long, untitled 1995 piece installed at 3m wide and 7m deep cut into the Toronto's Simcoe Place resembling landscape made from concrete and mountain peaks. In 2001, Sky earth.People can enter from both Mirror, a large mirror piece that sides and walk along it, viewing the reflects the sky and surroundings, earth void within.Cinema di Terra was commissioned for a site officially opened to public in outside the Nottingham Playhouse. September 2009.Kapoor was also Since 2006, Cloud Gate, a 110-ton commissioned by Tees Valley stainless steel sculpture with a Regeneration (TVR) to produce five mirror finish, has been pieces of public art, collectively permanently installed in known as the Tees Valley Giants.The Millennium Park in Chicago. first of these sculptures, Tememos, Viewers are able to walk beneath was unveiled to the public in June the sculpture and look up into an 2010. Temenos stands 50 metres "omphalos" or navel above them. high and is 110 metres in length. A In the autumn of 2006, a second steel wire mesh pulled taught 10-metre Sky Mirror, was installed between two enormous steel at Rockefeller Center, New York hoops, it remains an ethereal and City. This work was later exhibited an uncertain form despite its in Kensington Gardens in 2010 as colossal scale.In 2010, Turning the part of the show Turning the World World Upside Down, Jerusalem was Upside Down, along with three commissioned and installed at the other major mirror works. Israel Museum in Jerusalem. The ArcelorMittal Orbit, London sculpture is described as a "16-foot Olympic Park, 2012 tall polished-steel hourglass " and it "reflects and reverses the Jerusalem sky In 2009, Kapoor created the and the museum's landscape, a likely permanent, site-specific work Earth Cinema for Pollino National reference to the city's duality of celestial and earthly, holy and profane". Park, the largest national park
Cloud Gate people and places is the key to at the Millennium Park, Chicago successful public art, Kapoor said, Also in June, Kapoor's Orbit was announced as the winning proposal “I’m thinking about the mythical for an artwork for the 2012 wonders of the world, the Hanging Olympic Games. The Greater Gardens of Babylon and the Tower London Authority selected of Babel. It’s as if the collective will Kapoor's sculpture from a shortlist comes up with something that has of five artists as the permanent resonance on an individual level artwork for the Olympic Park. At and so becomes mythic. I can claim 115 metres tall, Orbit is the tallest to take that as a model for a way of sculpture in the UK. thinking. Art can do it, and I’m going to have a damn good go. I Soon to be completed is a granite want to occupy the territory, but monument to commemorate the the territory is an idea and a way of British victims thinking as much as a context that of 9/11 in New York’s Hanover generates objects. Square. When asked if engagement with
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Lake Urmia is an endorheic salt lake in Iranian Azerbaijan, Iran and near Iran's border with Turkey.The lake is between the provinces of East Azerbaijan and West Azerbaijan in Iran, and west of the southern portion of the Caspian Sea. At its full size, it was the largest lake in the Middle East and the sixth largest saltwater lake on earth with a surface area of approximately 5,200 km² (2,000 mile²), 140 km (87 mi) length, 55 km (34 mi) width, and 16 m (52 ft) depth.[5] The lake has shrunk to 10% of its former size due to damming of the rivers that flow into it and pumping of groundwater from the area. Lake Urmia, along with its once approximately 102 islands, are protected as a national park by the Iranian Department of Environment. Ecology Lake Urmia is located in Iran UNESCO Biosphere Reserves in Iran See also: Geography of Iran and Environmental issues in Iran Palaeoecology A palynological investigation on
long cores from Lake Urmia has revealed a nearly 200 kyr record of vegetation and lake level changes. The vegetation has changed from the Artemisia/grass steppes during the glacial/stadial periods to oakjuniper steppe-forests during the interglacial/interstadial periods. The lake seems to have had a complex hydrological history and its water levels have greatly fluctuated in the geological history. Very high lake levels have been suggested for some time intervals during the two last glacial periods as well as during both the Last Interglacial as well as the Holocene. Lowest lake levels have occurred during the last glacial periods.
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Modern ecology food source for the migratory birds Lake Urmia is home to some 212 such as flamingos.In early 2013, the species of birds, 41 reptiles, 7 then-head of the Iranian Artemia amphibians, and 27 species of Research Center was quoted that mammals, including the Iranian Artemia Urmiana had gone extinct yellow deer. It is an internationally due to the drastic increases in registered protected area as both a salinity. However this assessment UNESCO Biosphere Reserve and a has been contradicted. Ramsar site. The Iranian Dept. of Falling level and increasing salinity Environment has designated most The lake is a major barrier between of the lake as a National Park. two of the most important cities in The lake is marked by more than a West Azerbaijan and East hundred small, rocky islands, which Azerbaijan provinces, Urmia and serve as stopover points during the Tabriz. A project to build a highway migrations of several wild birds across the lake was initiated in the including flamingos, pelicans, 1970s but was abandoned after the spoonbills, ibises, storks, shelducks, Iranian Revolution of 1979, having avocets, stilts, and gulls. A recent finished a 15 km causeway with an drought has significantly decreased unbridged gap. The project was the annual amount of water the revived in the early 2000s, and was lake receives. This in turn has completed in November 2008 with increased the salinity of the lake's the opening of the 1.5 km Urmia water, lowering the lake viability as Lake Bridge across the remaining home to thousands of migratory gap.The highly saline environment birds including the large flamingo is already heavily rusting the steel populations. The salinity has on the bridge despite anticorrosion particularly increased in the half of treatment. Experts have warned the lake north of the causeway. that the construction of the By virtue of its high salinity, the lake causeway and bridge, together with no longer sustains any fish species. a series of ecological factors, will eventually lead to the drying up of the Nonetheless, Lake Urmia is lake considered a significant natural habitat of Artemia, which serve as
turning it into a salt marsh which Azerbaijan; the 950-billion-toman will directly affect the climate of plan was abandoned due to the region. Azerbaijan's objections. Lake Urmia has been shrinking for a In July 2014, Iran President Hassan long time, with an annual Rouhani approved plans for a 14 evaporation rate of 0.6m to 1m trillion rial program (over $500 (24 to 39 inches). Although million) in the first year of a measures are now being taken to recovery plan. The money is reverse the trend the lake has supposed to be used for water shrunk by 60% and could disappear management, reducing farmer's entirely.Only 5% of the lake's water water use, and environmental remains. restoration. Several months earlier, in March 2014, Iran's Department Bridge construction over Lake of Environment and the United Urmia in 2005 Nations Development Programme On 2 August 2012, Mohammad(UNDP) issued a plan to save the Javad Mohammadizadeh, the head lake and the nearby wetland, which of Iran's Environment Protection called for spending $225 million in Organization, announced that the first year and $1.3 billion Armenia has agreed on overall for restoration. transferring water from Armenia The Silveh Dam in Piranshahr to counter the critical fall in Lake County should be complete in Urmia's water levels, remarking 2015. Through a tunnel and canals that "hot weather and a lack of it will transfer up to 121,700,000 precipitation have brought the lake m3 (98,700 acre·ft) of water from to its lowest water levels ever the Lavin River in the Little Zab recorded". He added that recovery basin to Lake Urmia basin annually. plans for the lake include the In 2015, president Hassan transfer of water from Eastern Rouhani’s cabinet approved $660 Azerbaijan Province. Previously, million for better irrigation systems Iranian authorities had announced and steps to combat a plan to transfer water from the desertification. Aras River, which borders Iran and
Environmental protests Further demonstrations took place The prospect that Lake Urmia may in the streets of Tabriz and Urmia dry up entirely has drawn protests on 27 August and 3 September in Iran and abroad, directed at both 2011.Amateur video from these the regional and national events showed riot police on governments. motorcycles attacking apparently peaceful protesters.According to Desalting of Urmia Lake the governor of West Azerbaijan, at Protests flared in late August 2011 least 60 supporters of the lake were after the Iranian parliament voted arrested in Urmia and dozens in not to provide funds to channel Tabriz because they had not water from the Araz River to raise applied for a permit to organize a the lake level. Apparently, demonstration. parliament proposed instead to relocate people living around Lake On May 5, 2016, Leonardo Di Urmia. Caprio posted a photo of "a dilapidated ship dock remains on More than 30 activists were dried up Lake Urmia" on his detained on 24 August 2011 Instagram page stating: "It used to during an iftar meal.On 25 August, be the biggest salt lake in the several soccer fans were detained Middle East, but it now contains before and after the Tabriz derby five percent of the amount of water match between Tractor Sazi F.C. it did two decades ago due to and Shahrdari Tabriz F.C.. for climate change, dam construction shouting slogans in favor of and decrease in precipitiation." protecting the lake, including "Lake Urmia is dying, the Majlis [parliament] orders its execution". In the absence of a right to protest publicly in Iran, protesters have incorporated their messages into chants at football matches.
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