Normal portfolio 2013 by Jonathan Wood

normal industries 2013

villa stuck munich

covers to ricochet catalogues 1â&#x20AC;&#x201C;5 (2010â&#x20AC;&#x201C;11)

inhalt cOntents

5. Grace Zabriskie als Sarah Palmer in der US-Serie »twin Peaks« (1990–1991) von David Lynch und Mark Frost (Filmstill) | Grace Zabriskie as Sarah Palmer in the U.S. television series “twin Peaks” (1990–1991), created by David Lynch and Mark Frost (film still) 6. Affenkot | Monkey Dung, 2009, Acryl, tusche, collage auf Leinwand | Acrylic, india ink, collage on canvas, 180 x 150 cm 7. Trauer | Grief, 2008, tusche, Marker, Ölkreide, Lack auf Papier | india ink, marker, oil crayon, enamel on paper, 48 x 35 cm

4–5 micHael BuHRs: vORwORt pReface 8–17 anne maRR: 343 m/s 343 m/s 18–27 unteRgescHOss Basement 28–33 maRtin Heindel: Sie kamen vOn den steRnen, und Sie BRacHten ihre Bildnisse mit sicH they came fROm tHe staRs and they BROugHt their images witH tHem 34–35 staiRway tO stuck staiRway tO stuck

2. Mademoiselle Budapest, 2005, Acryl, Marker, Papier auf Pappe, vier teile | Acrylic, marker, paper on cardboard, four parts, 100 x 140 cm, Sammlung | collection of Elena Sprogies 3. Base 12, 2007, Acryl auf Leinwand | Acrylic on canvas, 110 x 90 cm 4. 178, 2007, Marker, Buntstift auf bedrucktem Papier | Marker, crayon on printed paper, 21,2 x 14,2 cm

36–37 aHnengaleRie ancestRal pORtRait galleRy 38–41 tReppenaufgang staiRcase 42–45 cRis kOcH und JOcHen flinzeR peR e-mail im gespRäcH an email cOnveRsatiOn Between cRis kOcH and JOcHen flinzeR 46–47 BiOgRapHien BiOgRapHies 48 impRessum impRint

28 Sie Kamen von Den sternen, UnD Sie brachten ihre bilDnisse mit sich they came fROm tHe staRs and they BROugHt their images witH tHem

4 vorwort pReface

Ein Museum ist ein simples Konstrukt: Es beschafft, bewahrt und erforscht materielle Zeugnisse von Menschen und ihrer Umwelt und macht diese bekannt, indem es sie ausstellt. Es ist eine der Öffentlichkeit zugängliche Einrichtung im Dienste der Gesellschaft und ihrer Entwicklung. Doch wie kann eine dergestalt der Nachhaltigkeit verpflichtete Einrichtung der Beschleunigung der gesellschaftlichen Veränderungen folgen, wie können die Brüche und Diskontinuitäten, die sich immer rasanter auftun, nachvollziehbar gemacht werden?

A museum is a simple entity: it procures, it preserves and it researches material evidence of human beings and their environment, and it raises awareness of them by exhibiting them. it is an institution accessible to the public and serving society and its advancement. Yet despite being committed to sustainability in this manner, how can such an institution keep up with the acceleration of society, how can the disjunctions and discontinuities which emerge at an ever faster pace be made comprehensible?

Die Villa Stuck stellt sich mit der Reihe RicochEt dieser herausforderung und präsentiert in den Räumen der ehemaligen Künstlervilla Franz von Stucks Künstlerinnen und Künstler der Gegenwart, die sich mit Diskursen unserer Zeit sowie aktuellen politischen oder gesellschaftlichen Problematiken auseinandersetzen.

the Villa Stuck has taken up this challenge by opening the galleries of the former artist’s residence of Franz von Stuck to contemporary artists. During the exhibition series RicochEt, four artists reflect on the discourses of our time and address topical political or social issues.

Die Künstlerinnen und Künstler, cris Koch, Samantha Dietmar, hito Steyerl und Ahmet Ögüt, ˘ zeigen allesamt zum ersten Mal in Einzelausstellungen ihre Arbeiten in München. Für jede der vier Ausstellungen werden im Dialog zwischen Kurator/in und Künstler/in Räume im Gesamtkomplex der Villa Stuck ausgewählt, die dem charakter des jeweiligen Projekts entsprechen. cris Koch, der den Auftakt der Reihe setzt, verwandelt in seiner Ausstellung 343 m/s nicht nur einen Ausstellungsraum im Untergeschoss der Villa Stuck, sondern bezieht das zentrale treppenhaus in seine installation mit ein.

For each of the artists, cris Koch, Samantha Dietmar, hito Steyerl und Ahmet Ö güt, ˘ it is the first time that their work is being presented in solo exhibitions in Munich. in preparation for the four exhibitions, the artists and curators selected the areas within the entire Villa Stuck building complex that correspond best to the individual projects. Kicking off the series, cris Koch in his exhibition 343 m/s has not only transformed a downstairs gallery of the Villa Stuck, but also included the central stairwell in his installation.

RicochEt interveniert, prallt auf, hinterlässt Spuren – auch innerhalb des Ausstellungsprogramms der Villa Stuck – und legt neue Perspektiven und Positionen offen. Das Begleitprogramm bezieht, wie die Ausstellungen selbst, unterschiedliche Gattungen mit ein, Musik, Film, Diskussion. Ein Blog, villastuck-blog.de, der die vier Projekte im Netz ergänzt und weiterführt, soll die Diskussion rund um die Ausstellungen auch außerhalb des Museums fortsetzen.

RicochEt intervenes, reverberates, leaves its mark – as can be seen in the Museum Villa Stuck’s exhibition programme – and opens up new perspectives and approaches. the supporting programme of special events, like the exhibitions themselves, includes various art forms – music, film, discussion. A blog, villastuck-blog.de, which complements and carries forward the four projects on the web, is intended to encourage debates arising from the exhibitions to continue outside the museum.

Ricochet, französisch für den Auf- bzw. Abprall, bezeichnet auch sogenannte Querschläger. Dies sind Projektile, die auf Grund von Störungen wie Luftwiderstand oder gestreiften und durchschlagenen Gegenständen, nicht an ihrem Ziel ankommen.

“Ricochet” refers, among other things, to a projectile that does not reach its target on account of interferences such as aerodynamic drag or objects grazed or penetrated. With the RicochEt exhibition series, the Museum Villa Stuck aims to raise

Die Ausstellungsreihe RicochEt will ein Ziel erreichen, nämlich die Besucherinnen und Besucher der Villa Stuck sensibel zu machen für die künstlerischen Diskurse, die cris Koch wie auch die weiteren Künstlerinnen und Künstler in ihren Arbeiten führen. Störungen und Widerstände sind dabei ausdrücklich erwünscht! ich danke allen beteiligten Künstlerinnen und Künstlern für ihre Auseinandersetzung mit dem Konzept der Reihe wie auch mit den institutionellen Bedingungen der Villa Stuck. Die Diskussionen, die für die einzelnen Projekte geführt werden, werden sicherlich Spuren hinterlassen und haben damit schon zum Gelingen beigetragen. Ein besonderer Dank soll an dieser Stelle cris Koch gelten, der über einen Zeitraum von mehreren Wochen seine installation in der Villa Stuck mit höchster Akribie eingerichtet hat. Die in diesem Buch versammelten installationsfotos stammen von John-Patrick Morarescu und Nikolaus Steglich, bei denen ich mich für ihre Mitarbeit bedanke.

visitors’ appreciation of the artistic discourses pursued by cris Koch and the other artists in their works. in this process we explicitly welcome interference and resistance! i am grateful to all of the artists involved for addressing and reflecting on the concept of the series as well as the institutional conditions of the Villa Stuck. the ongoing debates related to the individual projects are bound to leave their mark and, in doing so, contribute to making the series a success. At this point i would like to express my particular gratitude to cris Koch for his incredibly meticulous work during the preparation of his installation at the Villa Stuck. i would like to thank John-Patrick Morarescu and Nikolaus Steglich for contributing the installation photographs included in this volume.

Mein herzlicher Dank gilt des Weiteren den Kuratorinnen der Reihe, Anne Marr, Sabine Schmid und Verena hein, die für die Konzepte der Ausstellungen verantwortlich sind. Verena hein möchte ich darüber hinaus für die redaktionelle Betreuung der Publikationsreihe danken, die im Kerber Verlag erscheint. Für den vorliegenden Band bedanke ich mich bei den Autoren Anne Marr, Martin heindel und Jochen Flinzer, den Lektorinnen Stefanie Adam und Sarah trenker sowie, für die Übersetzung der texte, bei Bram opstelten. Für die Betreuung des Begleitprogramms danke ich Bernhard Schneider, Kitty von Korff und Johanna Berüter für die Einbindung der RicochEt-Projekte in FRÄNZchEN, das Kinder- und Jugendprogramm der Villa Stuck. Alle Projektbeteiligten sind sehr gespannt auf die Ergebnisse von SoNic StUcK, dem Bandwettbewerb im Begleitprogramm der Ausstellung. ich danke allen Mitwirkenden an dieser Stelle und natürlich auch den Bands, die am 14. März anlässlich der Finissage von 343 m/s ein Konzert in der Villa Stuck präsentieren werden. Schließlich gilt ein großer Dank den Medienpartnern der Reihe, ZÜNDFUNK (dem Szenemagazin auf Bayern 2) und mucbook. de, welche die Ausstellungen mit großem Engagement begleiten.

i am also deeply grateful to the curators of the series, Anne Marr, Sabine Schmid and Verena hein, who are responsible for the exhibitions’ concepts. in addition, i would like to thank Verena hein for the editorial supervision of the series of accompanying publications which are published by Kerber Verlag. For their contributions to the present volume i would like to thank the authors, Anne Marr, Martin heindel and Jochen Flinzer, as well as Stefanie Adam and Sarah trenker for copy-editing and Bram opstelten for translating the texts. i am indebted to Bernhard Schneider for supervising the supporting programme of special events and to Kitty von Korff and Johanna Berüter for integrating the RicochEt projects into FRÄNZchEN, the Villa Stuck’s art education programme. All those involved in the project anxiously anticipate the results of the rock band competition, SoNic StUcK, which will take place on 14 March as part of the supporting special events programme. Marking the conclusion of the 343 m/s exhibition on that date, several bands will present a concert at the Villa Stuck. i would like to extend my thanks to everybody who contributed to this event, not least, of course, the bands themselves. Finally i am deeply indebted to the series’ media partners, ZÜNDFUNK (Bayern 2's pop-culture radio show) and mucbook.de, for their strong commitment to the exhibitions.

MichAEL BUhRS | DiREKtoR

MichAEL BUhRS | DiREctoR

Name cthulhu

GeburtstaG unbekannt (vor Äonen)

date oF birth Unknown (aeons ago)

Geburtsort extraterrestrisch (eigentlich extradimensional)

place oF birth Extraterrestrial (actually extra-dimensional)

KörperGrösse richtig groß

body heiGht Really big

besoNdere KeNNzeicheN Flügel auf dem Rücken, tentakel im Gesicht

ideNtiFyiNG characteristics Wings on back, facial tentacles

muttersprache unbekannt

NatiVe laNGuaGe Unknown

FamilieNstaNd ledig

marital status Single

VerwaNdte Azathoth, Nyarlathotep, Shub-Niggurath, Yog-Sothoth u. v. a.

relatiVes Azathoth, Nyarlathotep, Shub-Niggurath, Yog-Sothoth and many others

mitGliedschaFt iN parteieN uNd VereiNeN Die Großen Alten

party or associatioN memberships the Great old ones

hobbys Welten vernichten. Sieht gerne Zivilisationen beim Untergang zu.

hobbies Destroying worlds; likes to watch civilisations perish.

derzeitiGer auFeNthaltsort Ph’nglui mglw’nafh cthulhu R’lyeh wgah’nagl fhtagn. in seinem haus in R’lyeh wartet träumend der große (tote) cthulhu.

curreNt whereabouts Ph`nglui mglw`nafh cthulhu R`lyeh wgah`nagl fhtagn. in his house at R`lyeh, (dead) cthulhu waits dreaming.

lebeNsmotto Die größte Gnade auf dieser Welt ist, so scheint es mir, das Nichtvermögen des menschlichen Geistes, all ihre inneren Geschehnisse miteinander in Verbindung zu bringen.

liFe motto the most merciful thing in the world, i think, is the inability of the human mind to correlate all its contents.

23. Cthulhu Nation, 2009, holz, Autoreifen, Schallplatten, Metall, Plastik, Draht, Schaumstoff, Nylon, Acryl | Wood, automobile tyres, gramophone records, metal, plastic, wire, foam, nylon, acrylic, 185 x 80 x 80 cm (installationsansicht | installation view)

RicOcHet #1 cris Koch 343 m/s

ricochet, #1 cris koch

ricochet, #3 hito steyerl

inhalt COnTEnTs RICOCHET #4 ahmet Öğüt WHEREvER I gO I sEE yOuR sHadOW bEHInd mE

6 eXPloDeD City ExplOdEd CITy

4–5 mICHaEl buHRs: vORWORT pREfaCE 6–13 ExplOdEd CITy 14–19 vEREna HEIn: WHEREvER I gO I sEE yOuR sHadOW bEHInd mE 20–21 THIngs WE COunT

22–25 andREas spIEgl: dIE OHnmaCHT und IHRE kRITIk baTTlIng pOWERlEssnEss 26–27 On THE ROad TO OTHER lands 28–29 TOday In HIsTORy 30–33 THE pIgEOn-lIkE unEasE Of my InnER spIRIT 34–43 EIn gEspRäCH zWIsCHEn aHmET ögüT und öndER özEngI a COnvERsaTIOn bETWEEn aHmET ögüT and öndER özEngI 44–45 guppy 13 vs OCEan WavE 46–47 bIOgRapHIEn bIOgRapHIEs 48 ImpREssum ImpRInT

Exploded City (Explodierte Stadt), 2009, Installation, Modellstadt, Mischtechnik | installation, scale model buildings, mixed materials. Courtesy of the artist. Commissioned by Istanbul Foundation for Culture and Arts (IKSV)

26 on the roaD to other lanDs On THE ROad TO OTHER lands

14 wherever i go i see your shaDow behinD me WHEREvER I gO I sEE yOuR sHadOW bEHInd mE

Wherever I go I see your shadow behind me (Wohin ich auch gehe, dein Schatten ist stets hinter mir) – Ahmet Öğüt sieht sich als Künstler innerhalb eines soziologischen und politischen Beziehungsgeflechts von Vergangenheit und Gegenwart. Der Titel, den er für seine Ausstellung im Rahmen der Reihe RICOCHET im Museum Villa Stuck gewählt hat, verweist auf dieses Geschichtsbewusstsein und damit auf das Koordinatensystem, in dem er seine Arbeiten verortet – in seinen Worten: »Den Schwerpunkt dieser Ausstellung sollen Arbeiten bilden, bei denen es um die Vorstellung geht, die ›Geschichte‹ neu zu schreiben, zu rekonstruieren, neu zu denken.«1 Genaues Beobachten und sorgfältiges Recherchieren sind Ausgangspunkt seiner Beschäftigung mit Geschichte. Zentral ist für ihn das Verhältnis von Individuum und Gesellschaft. Öğüt zeigt dabei die gesellschaftlichen Zwänge und Regeln sowie deren Sinnlosigkeit auf. Fragen nach Identität, Selbstbestimmung, Verantwortung und Freiheit sind als Tiefenschicht seiner Kunstwerke zu erkennen. Es geht ihm nicht um die Aneignung oder Weiterführung bereits formulierter Konzepte oder Ideen anderer Kunstwerke, vielmehr sind Intertextualität und verschiedene Ebenen der Interpretation die Motoren seiner Arbeitsweise. So setzt Öğüt seine persönliche Referenz hinzu: »Wir Leben im Zeitalter der Intertextualität. Wenn ich ein Werk schaffe, stoße ich davor oder danach immer wieder auf Bezüge, die es mir erlauben, meine eigene Arbeit aus einer Vielzahl verschiedener Blickwinkel zu betrachten.«2 Die aktive Teilnahme des Besuchers an der Ausstellung, seine Interaktion steigert die Aufmerksamkeit und weist gleichzeitig auf theatralische Momente hin in dem Sinn, dass der Zuschauer durch Zustimmung oder Ablehnung zum Gelingen beitragen kann. Letztendlich lässt die individuelle Erfahrung den Besucher neue Erkenntnisse erwerben. Dennoch ist Öğüts Kunst nicht belehrend. Vielmehr lenkt sie den Blick des Betrachters auf Leerstellen,3 auf undefinierte Nebenschauplätze der gesellschaftspolitischen Struktur, die es ihm erlauben, diese zu hinterfragen. Die Vielseitigkeit, die unsere eigene Identität, unsere Gesellschaft und auch Geschichte ausmacht, die vielschichtiger und verzweigter ist als eine offizielle, politisch motivierte Linie, wird durch die Benennung dieser Leerstellen betont. In den Arbeiten dieser Ausstellung steht Öğüts Beschäftigung mit Nebensträngen einer offiziellen Geschichtsschreibung im Vordergrund – mit der Intention, das kollektive Gedächtnis zugunsten

Ahmet Öğüt regards himself as an artist working within a sociological and political web of connections between past and present. Wherever I go I see your shadow behind me – the title he chose for his exhibition in the RICOCHET series at the Museum Villa Stuck – is indicative of this historical consciousness and of the system of coordinates that he uses for his oeuvre. As he puts it: “In this exhibition I focus on works that are about the notion of rewriting, reconstructing and rethinking ‘history’.”1 Öğüt's examination of history is based on his close study and thorough research of the relevant topics. His central concern is the relationship between individuals and society. He focuses on societies constraints,its rules and its absurdities. Issues of identity, self-determination, responsibility and freedom can be discerned as forming the subtext of his works. Rather than being interested in appropriating pre-formulated concepts or ideas of other artworks and taking them a step further, it is intertextuality and multiple levels of interpretation that fuel his artistic practice. Accordingly, Öğüt adds his personal reference: “We are in the age of intertextuality. Whenever I make a work, before or after making it, I encounter many references allowing me to see my own work from many different perspectives.”2 A visitor’s active participation in, or interaction with, the exhibition leads to increased attention on his or her part. At the same time, it adds a theatrical component, in that a viewer, through his or her rejection or approval, becomes a factor in its success. Ultimately, the individual experience may provide the visitor with new insights. Rather than lecturing, however, Öğüt’s art draws the viewer’s attention to history’s “gaps”3 or what could be termed as undefined issues of the socio-political structure, which he presents as a question. The many-sidedness defining our own identity and society, as well as history – which is more complex and more widely ramified than any official, politically motivated line – is highlighted by addressing these gaps. Öğüt’s interest in exploring the by-roads of official history is central to the works in this exhibition and is guided by the wish to transform collective memory in favour of a plurality of historical narratives.4 What the active participation of visitors to the exhibition achieves in the process is that, in each case, the visitors’ individual experience becomes part of their personal memory, thus allowing Öğüt’s

einer Vielzahl historischer Narrative zu verändern.4 Die aktive Teilnahme des Ausstellungsbesuchers erreicht dabei, dass dessen individuelle Erfahrung Teil seiner persönlichen Erinnerung wird und dadurch Öğüts künstlerische Beschäftigung mit politischen oder gesellschaftlichen Brennpunkten oder Phänomenen in verschiedene Narrative eingeht. Für seine Ausstellung im Museum Villa Stuck entwickelte Öğüt eine Intervention, die durch die Reduzierung der Deckenhöhe charakterisiert ist. Dies irritiert nicht nur den Besucher in seiner Wahrnehmung des Raumes und damit der Ausstellung, sondern hinterfragt auch die Funktion des zweiten Obergeschosses der historischen Villa Franz von Stucks (1863–1928). Franz von Stuck erbaute 1897/98 seine Künstlervilla, die unter dem Anspruch des »Gesamtkunstwerks« repräsentative Rauminszenierungen, ein Künstleratelier sowie privates Wohnen verbindet. Im obersten Stockwerk der Villa Stuck befanden sich die Wirtschaftsräume, die sich in der Konzeption des Gebäudes architektonisch klar von den Räumen der unteren Geschosse unterscheiden. Ablesbar ist dies an der Gestaltung der Fassade, die dieses Geschoss eindeutig als Attikageschoss kennzeichnet, und an der reduzierten, funktionalen – eben nicht repräsentativen – Raumhöhe.5 Diesen Ansatz verfolgt Öğüt auf konsequente Weise, indem er die Decke auf 1,55 Meter abhängt, eine für Museen eigentlich unübliche Raumhöhe. Der Besucher ist gezwungen, sich gebückt durch den Raum zu bewegen. Die Perspektive ändert sich, der Blickwinkel auf die darin präsentierte Modellstadt Exploded City ebenfalls. Das Konzept Öğüts ist inspiriert von Spike Jonzes Kultfilm Being John Malkovich (1999, Drehbuch: Charlie Kaufman), der hauptsächlich im Zwischengeschoss, dem 7 ½ Stock eines Bürogebäudes, spielt. Die räumliche Enge spiegelt die Selbstbezogenheit der Protagonisten wider,6 und der Zuschauer ist mit einem klaustrophobischen Grundgefühl konfrontiert.7 Der Film wirft Fragen nach Identität, Freiheit und Möglichkeiten eines Perspektivwechsels auf. Durch Irritation, den Überraschungseffekt des niedrigen Stockwerks und durch die veränderte Körperhaltung zeigt Öğüt den Besuchern Möglichkeiten individueller Wahrnehmung auf. Indem er Blickwinkel verändert, hat die suggestive Kraft von Öğüts Werk das Potential, Ansichten zu revidieren und zu verändern, er selbst erkennt: »Die Dinge sehen je nach Standort anders aus. [...] Es ist sonderbar, was mit der Geografie passiert: einhundert Meter weiter weg kann die Welt ganz verschieden sein. Es ist etwas Unerklärliches, ein Witz, eine

artistic treatment of political or social issues or hot spots to enter a variety of narratives. For his show at the Museum Villa Stuck Öğüt devised a form of intervention art by decreasing the ceiling height of the exhibition space. This not only confounds visitors’ perception of the gallery and, by extension, of the exhibition, but also demands a reassessment of the second floor’s function in the historic villa of Franz von Stuck (1863–1928). Franz von Stuck built his artist’s residence in 1897/98, aspiring to create a “total work of art” by combining luxuriantly furnished representative spaces, an artist’s studio, and private living quarters. Located on the top floor of Stuck’s villa were the utility rooms which were clearly distinguished from the spaces on the floors below in the way the building was designed. This can be seen in the way the façade design unequivocally defines this level as an attic floor, and by its reduced, functional – and, indeed, not representative – ceiling height. Öğüt continues this approach in a consistent manner by lowering the ceiling to 1.55 metres, a height that is really infeasible for a museum.5 Visitors are forced to stoop through the gallery. There is a change in perspective and likewise in the angle from which Exploded City – the city made up of model structures that is displayed in this gallery – is viewed. Öğüt’s concept is inspired by Spike Jonze’s cult movie Being John Malkovich (1999, screenplay by Charlie Kaufman), which is largely set on an intermediate storey, floor 7½ , of an office building. The confined space reflects the protagonists’ self-centredness,6 and viewers are confronted with a basic feeling of claustrophobia.7 The film raises issues of identity, freedom and possible changes in perspective. By confounding visitors through the surprise effect of the lowered ceiling and the change in posture, Öğüt points out the possibilities of individual perception. In changing viewing angles, his work, by means of its suggestive power, is potentially able to alter and reverse views. As Öğüt acknowledges himself: “Things look different from different places. [...] It’s strange what happens with geography. One hundred metres further away, the world can be totally different. It’s mysterious, it’s a joke, it’s a tragedy. That’s want I want in the work, these different levels that make possibilities appear.”8 Öğüt’s Exploded City (2009) should be viewed under the same premise. The installation which consists of a model city, a glossary and a prose poem was conceived by Öğüt for the Pavilion of Turkey book veröffentlicht thethe artist. On the Road to Other Lands (Unterwegs zu anderen Ländern), 2008, Künstlerbuch | artist book, veröffentlicht von von || published published by byAA Prior Prior Magazine Magazine inin collaboration collaboration with with 5th 5th Berlin Berlin Biennial. Courtesy of artist.

ricochet #4, ahmet ogut

Die Reihe RICOCHET präsentiert in der ehemaligen Künstlervilla des Malerfürsten Franz von Stuck (1863–1928) Künstlerinnen und Künstler der Gegenwart, die sich mit Diskursen unserer Zeit sowie aktuellen politischen oder gesellschaftlichen Problematiken auseinandersetzen und diese durch ästhetische Transformation einer Neubetrachtung öffnen. Für jede der Ausstellungen werden gemeinsam mit den Künstlerinnen und Künstlern Räume im Gesamtkomplex der Villa Stuck ausgewählt, die neben dem klassischen White Cube-Ausstellungsraum auch historische Repräsentationsräume des Künstlerfürsten und einen Künstlergarten umfassen. RICOCHET interveniert, prallt auf, hinterlässt Spuren – auch innerhalb des Ausstellungsprogramms der Villa Stuck – und legt neue Perspektiven und Positionen offen.

the Journey Continues …

ricochet #1 Cris KoCh 14. JANuAR – 14. MäRZ 2010 | KuRATORIN: ANNE MARR

ricochet #2 saMantha dietMar 22. APRIl – 27. JuNI 2010 | KuRATORIN: SAbINE SCHMID

ricochet #3 hito steyerl 22. JulI – 26. SEPTEMbER 2010 | KuRATOR: MICHAEl buHRS

ricochet #4 ahMet Öğüt 11. NOVEMbER 2010 – 23. JANuAR 2011 | KuRATORIN: VERENA HEIN

ricochet #5 Martin Mayer und quirin eMpl

Die wichtigste Nachricht zuerst: RICOCHET geht weiter! Nach einem fulminanten Auftakt 2010 mit gleich vier Ausstellungen in der Villa Stuck waren die letzten Monate ruhig. Cris Koch, Samantha Dietmar, Hito Steyerl und Ahmet Öğüt – diese vier Künstler boten dem Publikum einen faszinierenden Einblick in die zeitgenössische künstlerische Produktion und lösten den Anspruch von RICOCHET auf höchst individuelle Art und Weise ein: Die Reihe RICOCHET präsentiert Künstlerinnen und Künstler der Gegenwart, die sich mit Diskursen unserer Zeit sowie aktuellen politischen oder gesellschaftlichen Problematiken auseinandersetzen und diese durch ästhetische Transformation einer Neubetrachtung öffnen.

8. JulI 2011 | KuRATORIN: SAbINE SCHMID Die zweite gute Nachricht: RICOCHET bleibt überraschend. Denn die fünfte Ausgabe der Reihe bringt für einen Abend das Foyer des Museums zum Flimmern: Martin Mayer und Quirin Empl zeigen anlässlich des fünften Sommerfestes in der Villa Stuck eine interaktive Licht-Installation in diesem modernen Verteilerraum des Museums, der ansonsten hauptsächlich Museumskasse und Café beherbergt. Eine einmalige Aufführung, durch die vorliegende Publikation dokumentiert und kuratiert von Sabine Schmid, der – zusammen mit den beiden Künstlern – an dieser Stelle mein großer Dank für die Realisierung der Rauminstallation gilt. Gesamtkunstwerk und Mapping, zwischen diesen beiden extremen Polen oszillieren die ortsspezifischen Interventionen von Mayer und Empl. Es freut mich außerordentlich, dass beide Künstler das Sommerfest als den passenden Rahmen für ihre Arbeit ansehen, die in der Tat nicht zuletzt durch die Aktion des Publikums beeinflusst wird. Mein Dank gilt Bernhard Schneider für die Gesamtorganisation des Tages, wie auch für die Einbindung von FRÄNZCHEN in den Ablauf, dies zusammen mit Anna Schneider und Johanna Berüter.

museum villa stuck riCoChet

Zuletzt gilt mein Dank allen Beteiligten an der Publikation, Martin Mayer und Quirin Empl, Sabine Schmid, Verena Hein sowie Petra Kottmair und Jonathan Wood von normal industries für die Gestaltung, ebenso allen Mitwirkenden bei der technischen Umsetzung der Installation. Auch die Kooperation mit unseren Medienpartnern lebt durch RICOCHET #5 weiter, ZÜNDFUNK, das Szenemagazin auf Bayern 2, und mucbook.de, das München-Blog – wir freuen uns auf die kommenden gemeinsamen Projekte! MICHAEL BUHRS | DIREKTOR VS, 2011, Screen Shot der Simulation für die Villa Stuck

on3

Durchfahrt – überfangen von einem verglasten Oberlicht im Rundbogen – und von einer Türe flankiert. Zur Gartenseite öffnen sich zwei Durchfahrten mit Rundbögen. Im ersten Stock werden die beiden Gebäude durch einen Gang verbunden. Die Einfahrt wurde – während der Instandsetzung und Restaurierung der Villa Stuck von 1992 bis 2005 – zwischen 1998 und 2000 geschlossen und manche Wandpartien neu verputzt, zudem erhielt sie ein Glasdach vom Verbindungsgang hin zu den Bögen der Gartenseite und empfängt heute den Besucher mit Informationstheke und Kaffee. Dieser Raum zwischen Villa und Atelier, zwischen Straßenseite und Künstlergarten liegt im Fokus des Mappings von Martin Mayer und Quirin Empl. Teile der ehemaligen Außenwände des Ateliers und der Villa und auch die Toreinfahrten bilden die Wände des rechteckigen Raumes, ebenso weiße Wandflächen aus der Zeit der Restaurierung. Auf diese vielseitigen architektonischen Elemente werden feine Linien aus Licht projiziert und so wird nicht der Ausstellungsraum selbst, sondern das Foyer des Museums Teil der ortsspezifischen Aktion und der interaktiven Rauminstallation. SABINE SCHMID | KURATORIN

VS, 2011, Screen Shots der Simulation für die Villa Stuck

URL: http://www.essen-fuer-das-ruhrgebiet.ruhr2010.de/programm/bilder-entdecken/ ruhrkunstmuseen/mapping-the-region.html (24.05.2011).

Rudolf Frieling: »Augmented Reality. Vom Mapping und der Kunst im digitalen Zeitalter«. In: Ausst.-Kat. Vermessen. Strategien zur Erfassung von Raum, Bündner Kunstmuseum Chur. Nürnberg 2009. S. 41–51, hier S. 46.

Ebd. S. 49f.

Katharina Ammann: »Übersicht als Illusion. Vermessungsstrategien in der Kunst«. In: Frieling 2009 (wie Anm. 2). S. 9–14, hier S. 10f.

Frieling 2009 (wie Anm. 2), S. 49.

URL: http://on3.de/element/8275/martin-mayer-und-quirin-empl-der-raum-ist-der-star (25.05.2011).

Dieter Daniels: »Sound & Vision in Avantgarde & Mainstream«. In: Medien Kunst Netz, Bd. 2. Hg. v. Rudolf Frieling und Dieter Daniels. Wien 2005. S. 59–73, hier S. 59f.

URL: http://www.ardmediathek.de/ard/servlet/content/3517136?documentId=6324068 (24.05.2011).

Vgl. Wolfgang Kemp: »Kunstwerk und Betrachter: Der rezeptionsästhetische Ansatz«. In: Kunstgeschichte. Eine Einführung. Hg. v. Hans Belting et al. Berlin 20036. S. 247–266; Wolfgang Kemp: Der Betrachter ist im Bild. Köln 1985; Wolfgang Kemp: Der Anteil des Betrachters. München 1983.

Annette Hünnekens: Der bewegte Betrachter. Theorien der interaktiven Medienkunst. Köln 1997. S. 11.

Ebd. S. 106.

Ebd. S. 53; vgl. auch Gerhard Johann Lischka und Peter Weibel: »Polylog. Für eine interaktive Kunst«. In: Kunstforum International, Bd. 103, Sept./Okt. 1989. S. 65–87.

on3, 2010, Visuals im Chorprobenraum des BR-Rundfunkorchesters während des Live-Acts von Joasihno beim on3-Festival

ricochet #5, martin mayer & quirin empl

stan Douglas, Michigan Theatre, 1997/98; Alma’s Beauty College, 1997/98; Abandoned Apartment Building, 1997/98; Collapsed House, 1997/98

Michigan Central Station, 1997/98; YWCA and YMCA on the Site of the New Tiger Stadium, 1997/98; The Horseshoe, Paradise Valley, 1997/98

“This project [Third World Blondes Have More Money] had the sole mission of documenting the objects that this particular group of people decided to bring into their homes, the personal environment they inhabit and the style they chose to identify with.” Daniela rossell

Daniela rossell, Third World Blondes Have More Money (Jeanette in Her Mother’s House), 2002

street life & home stories, 236 page hardcover (2011)

1. Juni – 11. sePtember 2011

1 June – 11 sePtember 2011

1. Juni – 11. sePtember 2011

1 June – 11 sePtember 2011

1. Juni – 11. sePtember 2011

street life & home stories

fotografien aus Der sammlung goetz

PhotograPhs from the goetz collection

fotografien aus Der sammlung goetz

PhotograPhs from the goetz collection

fotografien aus Der sammlung goetz

evelyn hofer, Harlem Church, New York, 1964, © the estate of evelyn hofer

tobias zielony, Factory from the series: Trona – Armpit of America, 2008, © the artist

Francis alÿs nobuyoshi araki Diane arbus stan Douglas William eggleston elmgreen & Dragset eD van Der elsken Walker evans hans-Peter FelDmann nan golDin Paul graham canDiDa höFer evelyn hoFer sven Johne steve mcQueen robin rhoDe Daniela rossell august sanDer cinDy sherman laurie simmons thomas struth WolFgang tillmans JeFF Wall tobias Zielony

Die ausstellung Street Life and Home Stories präsentiert Werke von 24 Künstlerinnen und Künstlern aus dem fotobestand der sammlung goetz. im fokus dieser themenkomplexe wird eine umfangreiche auswahl von Kunstwerken vorgestellt, deren schwerpunkt eine auseinandersetzung mit gesellschaftlichen, politischen und sozialen sujets bildet. es ist das Konzept der ausstellung, Wechselwirkungen zwischen epochen und zwischen künstlerischen herangehensweisen darzulegen, ohne dabei didaktisch oder chronologisch vorzugehen. Die stadt, die straße und das häusliche umfeld sind die zentrale bühne für diese epochenübergreifenden themen.

Street Life and Home Stories presents works by 24 artists from the photographic archive of the goetz collection, introducing an extensive selection of artworks that, focusing on these two thematic ranges, reflect a concern with social and political issues. the exhibition aims to expose interactions across different periods and between various approaches, without resorting to a didactic or chronological mode. the city, the street and the domestic environment provide the main stage for these transgenerational themes. ed van der elsken, Vali Myers, REVE, 1950, © the artist

street life & home stories infopoint banners

Zendegi features the work of 12 contemporary Iranian artists: Maliheh Afnan, Farhad Ahrania, Mohamed Ehsai, Monir Farmanfarmaian, Parastou Forouhar, Shadi Ghadirian, Bita Ghezelayagh, Taraneh Hemami, Abbas Kiarostami, Farhad Moshiri, Najaf Shokri and Mitra Tabrizian. This exhibition sheds light on life and art in Iran as seen through the eyes of several of its most prominent and emerging artists. Coming

rose issa projects london

ZENDEGI TWELVE CONTEMPORARY IRANIAN ARTISTS

Published to accompany an exhibition by Rose Issa Projects at the Beirut Exhibition Center in Lebanon,

from different generations, and using diverse media, they present, investigate and interpret current

t w e lv e C o n t e m p o r a r y I r a n I a n a r t I s t s

themes and issues of relevance through their own aesthetic language, merging tradition with modernity.

EDITED BY ROSE ISSA

ÂŁ10.00

ZENDEGI

zendegi, catalogue for beriut exhibtion center (2011)

SElma Gürbüz edited by rose issa

SElma Gürbüz

Selma Gürbüz is one of Turkey’s best-known and most inspired contemporary artists. She draws on personal experiences to create visual elegies in which wonder and magic emerge from seeming chaos. Human and animal characters inhabit her fairytale settings,

SHadOwS Of my SElf

in images that reference shadow theatre, the art of silhouettes and animation as well as Ottoman, Japanese and European art history.

beyond art production

£ 10.00

EdiTEd by rOSE iSSa

selma gürbüz, hardcover book 48 pages (2011)

rose issa projects, website

Rose Issa PRojects Contemporary art from the near east sinCe 1982 269 KensinGton hiGh st. LonDon W8 6na t: +44 (0)20 7602 7700 e: info@roseissa.Com WWW.roseissa.Com

artists representeD inCLuDe: maLiheh afnan, Jananne aL-ani, ayman BaaLBaKi, monir farmanfarmaian, Bita GhezeLayaGh, Chant aveDissian, farhaD ahrarnia, fathi hassan, hassan haJJaJ, KhaLiL raBah, parastou forouhar, raeDa saaDeh, seLma G端rB端z, susan hefuna, taraneh hemami anD WaLiD siti hassan haJJaJ, Marques Toliver (detail), edition of 7, digital C type print, coloured woven plastic and wooden frame, 132 x 97 cm, 2010

rose issa projects ad for v&a magazine

but equally attached to history.’ The Independent on Sunday

SHADI GHADIRIAN iranian photographer

‘The photographs hint at what it means now to be young and Iranian: to be fond of bootlegged blockbusters

Shadi Ghadirian is one of Iran’s leading contemporary photographers. Born in Tehran in 1974, she has exhibited widely in Europe and the US, and her work has been collected by museums worldwide. She came to the limelight in the late 90s with her Qajar series, in which she examines the paradoxical position of women in Iran. Women in traditional clothing pose with items such as a bicycle – permitted a hundred years ago, and now forbidden to women. Ghadirian’s oeuvre is a spirited wink at authority. With witty parodies of domesticity, she neatly sidesteps both restrictions and expectations. Rose Issa is a freelance curator, specialised in contemporary visual arts and films from the Arab world and Iran.

SAQI

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£9.99

$14.95

can

$16.50

SHADI GHADIRIAN Iranian Photographer

Edited by Rose Issa

Shadi Ghadirian, 64 page Softcover (2008)

‘I am a photographer, and this is the only thing I know how to do’

‘I deal with social issues that concern me and inspire me. In the Domestic series, a woman is condemned to repetitive routines of tea making, preparing meals, cleaning, sweeping and serving. In Iran, few people live on their own, especially girls. The only time we are faced with practical domestic duties is when we are married, hence the association of domestic chores with marriage. Had I lived alone for some time, like many of my friends in Europe, maybe such work would not have inspired me’ Shadi Ghadirian

The qajar Series 1998-99

‘When someone asks what there is to do, Light the candle in his hand. Like this.’ Rumi

Like th is Shadi Ghadirian’s photographs are startling. They

and the arts. Artists there face censorship, import-

such as Shirin Neshat and Shirana Shahbazi.

Ghadirian’s work is almost exclusively about the

transcend geographical boundaries to bring us into

export restrictions, the absence of a cultural

Furthermore, the Middle East, and in this case Iran,

personal concerns of Iranian women of her generation.

direct contact with another world.

infrastructure to promote art, poor supplies and

with all its complex and intricate social histories, is

The evolution of her work over the last decade has

equipment1, few professional galleries2 and, most

simply a rich and aesthetically inspiring place: artists

its own social context: she illustrates the quest of

Ghadirian is one of the most outstanding young

recently, global banking sanctions force Iranian

do not need to invent a pure concept in order to

teenage youth for more liberty, questions women’s

photographers of her generation, born in Tehran in

artists and galleries to rely on complicated financial

work. There is already much to say: the raw material,

assigned roles and endless domestic chores, explores

1974, at the height of the Iranian economic and

transactions to receive payment for their work. In

unexplored aesthetics and life stories are all there.

the quest for a more colourful life, reveals the reach

cultural boom and just a few years before the Islamic

spite of this, the country keeps producing artists of

Revolution. She came to the limelight in the late 1990s

the highest calibre.

with her Untitled Qajar series, and since then has

of censorship, and wonders about the fate of a Furthermore, it is a good time to be a photographer

generation living in front of a computer. Ghadirian’s

in Iran. When Ghadirian graduated in 1998 from

work is therefore autobiographical, a visual contact

become one of the most active and inspiring artists

photography has always had a strong following in

Azad University, she was one of the first to graduate

with the country and its systems. Above all, hers is

from Iran – one who exhibits widely in Europe, the

Iran, ever since the Qajar court enthusiastically

from the photography department. Tehran had a few

a perfect example of how photography can have

United States, the Middle East and beyond, and is

embraced it in the early nineteenth century, when

modest art galleries, and of those, only a handful

a social function and maintain the highest visual and

collected by museums worldwide. Her fascination

Nasser el-Din Shah (1831–96) became a keen

accepted photography as an art form. The art scene

technical aesthetics.

with the paradoxical life of women in Iran today, which

photographer and prolific collector of photographs.

has changed immensely in the last few years. Interest

takes place mostly behind closed doors, is a spirited

After the Islamic revolution of 1979, there was an

in photography has exploded and galleries are now

wink at authority and shows the witty parody of social

intense focus on photography once again as Iranians

competing with each other, sometime hiring large

expectations, social restrictions and loopholes that

rushed to document their surroundings during the

hotel halls to exhibit their artists. photographers, who

form her life and times.

long and destructive Iran-Iraq war (1980–8).

used to work mainly for newspapers and magazines

Before and after her graduation, Ghadirian worked as

(which were censored and gradually closed down),

a part-time assistant to her teacher, the photographer

Ghadirian’s own life and work is shaped by the rules

photographers followed in the wake of Iran’s

have finally started making a decent living from their

and photography historian Bahman Jalali, who

and restrictions of post-revolutionary Iran, a rich source

internationally successful new-wave film-makers,

work. Galleries are hunting young talent, collectors are

founded Iran’s photography Museum3 with his wife

of subject matter. In the past thirty years, Iran has

and the visits and consequent stardom of many Iranian

buying sometimes haphazardly priced works, but the

Rana Javadi. At the time, Jalali and Javadi were the

experienced far-reaching change in politics, society

artists in exile who came back to Iran for inspiration,

buzz is there and the market is encouraging young

most enthusiastic photographers and publishers in

Untitled Qajar series, 1998

talent to come out.

Biography Shadi Ghadirian was born in 1974 in Tehran, Iran

The Veiled Mirror,

2003

Contemporary Iranian Photography,

Ville De Boulogne-Billancourt, France

2008

De Santos Gallery, Houston, Texas

Sorbonne University, paris

Word Into Art, DIFC, Dubai

French Cultural Centre, Damascus, Syria

Konstmuseum, Gothenberg, Sweden

Distinctive, Artspace Witzenhausen, Amsterdam

Sharjah International Biennial 6

2007

Blessed are the Merciful,

The Veil, touring exhibition, The New Art Gallery,

Noorderlicht Photofestival, Netherlands

Feigen Contemporary, New York

Walsall, Liverpool, and Oxford

Selected group exhibitions

and graduated with a BA in photography from the Azad University, Tehran in 1998.

Selected solo exhibitions 2008 Los Angeles County Museum of Art, California

San Diego Convention Centre, California

2005

Silk Road Gallery, Tehran

Third Line Gallery, Dubai

touring exhibition, CCCB Barcelona and Lyon

Baudoin Lebon Gallery, paris

2002

photography Festival of Istanbul, Turkey

2006

Aeroplastics, Belgium

Glimpses of Iran,

Gallery B21, Dubai

Inaugura en Tucumรกn,

After the Revolution, San Sebastian, Spain

Thessaloniki Museum of photography, Greece The Museum of Contemporary Art, Tehran

2007

Harem Fantasies and the New Sheherezades,

La paz, Bolivia

Mexico Selyemes Fenyek, Budapest

Rebel Mind Gallery, Berlin

2006

Le Rectangle, Lyon, France

West by East, CCCB, Barcelona

Al Maamal Foundation, East Jerusalem, palestine

Representation and Use of the Body in Art,

2001

Galerie Helene Lamarque, paris

2004

Iranian Contemporary Art,

2002

Ey! Iran: Contemporary Iranian Photography,

Far Near Distance,

Barbican Art Centre, London

Villa Moda, Kuwait

Gold Coast City Art Gallery, Australia

The House of World Culture (HKW), Berlin

Regards Persans, Espace Electra, paris

Silk Road Gallery, Tehran

Images of the Middle East, DCCD,

Chobi Mella 3, Bangladesh

Fnac, paris

Copenhagen, Denmark

photography Biennale, Luxemburg

Space Gallery, Toronto

1999

Word into Art: Artists of the Modern Middle East,

photography Biennale, Moscow

photospania Festival, Madrid

Golestan Gallery, Tehran

The British Museum, London

San Jose Museum of Art, California

through a wide variety of techniques, from photography to digital drawings and multi-media installations.

parastou forouhar art, life and death in iran

The Iranian artist Parastou Forouhar expresses her reaction to the perplexing situations in her homeland

This is the first English-language monograph on her work, published on the occasion of her first solo show in the UK at Leighton House Museum in London. With essays by curator and film-maker Lutz Becker and author and art critic Russell Harris, this publication presents a selection of the most startling highlights of Forouhar’s work so far – created in response to the dramatic social and political upheaval that she experienced after the Iranian Revolution of 1979 and the murder of her parents in Tehran. Though the inspiration behind Forouhar’s subject matter may be tragic, her work has a great emotional range: the results are sometimes macabre, occasionally darkly humorous and often purely joyful.

SAQI

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PARASTOU FOROUHAR Art, Life and Death in Iran Edited by Rose Issa

parastou forouhar, 128 page Softcover (2010)

work of Basel Abbas & Ruanne Abou-Rahme, Chant Avedissian, Ayman Baalbaki, Fathi Hassan, and Raeda Saadeh. These six artists explore their cultural heritage and express what they find in unique and varied ways. Through performance, painting and installation, “Arabicity” presents their conceptual and aesthetic concerns, executed with warmth, humour and poetry.

£4.99

ArAbicity Such a Near eaSt bAsEl AbbAs & ruAnnE Abou-rAhmE chAnt AvEdissiAn AymAn bAAlbAki fAthi hAssAn rAEdA sAAdEh

Published to accompany an exhibition by Rose Issa Projects and the Bluecoat in Liverpool, “Arabicity: Such a Near East” features the

ArAbicity Such a Near eaSt bAsEl AbbAs & ruAnnE Abou-rAhmE chAnt AvEdissiAn AymAn bAAlbAki fAthi hAssAn rAEdA sAAdEh

arabicity such a near east, blue coat gallery liverpool (2010)

IRANIAN PHOTOGRAPHY NOW EDITED BY ROSE ISSA

iranian photography now, hatje cantz, 236 page hardcover (2008)

STILL REVELATIONS

PREFACE “Here, there are intense images that address notions of personal yearning and loss; the display or hiding of the body and its sensuality; the interior and the domestic world and its relationship to the outside or social sphere; vanishing or enforced ritual and tradition; meditations on the landscape as a theater for conflict or as an emblem of the spirit; and concerns expressed over moral and social rule.”

This dynamic survey of contemporary photography shows myriad talents, some already well known and others confidently emerging on to the scene. It incorporates a wide spectrum of styles and approaches that is richly rewarding, ranging from journalism to advertising, to staged narratives and montage, and industrial photography to fine art practice. Included here are images made in and about Iran and by Iranians living outside the country. As a result, there are multiple viewpoints, appropriate for these fractured times— and fitting for a country where collisions between personal, social, religious, and political life can be emotive, troubling and complex. What binds these individual voices together, however, is an overriding sense of urgency. Photographic practice in the West—or at least in the European-American axis that has dominated the history of the medium until relatively recently—sometimes lacks this urgent quality: productions in the Western tradition can hinge on established photojournalistic styles, subtle reinterpretations of aesthetic precursors, or on knowing references to critical theory. This is engendered and supported by a widespread culture of studying, teaching, collecting, publishing, and exhibiting liberal fine art and issue-based photography. In contrast, one has the intuitive impression that much of the work in this book is created by photographers who, lacking the luxury of such support—or goaded by oppressive forces outside of their control—are compelled to short-circuit to the emotive heart of an issue. And the issues are varied and tackled in differing ways. Here, there are intense images that address notions of personal yearning and loss; the display or hiding of the body and its sensuality; the interior and the domestic world and

its relationship to the outside or social sphere; vanishing or enforced ritual and tradition; meditations on the landscape as a theatre for conflict or as an emblem of the spirit; and concerns expressed over moral and social rule. The creative impetus can sometimes be sharpened by oppressive situations or a sense of displacement. In an environment of censorship, dissenting voices cut through: certain figures do this with flagrant and defiant opposition, others by using the stoical methods of reportage to preserve and document; some employ a quiet, meditative approach; while others cleverly re-present images using a sense of nostalgia or wry humor.

This publication is a celebration of the unique

The images in Iranian Photography Now come from a selection of individuals grappling with the state of a country where tradition and modernity face each other and must relate to the wider world today. This is deeply colored by the impact of Iran’s recent history of war and revolution, and by the presence of traditions, social structures, and religious codes, which carry a sense of dignity even alongside the weight of oppression. By bringing this work together and into the light, this book importantly contributes to a better, more multifaceted understanding of a culture and its people. Photography is a decisive tool in the service of this role due to its inherent immediacy and accessibility. Such photographs can be seen as a mirror held up to our times, reflecting back even more powerfully what it may be forbidden directly to depict. And it is in the act of reflecting the physical world that it also offers possibilities through which it can be transcended.

whether documentary, artistic, or conceptual.

vision of thirty-six Iranian artists living in Iran and abroad. Here you will find well-known and established photographers together with emerging talents, all of whom distinguish themselves with the originality of their vision,

Each of the artists discusses their work and comments on the selected images, and their statements preface each entry, organized in alphabetical order rather than by theme or genre. The greatest difficulty in compiling this book was choosing which photographers to include—so many of them deserve monographs and an international career. In the end, my selection was personal and intended as an introduction to the many talented photographers from the region rather than a definitive academic study. Many great names are not featured, such as Reza, Manouchehr Deghati, and Chayan Khoi, all of whom live in France; and Hasan Sarbakhshian, Rana Javadi, Kaveh Kazemi, Arman Stefanian, and Jamshid Bayrami, all of whom work and publish in Iran. There is such a wealth of creativity in the region that it is impossible to do all the artists justice in one publication.

Martin Barnes Senior Curator of Photographs, Victoria & Albert Museum, London

I would like to thank all the artists in this book for their participation, and Abbas Kiarostami, Shirin Neshat, and Shadi Ghadirian in particular, for their invaluable assistance. I am also grateful to Dr Martin Barnes and Professor Homi Bhabha, who wrote the foreword and preface, for their positive and thoughtful contribution. This publication was produced with the kind support of the Prince Claus Fund for Culture and Development, the Netherlands. Special thanks go to the Fund's Director, Els van der Plas, and Peter Stepan. I would also like to express my gratitude to Mrs Fadwa Al Homaizi for her unhesitating generosity. Finally, I salute the production team—the ever-patient Petra Kottmair, Francesca Ricci, and Katia Hadidian—and the pioneering publisher, Hatje Cantz. rOse issa London, 2008

PREFACE FOREWORD INTRODUCTION

FEREYDOUN AVE GOHAR DASHTI PARASTOU FOROUHAR SHADI GHADIRIAN HASSAN GHAFFARI AMIRALI GHASEMI MEHDI GHASEMI

Major historical events, such as the pre-revolutionary demonstrations, social turmoil, and the American hostage crisis, led many Iranian photographers living abroad to return on behalf of international photo agencies and publications. These included Abbas (for Magnum), Reza (for Time-Life and National Geographic), Manouchehr Deghati (for Sipa Press), and Alfred Yaghoubzadeh (for Associated Press and Sigma). Photojournalism became the main medium through which the world became aware of the Iranian Revolution.

KAVEH GOLESTAN RODIN HAMIDI ARASH HANAEI GHAZALEH HEDAYAT PEYMAN HOOSHMANDZADEH BAHMAN JALALI MAHMUD KALARI DARIUSH KIANI ABBAS KIAROSTAMI ABBAS KOWSARI ALI MAHDAVI

POst-revOLutiOnary PHOtOGraPHy

MEHRAN MOHAJER JAVAD MONTAZERI MALEKEH NAYINY SHIRIN NESHAT HAMED NOORI MOHSEN RASTANI OMID SALEHI

The 1979 Islamic revolution and the devastating Iran-Iraq war of 1980–88 resulted in a wave of emigration and a brain drain to the West, Japan, Turkey, and India. Many connections with the past were erased as universities, museums, libraries, and galleries were closed, the school curriculum changed to incorporate the new religious requirements, and publications, imported books, and films were censored. The government’s objective was to use photography for propaganda in support of

SEIFOLLAH SAMADIAN JALAL SEPEHR

PHOtOGraPHy in iran: 1840s tO 1970s

Although poetry is traditionally the principle means of artistic expression in Iran, photographers here have now transformed the medium into the poetics of image. Iran has a strong visual culture: geographically, from the fertile mountains of the north to the deserts of the central and southern plains; historically, with its abundance of architectural and archaeological sites; and artistically, in its rich pre-historic, Zoroastrian and Islamic art and artifacts. It is also a country in which people communicate mostly with their eyes, which express what society prevents from being written or spoken. This language of the eyes is highly developed and sophisticated, and photography is now its tool. Over the last decade, and the last two years in particular, the art scene in Iran has radically changed and is enjoying an unexpected boom, with many artists becoming very fashionable and highly sought after. What is so extraordinary is that despite institutional and infrastructural shortcomings

Soon after its invention in the first decades of the 19th century, photography was enthusiastically embraced by Persia’s Qajar kings, most famously during the reign of Nasseredin Shah (1848–1896). He transformed many aspects of life in the palace, introducing European modes and technological innovations: Persia produced its first daguerrotypes in 1844—just five years after the discovery of the technique in Paris—and photography soon became part of the curriculum at Dar al-Funun, an academy founded to train upper-class youths. The earliest photographers in Iran were from France, Austria, Italy, and Russia, some of whom were invited to become instructors at Dar al-Funun. Perhaps in recognition of the Shah’s hobby, at the inauguration ceremony of the Crystal Palace in 1851, Queen Victoria herself presented the visiting Persian delegation with the latest camera. Nasseredin Shah was not only an avid photographer but a collector, too. He amassed an estimated 20,000 original prints, encompassing the work of royal and court photographers, and preserved them in albums, many of which are in the library of the Golestan Palace Museum in Tehran.1 The museum is a treasure trove of photographs, encompassing court ceremonies, hunting expeditions, shackled prisoners, landscapes, anthropological portraits, and portraits of the king’s entourage, from servants of the royal court to his own haramsara (women’s quarters), which housed nearly three-hundred wives and concubines. These ladies are

Photography became particularly influential both as a medium in its own right and for its effect on painting and drawing. It transformed the style of Qajar painting, previously highly formulaic and stylized, and helped the descriptive realism of the new painting style, developed by leading artists such as Kamal al Molk (1852–1940), who often relied on photographs for his portraits. It is in fact thanks to the introduction of photography that court portraiture became more descriptive and less emblematic during the last decades of Qajar rule. Photography as an artform rather than a form of documentation was not explored until the 1960s in Iran,

when art students were encouraged to visit Europe to improve their skills. Some photographers and filmmakers traveled to the West in the late 1960s and early 1970s during the Pahlavi regime (1925–79), mainly because they were offered better promotional opportunities and freedom of expression.3 Those who stayed in Iran, such as Mahmud Kalari (page 106), Iran’s top cameraman and director of photography, or the late photojournalist Kaveh Golestan (page 74), who sadly died while on assignment in Kurdistani Iraq (2003), chose to portray the darker side of a country in the full swing of petro-dollar prosperity.

ABBAS MEHRAN AFSHAR-NADERI REZA ARAMESH MEHRANEH ATASHI

SHIRANA SHAHBAZI MITRA TABRIZIAN NEWSHA TAVAKOLIAN SADEGH TIRAFKAN MEHDI VOSOUGHNIA BIOGRAPHIES RECOMMENDED READING

In Iran, the therapeutic and cathartic function of artistic creation and expression has never been as strong as it is now. This book hopes to reveal the visual pulse of the country—one that reflects the joy, the grief, the traumas of its recent history, and the intermingling of life and art. In doing so, it reveals the artists’ quest for a new aesthetic, a quest anchored in self-belief and urgency. Their work does not reflect superficial modernity and the media’s interpretation of the news, but rather their emotions about the here and now—the resilience needed to transcend the harassments of daily life.

sometimes provocatively posed: the portraits are intimate and bold, so bewildering that they could fill several publications.2 The Shah was not the only royal interested in photography, however. The Crown Prince in Tabriz and numerous other princes had royal photographers appointed to their court, often Armenians. The courts also sent painters and photographers to Europe to learn the latest photographic techniques, and photography remained an aristocratic pastime until the advent of more affordable photographic equipment led to its widespread popularity. By the late 19th century, in the East as in the West, portrait photography had to become part of a colonial, Orientalist and ethnological ideology as opposed to the aesthetic artform that it is today. The subjects were photographed outdoors, in studios, and against painted backdrops, and the medium proved an instant success among the wealthy classes, who enjoyed photographs as a status symbol. By the early 20th century, photographic studios were established in major cities throughout Iran, and portraits and wedding photographs became staples of the new bourgeoisie. At the same time, administrative officials, missionaries, and hobbyists took photographs of their own, turning their cameras to a wider variety of subjects and recording facets of everyday life.

"BY ADDRESSING THE PERSONAL, NATIONAL, AND INTERNATIONAL ISSUES AFFECTING THEIR COUNTRY,

COntents

aCKnOWLeDGeMents

(government funding and art patronage are non-existent), a lack of comprehensive theoretical and practical training, and the scarcity of art criticism and art publications, photography—which has a long but interrupted history in Iran—is now flourishing.

IRANIAN PHOTOGRAPHY NOW 004 006 010 016 020 024 030 034 038 044 048 056 060 068 074 080 084 090 094 100 106 114 118 126 134 140 144 152 158 162 168 174 182 188 192 198 206 212 218 224 234

Despite the recent focus on the contemporary Middle Eastern art market, there are very few publications or archives about contemporary Iranian artists themselves. This is a modest attempt to remedy the situation, an open invitation to scholars and curators to visit Iran, invite artists to exhibit abroad, and develop and document their work.

patriotic sacrifice, and murals of martyrs and spiritual leaders now adorned the walls of public buildings as Islamic values were imposed on every aspect of life. The war was a time of isolation and unprecedented despair and loss. Entire cities were completely destroyed, mostly in the south and on the borders with Iraq. There was an urgent need to preserve on film vulnerable, much-loved sites before they could be destroyed, as well as to document the recent devastation and reflect on the temporality of life. It was at this time that photographic departments were established at the leading universities, photographic magazines were launched, and a number of photographic institutions were founded. During these early years of the Islamic Republic, many documentary photographers and filmmakers so emphasized the social injustice, widespread poverty, and lack of welfare in Iran that their dark work was dubbed Gedagraphy (‘Beggargraphy’) by art critic and curator Hamid Severi The dominance of Gedagraphy and the many restrictions in subject matter from this period led other, more art-oriented photographers towards non-ideological work—formalism, abstraction, country life, and nature. Director Abbas Kiarostami (page 118) travels the country in search of locations for his films —“I feel at home in a car” he says—and has captured these travels in landscapes with a Zen-like stillness and solitude.

tHe 1990s: tHe infLuenCe Of iranian CineMa After the end of the Iran-Iraq War, what saved the cultural scene was Iranian New Wave cinema’s international success. Film director Amir Naderi’s The Runner (1985), Abbas Kiarostami’s Koker trilogy, which began with Where is the House of my Friend? (1987), Mohsen Makhmalbaf’s The Cyclist (1989) and Rakhshan Bani Etemad’s Narguess (1992) opened new doors for the art scene in Iran. Here was the signal that the arts were thriving and that despite financial and political restrictions, artists could continue to express themselves through metaphor, symbol, and by simply showing life in Iran. Art became something that could save you from oblivion, lead to invitations abroad, create international recognition that offered some protection as well as providing opportunities to learn more. While Iranian cinema came to the forefront of the international festival scene in the 1990s, photography followed a parallel path. The Tehran Museum of Photography opened in the late 1990s through the sheer force of will of its founders, who included the photographers and teachers Bahman Jalali (page 100) and his wife, Rana Javadi. A few years after its opening, the government decided to run the small institution, which has since lost its momentum.

optimism that followed its introduction was beset by factional struggles within the ruling establishment. Within a few years, newspapers were closed down and publishers strictly censored—a period reflected in Mehran Mohajer’s series, Undistributed Packages (page 140), where newspapers that are no longer allowed to be read wrap books that can no longer be sold. During that short-lived era of openness, many Iranian artists who lived abroad were inspired to visit their country, such as Shirin Neshat (page 158), Shirana Shahbazi (page 192), and Mitra Tabrizian (page 198). These artists captured an aesthetic that was as yet unexplored, recognizing its originality with the fresh eyes of the visitor. In the case of Neshat, her work moved from photography (the nowfamous Women of Allah series), to double-screen video art, and more recently to a feature film, Women Without Men, inspired by Shahrnoush Parsipour’s novel of the same name. In Shahbazi’s case, she would have preferred me to choose something more Farangi (‘Western’) from her work, as she does not feel at ease with what she refers to as "ethnic marketing." Tabrizian’s photos in contrast, illustrate the notion of homeland and the loneliness of the outsider—not just of the emigré, but of those at the heart of society itself .

tHeMes anD reveLatiOns At the same time, the photographers and filmmakers who went to the war zones and documented what they saw came back with images so bleak that nobody wanted to publish them. For example, it took Kaveh Golestan more than a decade to show some of his images of the dead, and only after he had "disguised" them with a wash of color.

With the election of President Khatami in 1997 came a period of social openness: many young artists, filmmakers, and photographers could finally show their work to the public. Photography matured as newspapers could publish images that were previously censored. However, this official era of the "Dialogue of Cultures" was short-lived—the

Over the years, I have found myself drawn to images that reflect what I see as recurring themes in contemporary Iranian art and cinema, themes that I consider "real fictions"—a subtle mix of documentary and fiction that blurs the line between reality and creativity.

AMIRALI GHASEMI

ABBAS When taking photographs, I see in black and white. I am in a state of grace: aware of light and movement,

This documentary photo series, made in collaboration with artists, designers, musicians, and DJs, is part of my

I perceive the event in its political, social, religious, or purely aesthetic dimensions, while acknowledging the

Tehran Remixed multimedia journey into Tehran’s underground life. Tehran Remixed is an adventure through the

relationship between humans, nature, and beasts. For me, this works better in black and white, because

invisible veins of the metropolis and reflects the different aspects of young Iranians’ social life, lost in their

monocolor is not real. Color is a distraction.

secret, wicked, and hedonistic dreams: private parties of chilled-out intellectuals; crowded streets with teenage girls waiting for a ride; internet surfers showing off over Web cams in the dead of night.

My photography is a reflection, which comes to life in action and leads to meditation. Spontaneity—the suspended moment—intervenes during action, in the viewfinder. A reflection of the subject precedes it.

In contrast to the prejudicial images of the international mass media, the series Party attempts to visualize

A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real

another side of Tehran, like my earlier Coffeeshop Ladies. This series of documentary photos was taken in

photographic writing develops, sequencing the images.

Tehran's most popular cafés (called "coffeeshops" in Iran), which are a symbol of social freedom due to the absence of proper public gathering places. Coffeeshops are where the splendidly motivated young and the

This is why a writer’s spirit is necessary for this enterprise, for isn’t "photo" "graphy" actually "writing with

intelligentsia gather, and are a meeting place for journalists, too. To protect the young ladies in these

light"? The difference that while the writer possesses his word, the photographer is possessed by his

photographs, their faces are blanked out, so that the media cannot misuse or manipulate their identities.

photography, by the limit of the real, which he must transcend so as not to become its prisoner. Just as the media use every piece of information as a double-edged sword, manipulating it in positive and negative ways, I share my images with a larger audience over the Internet and examine their effect by placing them in different contexts. My feelings about this are uncertain, somewhere between failure and success, because despite trying to protect the images by erasing some pieces of information and adding others (such as text and multimedia), they are interpreted very differently and associated with subjects such as censorship, women’s rights, the hijab, and Islam.

God from the series Iran Diary (2001) © Abbas/Magnum Photos

Young man, three veiled girls on a four-seater motorbike from the series Iran Diary (Shahr Rey, 1997) © Abbas/Magnum Photos

Young women paragliders, wearing the Islamic hejab, jump from the hills overlooking the capital from the series Iran Diary (Tehran, 2000) © Abbas/Magnum Photos

From the series Party (Tehran, 2005)

HERE WE ARE A SERIES OF EXHIBITIONS BY ARTISTS FROM THE MIDDLE EAST AND NORTH AFRICA Geometry of Hope Monir Shahroudy Farmanfarmaian 18 – 12

July, Insight talk 19 June 15.00 Land on Fire Walid Siti 16 July

– 3 Aug, Insight talk 16 July 15.00 Stitched Farhad Ahrarnia

13 Aug – 6 Sept, Insight talk 13 Aug 15.00 Dakka Marakesh

Hasan Hajjaj 10 Sept – 3 Aug, Insight talk 11 Sept 15.00

Museum entrace fee applies to all exhibitions. Talks are free, no booking required. Leighton House Museum

12 Holland Park Road, London W14 8LZ Tel: 020 7602 3316 www. leightonhouse.co.uk Open 11 - 17.30 daily,

CURATED BY ROSE ISSA

Closed on Tuesdays Adults £3, Concessions £1 Regrettably Wheelchair Access Is Not Possible

promo poster for leighton house museum exhibitions

WALID SITI

You put an ember in my heart and abandoned me in the darkness of this city. If, one day, I arrive at the threshold of your meeting, donâ&#x20AC;&#x2122;t ask me about darkness or light, what I know is only the story of burning.

LAND ON FIRE

Burning by Farhad Shakely

walid siti catalogue for leighton house museum exhibition

The Seven Sisters, acrylic on paper, 56 x 76cm, 2001

From the series, Family Ties, acrylic and crayon on paper, 56 x 76cm, 2004-2008

Land on Fire 06

Land on Fire 18

“I develop the work, but the FR: To what extent have politics had an impact on your life and work, not only stylistically, but also thematically?

work develops me as well” FR: Before the mid-1990s, your work is very different in spirit and outlook; it’s bolder, more colourful and diverse. nevertheless,

“I develop the work, but the FR: To what extent have politics had an impact on your life and work, not only stylistically, but also thematically?

there are recurring themes and imagery in the recent works in this exhibition. There is a transition from one stage to another, but WS: At college, my work was a bit “everywhere”. I had just come out of Iraq and was impressed by my teacher, the cultural scene

somehow the different phases are linked, and the imagery comes back in a more abstract way.

work develops me as well” FR: Before the mid-1990s, your work is very different in spirit and outlook; it’s bolder, more colourful and diverse. nevertheless, there are recurring themes and imagery in the recent works in this exhibition. There is a transition from one stage to another, but

WS: At college, my work was a bit “everywhere”. I had just come out of Iraq and was impressed by my teacher, the cultural scene

in Ljubljana, the different trends coming from magazines. At that stage, my work didn’t reflect my upbringing, although sometimes

19 Land on Fire

somehow the different phases are linked, and the imagery comes back in a more abstract way.

in Ljubljana, the different trends coming from magazines. At that stage, my work didn’t reflect my upbringing, although sometimes

you could see elements related to that. I was trying to experiment and put all the influences in. only later did I start to develop my

WS: I have a two-way relationship with my work: I develop the work, but the work develops me as well, makes me question the

you could see elements related to that. I was trying to experiment and put all the influences in. only later did I start to develop my

WS: I have a two-way relationship with my work: I develop the work, but the work develops me as well, makes me question the

own character, my own line. of course, even from my time in Baghdad my work has always been influenced by politics, although

techniques I use to express my ideas. My work has become more metaphoric. The elements within the painting have become more

own character, my own line. of course, even from my time in Baghdad my work has always been influenced by politics, although

techniques I use to express my ideas. My work has become more metaphoric. The elements within the painting have become more

not directly expressed. After a few years in Ljubljana, the difficult political situation in Iraq and the Kurdish issue brought back the

condensed, more focused and simplified... perhaps more repetitive as well, because I concentrate on an idea and try to exhaust all

not directly expressed. After a few years in Ljubljana, the difficult political situation in Iraq and the Kurdish issue brought back the

condensed, more focused and simplified... perhaps more repetitive as well, because I concentrate on an idea and try to exhaust all

will to be engaged in my work, to express what was going on there. When I came to London, my political views were stronger.

of its possibilities before moving on. But even the new stage is connected to the previous one. In the late nineties I started larger

will to be engaged in my work, to express what was going on there. When I came to London, my political views were stronger.

of its possibilities before moving on. But even the new stage is connected to the previous one. In the late nineties I started larger

Sometimes this can be negative, for when you always want to express something, you can burden the work, but at other times, it

paintings, the landscape became simpler and the colours more monochrome. My recent work has fewer elements than before, but

Sometimes this can be negative, for when you always want to express something, you can burden the work, but at other times, it

paintings, the landscape became simpler and the colours more monochrome. My recent work has fewer elements than before, but

gives your work a foundation; it comes from an idea and can say something. But I am glad it has been like that, as it helped me to

the symbols are repeated.

gives your work a foundation; it comes from an idea and can say something. But I am glad it has been like that, as it helped me to

the symbols are repeated.

carry on working at a later stage, going back to my history, my country.

carry on working at a later stage, going back to my history, my country. FR: Stones are one of the most detectable and recurring images, to the point of inspiring the Precious Stones series, which you

FR: Stones are one of the most detectable and recurring images, to the point of inspiring the Precious Stones series, which you

FR: This exhibition includes drawings and paintings, but you started as a print-maker. How did the shift in technique happen?

have explored over several years. The stone expresses the idea of the individual, but also of a collective, communal spirit.

FR: This exhibition includes drawings and paintings, but you started as a print-maker. How did the shift in technique happen?

have explored over several years. The stone expresses the idea of the individual, but also of a collective, communal spirit.

WS: I have always drawn a lot since print-making and drawing are very connected. It was drawing that gave me a platform to shift

WS: Stones have several meanings in our tradition. There is the stone of the Kaaba in Mecca, but also the stone of the Kurds, part

WS: I have always drawn a lot since print-making and drawing are very connected. It was drawing that gave me a platform to shift

WS: Stones have several meanings in our tradition. There is the stone of the Kaaba in Mecca, but also the stone of the Kurds, part

slowly towards painting, and it was a very gradual process. I discovered later that painting has different rules; a different temper

of the mountain that is our only friend. Furthermore, the stone is part of a pedestal, of monuments, arches, and many architectural

slowly towards painting, and it was a very gradual process. I discovered later that painting has different rules; a different temper

of the mountain that is our only friend. Furthermore, the stone is part of a pedestal, of monuments, arches, and many architectural

and different materials are involved, which need different treatment. It was a very slow process from print-making to painting, but

features. There are so many meanings embedded in stone that life, in a way, starts evolving around it. In the Precious Stones

and different materials are involved, which need different treatment. It was a very slow process from print-making to painting, but

features. There are so many meanings embedded in stone that life, in a way, starts evolving around it. In the Precious Stones

the drawing has always stayed and is my most recurrent expression.

series I explored the idea of this evolution around a central piece. Whatever it symbolises, the stone has some secret, precious

the drawing has always stayed and is my most recurrent expression.

series I explored the idea of this evolution around a central piece. Whatever it symbolises, the stone has some secret, precious

Land on Fire 08

meaning with an almost magnetic power over people. It creates movement around it and constructs a relationship between the

elements that evolve around it. This mass that drives power between one element and the other also creates an identity, a unified

body of a state or society. Within that unity one feels the strength of being part of the whole, while being constrained by the

general movement and magnetism that make it difficult to develop as an individual; to pursue one’s own inspiration and dreams.

09 Land on Fire

Land on Fire 08

09 Land on Fire

The Roots of a Scream, 36 x 30 cm, 2008

Artist Farhad Ahrarnia was born in Shiraz, Iran and now lives in the UK. The publication of this catalogue celebrates his first solo exhibition in London, curated by Rose Issa, at Leighton House Museum, summer 2008.

Stitched Farhad ahrarnia

farhad ahrarnia catalogue for leighton house museum exhibition

Under her Spell, 34 x 40 cm, 2007

SI LE VIOL, LE POISON, LE POIGNARD, L’INCENDIE, N’ONT PAS ENCORE BRODÉ DE LEURS PLAISANTS DESSINS LE CANEVAS BANAL DE NOS PITEUX DESTINS, C’EST QUE NOTRE ÂME, HÉLAS! N’EST PAS ASSEZ HARDIE. IF RAPE AND POISON, DAGGER AND BURNING,

STITCHED

HAVE STILL NOT EMBROIDERED THEIR PLEASANT DESIGNS ON THE BANAL CANVAS OF OUR PITIABLE DESTINIES, IT’S BECAUSE OUR SOULS, ALAS, ARE NOT BOLD ENOUGH! CHARLES BEAUDELAIRE

FARHAD AHRARNIA

KNOTS OF POWER STROKES OF DESIRE LIBERTY OF VOID

13 STITCHED

The Flesh of Words, 113 x 99 cm, 2008

Left: On the Shores of Infinite Thoughts 41 x 33 cm, 2006-07

The Body of her Spirit, 44 x 26 cm, 2007

‘THERE IS NO LONGER WISDOM. ONLY THE PRODUCTS OF ITS DECAY REMAIN; ONE IS FOLLY, WHICH HAS THE COMFORT AND ASSURANCE OF WISDOM WITHOUT ANY OF ITS SUBSTANCE; THE OTHER IS THE RUMOUR OF TRUE THINGS.’ WALTER BENJAMIN

History is the collective narrative of humanity that links the living experience of the present generation with that of past generations. It is an account of seemingly endless chains of events, which are intertwined with distant echoes, rumours and mythology. In its history, humanity defines itself, finds its existential meaning and recognises the embrace of destiny. Despite the knowledge of precise historical dates, names of kings, of politicians, important philosophers and artists, the writing of history is and will always remain a highly subjective matter. But our culture believes that the larger outline of historical knowledge is to be trusted as definitive, solidly unchangeable. The assumption that there is an objective, scientifically based history often affects the outcome of historical events themselves. Dogmatic assumptions of historical rights and wrongs can lead nations into social catastrophe, even war. Revolutions are made ‘to change the course of history’. Revolutionaries believe that they can turn the wheels of destiny; they re-write history the way they perceive it to be or the way they want it to be interpreted. Nevertheless history tends to survive all attempts to force its spirit. Its natural current flows through small social groups like the family circle or the tribal unit; it is kept alive by the telling of stories, through poetry, traditional songs, through the handing on of skills, of books, objects and images. Such memory is the living source of history resistant to politically manipulated ‘historical truth’.

Bavar, 58 x 20 cm, 2006

7 STITCHED

STITCHED 18

Hassan Hajjaj Dakka Marrakesh In his colourful and bold works, Hajjaj playfully questions stereotypes, using accessories by big-name fashion brands to subvert traditional Moroccan dress. Hajjaj poses friends, Gnawa musicians and local characters from Marrakesh in theatrical narratives that draw on his Moroccan childhood and later experience of the international fashion industry. Drawing on street culture, music and fashion, the characters portrayed in Dakka Marrakesh take pleasure and pride in their culture, engaging the viewer in a politics of observation that questions and plays with the traditional Western outlook.

Ilham, digital C-type print and handmade walnut frame with mixed cans, 94 x 129 cm, 2000

hassan hajjaj catalogue for leighton house museum exhibition

Tagia Boy in Blue, digital C-type print with hand painted background and tyre and wood frame, 50 x 40 cm, 2000

Beauty Revisited two years ago, after knowing Hassan Hajjaj for more than 15 years, i received a mysterious phone call from him. He wanted to show me some of his photographs. i knew him as a fashion and furniture designer, dJ, musician, dancer, footballer and restaurateur. We also had quite a few friends in common, like amina, the tunisian singer and actress who played in bertolucci’s The Sheltering Sky, based on a novel by Paul bowles, who spent most of his life in Morocco. Hajjaj came to see me with a suitcase full of contact sheets and prints that he had kept secret for years, till he was ready for this body of work to be shown to the public. i was astounded by the amount of work: no full-time artist or young photographer that i knew had gathered as many images. Dakka Marrakesh (‘Marrakesh beat’) is the result of that meeting, and is the first solo photographic exhibition in the UK by this british-based Moroccan artist. Hajjaj poses friends, Gnawa musicians and local characters from Marrakesh, where he has a home, in theatrical narratives that draw on his Moroccan childhood and later experience of the international fashion industry. Feeding off clichéd images, such as the veiled Muslim woman, at first glance Hajjaj seems to be creating orientalist fantasies. only on closer inspection do we see that that the veils and jelabbah worn by his subjects are covered in fashion logos, thus forcing the viewer to question the very nature of stereotyping. in one image, Ilham (on the cover of this catalogue), a woman reclines on cushions in a room reminiscent of an oriental harem. However, unlike the usually demure odalisques of art history, this one stares back at us, oozing with self-confidence. in Saeda, a pair of heavily made-up eyes gaze at the camera. the remainder of the head and face are hidden behind a ‘Louis Vuitton’ veil. bejewelled hands painted with traditional henna cover saeda’s ears. she is confident, relaxed – suspended somewhere between the traditional and modern, between east and West.

Hayat in Veil in Pink, Blue Camo Veil, Peace in Blue, Just do It in Blue, digital C-type prints with hand painted backgrounds and tyre and wood frames, 50 x 40 cm, 2000

Y Bandana Veil, Puma Blue Veil, Stars Veil in Blue, Saida in Green, digital C-type prints with hand painted backgrounds and tyre and wood frames, 50 x 40 cm, 2000

L.V. Babouche, digital C-type print and handmade walnut frame with Coke cans, 100 x 128 cm, 2006

Ilham, digital C-type print and handmade walnut frame with mixed cans, 94 x 129 cm, 2000

The Odd 1 Out, digital C-type print and handmade walnut frame with tomato cans, 132 x 93cm, 2000

Mwarka, digital C-type print and handmade walnut frame with mixed cans, 94 x 129 cm, 2006

Chant Avedissian Cairo Stencils

chant avedissian, 96 page Softcover (2006)

Icons of the Nile

Diva Icons of the Nile

Diva

During the golden age of Egyptian cinema, from the late 30s to early 60s, the Om Kalsoum was the most charismatic and famous Middle Eastern singer of

dreammakers of the Nile created an industry that would dominate the Arab

the twentieth century.

world for decades.

She was born in 1904 in a small village in the Egyptian Delta and arrived in

This era of glamour was dominated by greatly talented singers, like the

Cairo in the 1920s. She immediately attracted the best poets, composers and

legendary Om Kalsoum, the Arab diva par excellence; Asmahan a stunning

musicians of her time, and by the 1930s began to appear in films.

Druze princess with a thrilling voice whose mysterious death at the age of 26

Every Thursday night, for more then ten years, her concerts were broadcast on

Attrach a composer who accompanied many stars with his romantic songs,

is still the subject of endless speculations, her heart throb brother Farid Althe radio, and millions of people throughout the Arab world would gather in

including the alluring great dancers Tahiya Carioca and Samia Gamal; his rival,

cafés, restaurants or their homes to hear her sing.

Abdel Halim Hafez, the ‘dark nightingale’, the dream of the 50s and 60s generation, whose death in 1977 was followed by a wave of suicides. The sex

She recorded some three hundred songs. During Egypt’s turbulent period

symbol Hind Rostom; the classic ‘bad- guy’ Zaki Rostom; the director-actor

(1946-1954), she sang lyrics with nationalist and political overtones, which

Anwar Wagdi; Shadia, the ‘comedian’; Kouka ‘the bedouin’ or the fragile

came to embody the hopes and aspirations of the Arabs. A great supporter of

looking Faten Hamama who acted in more than 100 melodramas.

Nasser, after the 1967 war she gave concerts to raise funds for numerous Egyptian charities. Her funeral in 1975 was the largest ever attended.

Most of these artists, still hugely popular decades after their deaths, incarnated, each in their own style, the ideal character, and remain to this day

by Saeb Eigner

Om Kalsoum’s Greatest Hits

Icons of the Nile I

Faten Hamama

The Best Lady of Them All

Zaki Rostom

Star of the Orient

the matinee idols throughout the Arab world.

bD-81-08-399-EN-C

Cover image: CHANT AVEDISSIAN, Al Watan Al Arabi (The Arab Nation), detail

Ce catalogue est celui de l’exposition Re-Orientations sur les représentations arabes contemporaines, réalisée

politique, économique et social par dessus la Méditerranée. A côté des événements artistiques et culturels, les organes politiques du Parlement, commissions, délégations interparlementaires, ont décidé également de consacrer une partie de leurs travaux, dans le cadre de leurs compétences respectives, aux problématiques communes au Monde arabe et à l’Europe.

This publication celebrates Arab Week, from the 3rd to the 7th November 2008, part of the Intercultural Dialogue series by which the European Parliament is endeavouring to build a cultural, political, economic and social bridge to the Arab world. Alongside artistic and cultural events, the Parliament’s political bodies, committees and inter-parliamentary delegations will, within the framework of their respective remits, look at the common problems facing the Arab world and Europe.

CoNTEMPorAry ArAb rEPrESENTATIoNS

lors de la Semaine Arabe du 3 au 7 novembre 2008, où le Parlement européen a voulu jeter un pont culturel,

Contemporary arab representations

re-orientations catalogue for the european parliment, 120 page Softcover (2008)

Hans-Gert pöttering

raeda saadeh

presiDent oF tHe eUropean parLiament

Dans le cadre de l’année européenne du dialogue interculturel

de mettre en lumière non seulement la richesse et la diversité

2008, le Parlement européen, en partenariat avec la Ligue

culturelles des pays arabes, mais aussi les dynamiques et

des Etats arabes, consacre une semaine à la promotion

facettes de leurs sociétés et leur inscription dans le contexte

du dialogue avec les pays arabes. Par cette initiative, le

plus large de la mondialisation. La démarche du dialogue

Parlement européen apporte sa pierre au rapprochement

épouse la logique des bâtisseurs de ponts, des passeurs

décidé en février 2008 à Malte lorsque la première réunion

d’idées, tels Averroès, qui alimentent le savoir, diffusent la

des Ministres des affaires étrangères de l’Union européenne

connaissance de l’autre et véhiculent l’inspiration mutuelle.

et de la Ligue des Etats arabes avait placé le dialogue interculturel au centre des relations entre les deux régions.

‘Re-Orientations’ est une exposition inédite d’art visuel arabe contemporain, spécialement conçue en complément

Le monde arabe est à la fois voisin proche de l’Europe et, à

du grand éventail des activités politiques qui se déroulent

travers les communautés arabes présentes dans les Etats-

pendant la Semaine arabe. Elle nous propose de sortir des

membre de l’Union, partie intégrante de la réalité européenne.

sentiers battus et de jeter un regard nouveau sur la création

Dès lors, maîtriser un environnement culturel plus ouvert,

artistique arabe de notre temps. Elle nous montre une culture

mais aussi plus complexe, où diverses identités culturelles et

arabe en dialogue avec le monde, qui puise ses inspirations

croyances coexistent est devenu une clé indispensable tant

dans le patrimoine spécifique de chaque pays tout comme

pour nos populations que pour les responsables politiques

dans une modernité universelle.

qui refusent le ‘choc des civilisations’ et veulent relever les défis communs de notre temps.

Par l’édition de ce catalogue, le Parlement européen a voulu laisser une trace pérenne de sa Semaine arabe, témoignage

Le Parlement européen est convaincu que le dialogue

vivant de son engagement pour le dialogue avec le monde

interculturel est un outil irremplaçable. Pour déployer tout son

arabe. Il permettra à un plus large public d’apprécier les

potentiel, il exige un respect de la dignité, des convictions

œuvres des artistes et rappellera, de par son existence, que

religieuses et de pensée, et des points de vue des différents

dialoguer est un exercice permanent dont nulle génération ne

partenaires. Le premier pas vers le dialogue est toujours la

saura se dispenser.

curiosité, l’envie de connaître l’autre et la détermination à briser les stéréotypes.

Je me félicite de l’étroite coopération du Parlement européen et de la Ligue des Etats arabes qui est désormais bien

Dans cet esprit, la Semaine arabe qui se tient au Parlement

ancrée et remercie cordialement son Secrétaire général, S.E.

européen à Bruxelles du 3 au 7 novembre 2008 se propose

Amr Moussa, dont le soutien précieux a permis de mener à

Diana, digital print, 100 x 120 cm, 2007

Mona Lisa, digital print, 86 x 63 cm, 2007

bien cette initiative.

tarek al ghoussein THE SELF PORTRAIT SERIES IS A COMMENTARY ON

THE TERM ‘IDENTITY’ IS HIGHLY CONTESTED AND

CONTEMPORARY WESTERN MEDIA REPRESENTATIONS

CAN BE TAKEN TO MEAN MANY THINGS, DEPENDING

OF THE PALESTINIAN AS TERRORIST. THE PROJECT

introduction

ON THE CONTExT. NEVERTHELESS, THERE HAS

STARTED AS A RESULT OF MY GROWING FRUSTRATION

BEEN WIDESPREAD AGREEMENT THAT SIGNIFICANT

WITH THE WAY IN WHICH THE PALESTINIANS AND

ASPECTS OF IDENTITY ARE RELATED TO A PARTICULAR

OTHER ARABS WERE BEING (MIS)REPRESENTED IN

PLACE; HENCE, NATIONAL IDENTITY RESULTS FROM

THE WESTERN MEDIA. IN ADDITION, I WAS DRAWN TO

CONNECTIONS TO AN INDIVIDUAL’S COUNTRY OF

THE APPARENT SIMILARITIES BETWEEN THE MYTH OF

ORIGIN. AS I ATTEMPT TO COME TO TERMS WITH

SISYPHUS – WHO WAS CONDEMNED FOR ETERNITY

THE ISSUES RELATED TO MY PERSONAL ExPERIENCE

TO HEAVE A BOULDER UP A MOUNTAIN ONLY TO HAVE

AS A PALESTINIAN-KUWAITI THAT HAS NEVER LIVED

IT ROLL DOWN AGAIN – AND THE GROWING ‘MYTH’

WITHIN THE BORDERS OF PALESTINE, IT HAS BECOME

GENERATED THROUGH THE WESTERN MEDIA THAT

APPARENT THAT THIS CURRENT BODY OF WORK SEEKS

ALL PALESTINIANS ARE TERRORISTS AND THAT THE

TO TRANSCEND THE OBVIOUS REFERENCE TO THE

PALESTINIAN INTIFADA, LIKE SISYPHUS, SEEMS

UNETHICAL ‘DEFENSE BARRIER’ BEING CONSTRUCTED

CONDEMNED TO AN ENDLESS CYCLIC STRUGGLE.

IN PALESTINE. THE ‘WALLS’ AND ‘MOUNDS’ THAT

TRANSCENDING MEDIA REPRESENTATIONS HAS BEEN

APPEAR THROUGHOUT THE IMAGES ALSO SPEAK OF

AN ONGOING ‘UPHILL BATTLE’ FOR ALL ARABS.

MY OWN INDIVIDUAL STRUGGLES, IRRESPECTIVE OF THE CONVENTIONAL NOTIONS OF NATIONAL IDENTITY.

THE UNTITLED SERIES IS CONCERNED WITH BARRIERS, LAND, LONGING AND, ULTIMATELY, BELONGING. IT IS AN

ALTHOUGH I DID NOT SET OUT TO INVESTIGATE THE

ExTENSION OF THEMES I HAVE BEEN ExPLORING FOR

NOTION OF TRANSIENCE, THIS SERIES DEVELOPED

THE PAST FEW YEARS. DURING THE PROCESS LEADING

FROM A PROCESS OF ExPLORING IDEAS RELATED TO

TO THESE IMAGES, IT BECAME INCREASINGLY CLEAR

LAND AND PLACE. WHILE UNExPECTED, THE STRONG

TO ME HOW BARRIERS, LAND, LONGING, AND IDENTITY

EMPHASIS ON LONGING LED TO A CONSIDERATION OF

INFORM, SHAPE AND DEFINE EACH OTHER.

CHANGING LANDSCAPES AND EPHEMERAL MOMENTS THAT ARE FIxED IN TIME RATHER THAN LOCATED IN A SPECIFIC PLACE. TAREK AL GHOUSSEIN

Untitled II – Looking at Palestine from the series Self Portraits, digital print, 60 x 80 cm, 2003

Youssef naBil

Ghada Amer, hand-painted silver gelatin print, 39 x 26 cm, new York, 2002

Youssef Chahine, hand-painted silver gelatin print, 39 x 26 cm, cairo, 1999

maliheh afnan

Natacha sleeping, hand-painted silver gelatin print, 26 x 39 cm, cairo, 2000

Veiled Declaration, mixed media on paper, 84 x 104 cm, 2006

Veiled Melancholia, mixed media on paper and gauze, 61 x 46 cm,2006

espace priVé priVé –– femmes femmes d’ima d’images ges en en tunisie tunisie espace

naBil Boutros

CE DIAPORAMA, D’UNE ExPOSITION MONTRéE à TUNIS AU PALAIS KHEIREDINE, EN NOVEMBRE 2007, PRéSENTE LES œUVRES RéCENTES DE 10 PHOTOGRAPHES ET VIDéASTES TUNISIENNES QUI ExPRIMENT DES REGARDS SUR LEURS ESPACES CRéATIFS INTIMES.

patricia triki, DANS MORNAG INNER, PRéSENTE UNE

marianne catzaras, DANS SA SéRIE, DU DIMANCHE

VISITE IMPRESSIONNISTE D’UNE MAISON ABANDONNéE

MATIN, COMMUNIQUE à PARTIR D’UN UNIVERS ONIRIQUE

DANS LES MOINDRES RECOINS DE SON VéCU.

ET FANTASMAGORIQUE, L’INCOMMUNICABILITé DU COUPLE ET LA RUPTURE DE L’éCHANGE DU MASCULIN-FéMININ.

mouna karraY, DANS KIOKO ET MOUNA, EST UN JEU DE RôLE Où L’ARTISTE REPRODUIT DANS DES POSES

meriem BouderBala, DANS ETOFFES CUTANéES,

QUASI IDENTIQUES LES GESTES D’UNE JAPONAISE AFIN

INSTALLATION VIDéO à PARTIR D’ANIMATION DE PHOTOS

DE SEMER LE DOUTE SUR LA SIMILITUDE ET L’ALTéRITé.

S’INSPIRE DE LA DéMARCHE DU PSYCHIATRE GAETAN DE CLéRAMBAULT ET DE SON OBSESSION ORIENTALISTE

lilia Benzid ExPLORE LES FRONTIèRES DE L’INTIME

DU VOILE ET DU DRAPé.

DANS UNE INTERROGATION POéTIQUE QUELQUE PEU DéSABUSéE SUR LE QUOTIDIEN.

mouna Jemal siala COMPOSE UN KALéIDOSCOPE FAMILIER à PARTIR DES PHOTOGRAPHIES DE SES TRIPLéS

dora dhouiB PRéSENTE L’ALPHABET, INSTALLATION

QU’ELLE MULTIPLIE INDéFINIMENT TOUT EN FORMANT

LUDIQUE DE 28 PHOTOS EN éCHO AUx 28 LETTRES

AINSI DES MOTIFS GéOMéTRIQUES INSPIRéS DE L’ART

DE L’ALPHABET ARABE. CHACUNE DES LETTRES

ISLAMIQUE.

CORRESPOND à UNE DéFINITION QUI FORME UN LExIQUE QUE LES JEUNES FILLES POURRAIENT INTéGRER DANS

nicène kossentini FILME LA DISPARITION; AUTOUR

LEUR éDUCATION.

DES RéSONNANCES DE L’éLéMENT AQUATIQUE ET DE LA MUSIQUE. LES MOUVEMENTS DE L’EAU SUIVENT

faten gaddes, DANS LES CHOSES ONT UNE âME,

LES ONDULATIONS ET LES VARIATIONS DE LA MUSIQUE.

MONTRE DES OBJETS ET DES SCULPTURES QUI dalel tangour, DANS QUAND LES BOUGIES SERONT

EN PERMANENCE. ELLE LES ANIME ET LES TRANSFORME

éTEINTES, DéNONCE, à PARTIR D’UN PORTRAIT DE LA

EN HABITANTS à PART ENTIèRE DE SA MAISON.

MARIéE TRADITIONNELLE, LE RITUEL QUE SUBIT LE CORPS DE LA FEMME AU COURS DE LA PRéPARATION DE CETTE

above: Prière, Lambda print mounted on aluminium, various sizes for each set-installation, 2005

CéRéMONIE.

Below, right: Vendredi Saint, Lambda print mounted on aluminium, various sizes, 2005 MOUNA JEMAL SIALA: Un intérieur extérieur from the series Kaléidoscope familier, digital print, 74 x 74 cm, 2007

Pages 53-54: Salam, Lambda print mounted on aluminium various sizes, 2005

MEUBLENT SON INTéRIEUR ET AVEC QUI ELLE DIALOGUE

104

105

einblick iran

ein blick iran, exhibition logo & catalogue (2012)

La Bohème

così fan tutte

For further information, please contact Diva Opera 115 Princes Gardens London W3 OLR Tel: (44) 020 8579 9649 Fax: (44) 020 8579 9669 E-mail: info@divaopera.com Web: www.divaopera.com

Orphée aux enfers

Performances 2009

La Bohème

così fan tutte

Orphée aux enfers

Performances 2009

Graphic Design: www.normal-industries.com Photographs by Bryan Evans and Mark Holford

diva opera london

programme design since 2002

2009 Acknowledgements

Management

Gi acomo Pucci n i

L a B oh È m e

Patron: marilyn Horne

Diva Opera would like to thank: The following companies and individuals:

General Director: anne marabini Young

WoLFGan G amaDE uS moZ aRT

co s ì fa n t u t t e

agence Diane du Saillant; Singerdirectory.com; The Friends of Diva opera for

music and artistic Director: Bryan Evans mBE

sponsoring costumes in Così fan tutte, Orphée aux Enfers and La Bohème; Brian

Director of Productions: Wayne morris

Peters of angels for his help in designing the wigs; Bryan Evans mBE and mark Holford for the photographs of the operas.

marketing and PR: Karen Pearson administrative assistant: Francesca Previ

J acQuE S oFFE nBacH

Or ph É e a u x E n f e rs

Friends administrator: Richard mitham Resident Designer: nicola Jackson Stage manager: matthew muller artistic consultants: Peter coleman-Wright noel mann advisory Board: cheryl Barker Phyllida Fellowes

The following people for their special support of the Friends of Diva opera: BEST FRiEnDS

SPEciaL FRiEnDS

mr. and mrs. Peter Beckwith

mr. Jeremy Brown

mr. martin Bralsford

mr. and mrs. charles crowther

ms. Linda Fenwick

mr. George Denman

mr. and mrs. Joseph Karaviotis

mr. Brian Horne

mr. Peter Harrison

mrs. Derek maltwood

mr. and mrs. oscar Lewisohn

mr. Brian norman

mr. Peter urquhart

Sir christopher Paine

Geraldine Whittaker cBE

mr. and mrs. neil Record

John Whittaker cBE

mr. Jack Foxon

Peter Gillard andrew nickels

ThE cOsTuMEs, PROPs AnD sETs WERE MADE by:

Wendy Verco

academy costumes (men’s tailoring in Orphée aux Enfers) Joanna close (Ladies costumes in Così fan tutte, Orphée aux Enfers and La Bohème)

committee of Honour: Honor Blackman

Wendy Knowles (Ladies costumes in Orphée aux Enfers and La Bohème)

Lord Graham

Henry mcLean (men’s tailoring in Così fan tutte and Orphée aux Enfers)

Geraldine Whittaker cBE

David mcmurray (Ladies costumes in Così fan tutte)

John Whittaker cBE

Freya Pointer (men’s costumes in Orphée aux Enfers) mervyn Wallace (men’s Tailoring in Così fan tutte and Orphée aux Enfers) The wigs were supplied by angels, 1 Garrick Road, London nW9 The sets for Così fan tutte, Orphée aux Enfers and La Bohème were made by andy Latham and painted by John campbell.

mathew Hargreaves and catriona clark as Figaro and Susanna in Diva opera's 2008 production of Le Nozze di Figaro

February

21 27

Opera Gala (private) Opera Gala (private)

inverlochy castle, Scotland London, uK

march

COsì fan tutte

Wiltons music Hall, London

may

15 17

Orphée aux enfers Orphée aux enfers

Théâtre du Passage, neuchâtel, Switzerland Théâtre du Passage, neuchâtel, Switzerland

music Director Bryan Evans Director and Set Designer Wayne morris choreographer Jenny Weston costume Designer nicola Jackson Stage manager matthew muller Deputy Stage manager Louise Brown Wardrobe Supervisors Louise cassettari

June

July

PERFo R ma ncES 2009

august

September

october

December

David Stephenson as Guglielmo

06 11 12 17 18 20 23 24 26 27 28 30

COsì fan tutte Orphée aux enfers la BOhème la BOhème Orphée aux enfers Opera Gala (private) COsì fan tutte la BOhème COsì fan tutte la BOhème COsì fan tutte COsì fan tutte

Wotton House, Buckinghamshire, uK Lulworth castle, Dorset, uK Lulworth castle, Dorset, uK Syon Park, London, uK Syon Park, London, uK cornwall, uK The Whittaker Hall, Guernsey The Whittaker Hall, Guernsey Stuckeridge House, Devon, uK Stuckeridge House, Devon, uK Stuckeridge House, Devon, uK caen, France

03 04 07 08 09 11 13 14 15 16 25

la BOhème Orphée aux enfers COsì fan tutte COsì fan tutte COsì fan tutte Orphée aux enfers la BOhème COsì fan tutte Orphée aux enfers Opera Gala Opera Gala

Holkham Hall, Wells next The Sea, norfolk Holkham Hall, Wells next The Sea, norfolk Dijon, France Dijon, France Dijon, France Salisbury, uK Domaine des Vaux, Jersey, ci Domaine des Vaux, Jersey, ci Domaine des Vaux, Jersey, ci Domaine des Vaux, Jersey, ci Wiltshire, uK

05 07 08 09 11 18 20 22 26 27 28 30

COsì fan tutte la BOhème Orphée aux enfers COsì fan tutte COsì fan tutte Orphée aux enfers la BOhème COsì fan tutte Orphée aux enfers private perfOrmanCe la BOhème COsì fan tutte

Haut-anjou, France Festival de la Vézère, Brive, France Festival de la Vézère, Brive, France Festival de la Vézère, Brive, France Vendée Romane, France Les azuriales opera, St.Jean, cap Ferrat Les azuriales opera, St.Jean, cap Ferrat Les azuriales opera, St.Jean, cap Ferrat Les azuriales opera, St.Jean, cap Ferrat Saint Tropez, France Les azuriales opera, St.Jean, cap Ferrat Les azuriales opera, St.Jean, cap Ferrat

05 09 10 12 30

COsì fan tutte la BOhème Orphée aux enfers la BOhème la BOhème

manor Farm, Fingest, Henley-on-Thames Stationers' Hall, London, uK Stationers' Hall, London, uK Festival de L'orne, France Drapers Hall London

02/03 la BOhème 09 Opera Gala 10 Opera Gala (private) 04 05 06 09 11 13

COsì fan tutte Opera Gala (private) COsì fan tutte COsì fan tutte COsì fan tutte COsì fan tutte

maison Lafitte, France Jersey, ci Jersey, ci Théâtre du Passage, neuchâtel, Switzerland neuchâtel, Switzerland Théâtre du Passage, neuchâtel, Switzerland Théâtre du Passage, neuchâtel, Switzerland Théâtre du Passage, neuchâtel, Switzerland Théâtre du Passage, neuchâtel, Switzerland

Freya Pointer Francesca Previ French coach Fiona murray

Orphée aux enfers music by Jacques offenbach Libretto by Ludovic Halevy Dialogue by nathan naylor Translated into French by Fiona murray and François mengin

L’opinion publique Pauline Birchall Eurydice catriona clark orphée Jaewoo Kim aristée/Pluton nicholas Ransley Junon Elizabeth Donovan minerve Suzanna Purkis mercure Kevin Jones cupidon Stefanie Kemball-Read Venus catherine Bouchier Diane Rebecca Hodgetts Jupiter Tom mcVeigh mars David Stephenson John Styx Daniel Howard catriona clark and Tom mcVeigh as Eurydice and Jupiter

2005 Giacomo P u cci ni

To s c a

W ol fg a ng a m a de u s mo za rt

Di e za u b e r f l ö t e

Pe te r I l i ts ch Tch a i k ov s k y

Eugene Onegin

2005 March

DIE ZAUBERFLÖTE 11 12-13 DIE ZAUBERFLÖTE DIE ZAUBERFLÖTE 25

Maisons Laffitte, France Auxerre, France Istres, France

April

COX AND BOX 01 15-17 AS A MATTER OF PATTER TOSCA 26

The Whittaker Hall, Guernsey Théâtre du Passage, Neuchâtel, Switzerland Stationers' Hall, London

May

01 03 12 20 22

DIE DIE DIE DIE DIE

Théâtre du Passage, Neuchâtel, Switzerland Théâtre du Passage, Neuchâtel, Switzerland Spencer House, London Brittany, France Yvelines, France

June

01 04 14 18 22 23 24 25 28 29

COX AND BOX TOSCA EUGENE ONEGIN

01 02 03 06 07 08 11 12 13 14 22 25 26 28

EUGENE ONEGIN TOSCA

OPERA GALA

Holkham Hall, Norfolk Holkham Hall, Norfolk Hertfordshire, UK Dijon, France Dijon, France Dijon, France Domaine Des Vaux Opera Festival, Jersey Domaine Des Vaux Opera Festival, Jersey Domaine Des Vaux Opera Festival, Jersey Domaine Des Vaux Opera Festival, Jersey Lulworth Castle, Dorset Rayol, France Sisteron, France Ardeche, France

August

05 06 07 10 11 13 19 21 23 24 26 27 28

DIE ZAUBERFLÖTE EUGENE ONEGIN TOSCA DIE ZAUBERFLÖTE DIE ZAUBERFLÖTE DIE ZAUBERFLÖTE TOSCA TOSCA TOSCA EUGENE ONEGIN DIE ZAUBERFLÖTE EUGENE ONEGIN DIE ZAUBERFLÖTE

Festival de la Vézère, Brive, France Festival de la Vézère, Brive, France Festival de la Vézère, Brive, France Festival de Quimper, France Vouvant, Nuits Musicales en Vendée Romane Haut Anjou, France Les Azuriales Opera Festival, St.Jean, Cap Ferrat Les Azuriales Opera Festival, St.Jean, Cap Ferrat Les Azuriales Opera Festival, St.Jean, Cap Ferrat Les Azuriales Opera Festival, St.Jean, Cap Ferrat Les Azuriales Opera Festival, St.Jean, Cap Ferrat Les Azuriales Opera Festival, St.Jean, Cap Ferrat Les Azuriales Opera Festival, St.Jean, Cap Ferrat

September

DIE ZAUBERFLÖTE

Festival de l’Orne, France

October

OPERA GALA

The Potteries, Jersey

November

DIE ZAUBERFLÖTE

Goldsmiths Hall, London

December

07 09 11

EUGENE ONEGIN EUGENE ONEGIN EUGENE ONEGIN

Théâtre du Passage, Neuchâtel, Switzerland Théâtre du Passage, Neuchâtel, Switzerland Théâtre du Passage, Neuchâtel, Switzerland

P ER F OR M AN C ES 2 0 0 5

July

ZAUBERFLÖTE ZAUBERFLÖTE ZAUBERFLÖTE ZAUBERFLÖTE ZAUBERFLÖTE

DIE ZAUBERFLÖTE EUGENE ONEGIN

DIE ZAUBERFLÖTE EUGENE ONEGIN EUGENE ONEGIN

DIE ZAUBERFLÖTE TOSCA

OPERA GALA DIE ZAUBERFLÖTE DIE ZAUBERFLÖTE DIE ZAUBERFLÖTE TOSCA DIE ZAUBERFLÖTE EUGENE ONEGIN FRENCH OPERA GALA TOSCA OPERA GALA TOSCA

Charterhouse, UK Yorkshire, UK Stationers' Hall, London Stableyard, Oxfordshire Syon Park, Twickenham Syon Park, Twickenham Stuckeridge House, Devon Stuckeridge House, Devon The Whittaker Hall, Guernsey The Whittaker Hall, Guernsey

Count Almaviva, Nicholas Sharratt (June 23, 25, 29 , July 11) figaro, a barber David Stephenson and general factotum Doctor Bartolo, Stewart Kempster rosina’s guardian rosina Cerys Jones Basilio, richard Mitham a singing teacher Berta, Sally-Ann Shepherdson Bartolo’s maid An Officer John evanson A Soldier/Notary Kevin Jones

2006 Graphic Design & Photo Composition: normal industries www.normal-industries.com Photographs by Mark Holford and Melle Viau Laetitia

2006

For further information, please contact Diva Opera 115 Princes Gardens London W3 OLR Tel: (44) 020 8723 8555 Fax: (44) 020 8723 6357 E-mail: info@divaopera.com Web: www.divaopera.com

10th Season

il barbiere di siviglia

fiorello, Daniel Howard servant to the Count

a Spanish Nobleman Christopher Steele

Music by Gioacchino rossini Libretto by Cesare Sterbini founded on Beaumarchais

Music Director and Piano Bryan evans Director Wayne Morris Designer Nicola Jackson Choreographer Jenny Weston Stage Manager Matthew Muller Deputy Stage Manager Denise furey Assistant Stage Manager Nicholas Stevens Wardrobe Supervisors francesca Previ rebecca Hobbs rebecca Brown Italian Coach fiona Murray

David Stephenson and Cerys Jones as figaro and rosina

d i va o p e r a on t o u r 1 9 9 7 - 2 0 0 6

1 0th Sea son to u r ing w or l d w ide 1 9 9 7 - 2 0 0 6 1997

2002

Don Pasquale Donizetti

Carmen Bizet

L’Italiana in Algeri rossini

Così fan tutte Mozart

La Bohème Puccini

La fille du régiment Donizetti Le Nozze di figaro Mozart

1998

Die fledermaus Party Scene J. Strauss

Il Barbiere di Siviglia rossini

with special guest José Carrerras

Carmen Bizet Die entführung aus dem Serail Mozart

2003

L’elisir d’amore Donizetti

rigoletto Verdi

Don Pasquale Donizetti

Die fledermaus J. Strauss

1999

Le Nozze di figaro Mozart

Cavalleria rusticana Mascagni

Chez Maxim Lehár

Pagliacci Leoncavallo

with special guests José Carreras

Tosca Puccini

and Sally Burgess

La Bohème Puccini

Le Nozze di figaro Mozart Die fledermaus J. Strauss

2004

La Voix Humaine Poulenc

La Cenerentola rossini

2000

Cox & Box Gilbert & Sullivan

Die Zauberflöte Mozart

Die entführung aus dem Serail Mozart

Lucia di Lammermoor Donizetti

La Traviata Verdi

Die fledermaus Donizetti

L’Italiana in Algeri rossini

with special guest José Carreras

Don Pasquale Donizetti 2005 2001

Tosca Puccini

Don Giovanni Mozart

Die Zauberflöte Mozart

Les Contes d’Hoffmann Offenbach

eugene Onegin Tchaikovsky

La fille du régiment Donizetti

Cox & Box Gilbert & Sullivan

Trial by Jury Gilbert & Sullivan

As a Matter of Patter Gilbert & Sullivan

Don Pasquale Donizetti 2006 Così fan tutte Mozart L'elisir d'amore Donizetti Il Barbiere di Siviglia rossini Madama Butterfly Puccini Gianni Schicchi Puccini 23

m ada m a but terfly

B.f Pinkerton, Cameron rolls Lieutenant in the US Navy Goro, a marriage broker Kevin Jones Suzuki, Claire Bradshaw Cio-cio-san’s maid Amanda floyd (July 12, December 13) Sharpless, David Stephenson US Consul at Nagasaki Cio-cio-san, Melinda Hughes Madama Butterfly Cio-cio-san’s Mother Nicola Dunne The Cousin Claire Groom Uncle Yakuside John evanson The Aunt Catherine Parkin The Commissioner richard Mitham The Bonze, Stewart Kempster Cio-cio-san’s uncle Prince Yamadori Daniel Howard Kate Pinkerton, Catriona Holt Lieutenant Pinkerton’s wife Sorrow eden Morris Cio-cio-san’s friends Michaela Davies and relatives Paul Koelbloed

madama butterfly synopsis

Hairdressing / Japan, c.1880, Kimbei, Kusakabe (1841-1934) / Private Collection, The Stapleton Collection / Bridgeman Giraudon

Act I

Act II

ActE I

ActE II

Lieutenant B.f. Pinkerton of the U.S. Navy

Pinkerton has been gone from Japan for three years and Butterfly has been living alone

B.f. Pinkerton, lieutenant de la Marine des

Pinkerton est parti depuis trois ans ; Butterfly vit seule dans sa maison. Sa servante et

is about to enter into an arranged marriage

in their house. Her maid and friend, Suzuki, tries to convince her that her husband will

etats-Unis est sur le point de conclure

amie Suzuki tente de la convaincre que son mari est parti pour toujours mais Butterfly

with Cio-cio-san, or Butterfly, as she is

never return, but Butterfly is sure that he will come back to her (Un bel di, vedremo).

un mariage arrangé avec Cio-cio-san,

est certaine qu’il reviendra (Un bel di vedremo).

known to her friends. He is looking over the house he has leased from Goro, a local

connue sous le nom de Butterfly. Avec Sharpless arrives with a letter from Pinkerton but is interrupted by Goro who brings

Goro, agent matrimonial japonais, il visite

Sharpless arrive avec une lettre de Pinkerton, mais il est interrompu par Goro qui se

Music by G Puccini

Japanese marriage broker. Sharpless,

Prince Yamadori, a potential suitor to Butterfly. Butterfly will not hear of an alliance

la maison qu’il a louée. Sharpless, consul

présente avec le Prince Yamadori, un mari potentiel pour Butterfly. Celle-ci ne veut pas

Libretto by Illica and Giacosa

the American Consul, arrives and warns

with Yamadori and insists she is still married to Pinkerton. Knowing the letter he brings

américain entre et prévient Pinkerton que

entendre parler d’une alliance avec Yamadori et insiste qu’elle est toujours l’épouse

Pinkerton that the arrangement he is

announces the marriage of Pinkerton to an American girl, Sharpless is reluctant to read

l’arrangement qu’il va conclure risque de

de Pinkerton. La lettre de Pinkerton contient la nouvelle de son mariage avec une

about to enter into will invite tragedy, as

it to Butterfly, but instead tries to persuade her that Pinkerton has been unfaithful and

provoquer une tragédie car Butterfly est

Américaine. Sharpless ne peut se résoudre à la lire à Butterfly, mais tente plutôt de

Butterfly has fallen in love with Pinkerton

has forgotten her. Butterfly reveals that, unknown to Pinkerton, she has borne him a son.

véritablement tombée amoureuse de lui et

la convaincre que Pinkerton a été infidèle et l’a oubliée. Butterfly n’entend rien et lui

and is taking the marriage very seriously.

Sharpless realises that he cannot reason with her and leaves, promising to tell Pinkerton

prend le mariage très au sérieux. Pinkerton

apprend qu’elle a donné naissance à un garçon peu après le départ de Pinkerton.

Pinkerton ignores his advice.

about the child. A cannon shot from the harbour announces the return of Pinkerton’s

n’écoute pas ses conseils.

Sharpless accepte qu’il est impossible de la raisonner et part en promettant d’informer

ship. With the help of Suzuki, Butterfly happily decorates the house with flowers in

Music Director and Piano Bryan evans Director Wayne Morris Designer David roger Stage Manager Matthew Muller Deputy Stage Manager Denise furey Assistant Stage Manager Nicholas Stevens Wardrobe Supervisors rebecca Hobbs

anticipation of his arrival (Scuoti quella fronda di ciliegio). As night closes in, she waits

Butterfly arrive avec sa famille et ses

navire de Pinkerton. Avec l’aide de Suzuki, Butterfly décore la maison avec des fleurs

for her husband.

amis pour le mariage (Soira sul mare e

pour l’accueillir (Scuoti quella fronda di ciliegio). La nuit tome et elle attend son mari.

e sulla terra). The marriage ceremony

sulla terra). La cérémonie commence,

begins, but in the midst of the celebrations

mais pendant la fête, le Bonze, oncle

The Bonze, Butterfly’s Uncle, a Shinto

Act III

de Butterfly et prêtre shinto la maudit

ActE III

Priest, arrives and curses her for forsaking

Butterfly has kept her vigil all night but as she goes to rest, Sharpless and Pinkerton

d’avoir renoncé à sa religion en se

Butterfly a veillé toute la nuit. Au moment où elle part enfin se coucher, Sharpless

her religion and converting to Christianity

arrive. At first Suzuki is joyful at their return but is soon devastated when she learns the

convertissant au Christianisme ( Cio-

(Cio-cio-san abbominazione!). Her friends

truth, that Pinkerton is married. Pinkerton sees about him the proof of Butterfly’s love

cio-san abbominazione !). Ses amis et

arrive avec Pinkerton. Dans un premier temps, Suzuki est remplie de joie par ce retour mais elle est consternée lorsqu’elle apprend que Pinkerton s’est remarié. Pinkerton

and family in turn denounce her, but

and loyalty and acknowledges the anguish he has caused (Io so che alle sue pene). He

sa famille à leur tour la renient mais elle

she proclaims her love to Pinkerton and

bids a farewell to the house he once knew (Addio fiorito asil) and leaves Sharpless and

réaffirme son amour pour Pinkerton et

tout le mal qu’il a provoqué (Io so che alla sua pena). Il fait ses adieux à la maison qu’il

together they enter their new home (Vieni

his wife to claim his son. When Butterfly returns she sees Kate Pinkerton and demands

ensemble, ils entrent dans leur nouvelle

a jadis si bien connue (Addio fiorito asil) et laisse sa nouvelle épouse et Sharpless

la sera ….vogliatemi bene).

to know who she is. She tells her that Pinkerton may take his child but that he must

maison (Vieni la sera..vogliatemi bene).

récupérer son fils. Lorsque Butterfly aperçoit Kate Pinkerton, elle demande qui elle est.

return for him in half an hour.

rebecca Brown

Pinkerton de l’existence de son fils. Un coup de canon retentit annonçant le retour du

Butterfly arrives with her friends and relatives for the wedding (Spira sul mare

voit partout la preuve de l’amour et de la fidélité de Butterfly et prend conscience de

Comprenant la situation, elle se dit prête à abandonner son fils mais que Pinkerton doit revenir le chercher dans une demi-heure.

francesca Previ

Distraught, she tells her son to go and play and stabs herself to death. Pinkerton rushes into the house calling to her but he is too late.

effondrée, elle envoie le garçonnet jouer dehors et se donne la mort. Pinkerton surgit dans la maison en criant le nom de Butterfly, mais trop tard.

Melinda Hughes as Cio-cio-san 42

programme notes by Roderick Swanston

After the success of Tosca, Puccini was

At first Puccini was keen to focus as much on Japan and the geisha girl as he could.

eagerly looking for a source for his next

Describing what he was doing to achieve this, he wrote to his publisher in 1902. “I have

opera. In the summer of 1900 while in

had a visit today from Mme Ohyama, wife of the Japanese Ambassador (in rome). She

London he saw David Belasco’s one-act

told me a great many interesting things and sang some native songs to me. She has

play Madam Butterfly about a geisha girl

promised to send me some native Japanese music”. The ambassador’s wife also made

who was abandoned by an American

some suggestions to Puccini about the appropriateness of some of the Japanese names

lover. The play had been based on a

he had assigned to some of the characters.

'all the performers were excellent...'

magazine article about a real incident, and Puccini was much moved by the

Despite these initial intentions, and the inclusion of original Japanese music, the

play. Perhaps the first thing that attracted

emphasis of the opera gradually shifted away from Japan towards Pinkerton and his

Puccini was the potential Japanese

fateful liaison with Madam Butterfly. The plot thus became more about a love affair

atmosphere he could create in the opera.

with an exotic background than an exploration of clashing cultures. But this did not

Like many at the time he was fascinated

stop Puccini from penning some of his most beautiful music to evoke Japan and the

by the exoticism of Japan, which for two

wedding ceremony.

hundred years till the mid-nineteenth century had been closed to foreigners.

Puccini confessed he had difficulty making Butterfly come out right. Musically he

Once opened by American seamen it

wanted to create a kind of Italian equivalent of the subtle sensuality of Debussy’s

was inevitable there would be a clash

Nocturnes. He achieved this and the result is one of his most poised and gorgeous

of cultures and expectations between

scores. But dramatically things did not go as smoothly. He found it hard to reduce the

the enclosed indigenous community and

libretto’s size to keep the story from being cluttered by too much exotic detail. By the

the arriving Americans.

time of the first performance in february 1904 in Milan he had only partly achieved

Die Zauberflöte, festival de L’epau, france 2001

this, and the first night audience made it clear to him that more work was required. The second act could hardly be heard for cat-calls. However, Puccini withdrew the score and by the time of its next performance in the smaller theatre in Brescia he had honed and pruned it to the perfect opera it is today. That night’s audience gave it the rapturous reception it has received ever since.

Melinda Hughes as Cio-cio-san 44

2009

diva opera & josĂŠ carreras an evening with

j o s Ă&#x2030; c a r r e r a s & D i va o p e r a accompanieD by pianists lorenzo bavaj & anna tilbrook performing the party scene from Die fleDermaus by johann strauss

programme cover (2010)

co nc ep t

barnet concept

co nc ep t

concept

postcards

EDITORAL & BACKSTAGE BARNET CONCEPT JOSEPH-SPITAL-STR. 15 (EINGANG HERZOG-WILHELM-STR.) D-80331 MÜNCHEN T 089 64208060 E INFO@BARNETCONCEPT.COM WWW.BARNETCONCEPT.COM

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Der europäische Gedanke wird bei BARNET praktisch verwirklicht:

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Radiance >> Micaceous grace

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Sculpture >> Form

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monochromic tones fan out in interplay between light and shadow, imparting a cool, mystical harmony. Materials

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olive brown

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0708-10

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0708-13

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0708-15

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warm blue-gray

tiger eye

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ITNESS FOR A PARTICULAR PURPOSE.

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p r o d u c t s 2 nd s t e p

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Edition 2006

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IMPORTANT: The following supersedes Buyer’s documents. SELLER MAKES NO REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, INCLUDING OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

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Intimacy >> Overlapping red

autumn/winter 2006/07

sample

no.05/836

no.3

Soft Shell >> Versatile

autumn/winter 2007/08

The seemingly familiar impression of warmth and energy created by these colors opens up a relationship of fashionable

Soft, neutral tones lend themselves to both sensuous and technical interpretation. Like skin, surfaces are waxy,

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Changes of shade may

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coral red

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City Lights >> Geometrical

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Changes of shade may

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mint green

winter sky

green-tinted graphite

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cold jadeit

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Mosaic >> Sparkling

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Graphic drawing combines functionalism and abstraction with moving and flowing forms. Elemental like water

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shooting stars, break through the darkness and give rhythm to restrained, almost monochromic colors. As in a mosaic,

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geometric order acquires decorative dynamism.

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Changes of shade may

Changes of shade may pearly rosé

deep ocean blue

onyx

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0708-27

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velvet violet

hazy rosé

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soft & smooth handle business & casual shirts, blouses, bedlinen cotton

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mbH, Germany.

Textile Effects

Huntsman Textile Effects (Germany) GmbH

Huntsman International, LLC

of Germany. www.dmi-fashion.net

: http://www.cibasc.com/textile-effects

Huntsman Textile Effects Region Europe