Golnaz Fathi by Sundaram Tagore Gallery

Established in 2000, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures. We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, our goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, our interest in cross-cultural exchange extends beyond the visual arts into many other disciplines, including poetry, literature, performance art, film and music.

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The poetry of Charles Baudelaire (1821-1867), who defined modernity for generations of artists and art historians, also resonates with the young Iranian artist Golnaz Fathi and seems to parallel the creative arc of her recent works. Her monumental black and white abstract canvases evoke images of mountains climbed and valleys traversed, echoing the spirit of a poem in which Baudelaire repeatedly exhorts his soul to a journey, upon which his soul explodes and wisely replies “Let us go anywhere, anywhere, only let it be out of this world!” Fathi’s paintings do indeed take the viewer out of this world into the world of her imagination. The works—mostly polyptychs of narrow rectangular form— pack a powerful visual punch, relying on a strong graphic and geometric quality. Yet a close reading reveals the presence of thousands of tiny lines composed of minute markings that echo the vertical, horizontal and curvilinear forms of Iranian calligraphy. Using only a fine pen, Fathi inscribes these minute markings on the varnished surface of raw canvases. Left: Untitled, 2009, pen and varnish on canvas, 70.9 x 88.6 inches

She moves across, around and above the canvas, letting the pen guide her. The lines weave across the canvas, spiral upward and downward, and bleed over the sides of the canvas—often seeming to stretch into infinity. They sometimes cut across the picture plane, as in Untitled 2007, Untitled 2009 and Untitled 2011 where Fathi’s wavering lines of varied density and intensity afford multiple and ambivalent meanings, ranging from natural landscapes to electronic transmissions. At other times the center is left blank, her markings hugging the edges of the canvas and seeming to drip downward in cascading forms recalling stalactites or waterfalls. Most importantly, a strong spiritual quality emanates from these canvases: Fathi leaves her works untitled, preferring not to limit the viewer’s experience of the formal and contemplative aspects of her paintings. This same quality recalls the mystic dimension often associated with the art of calligraphy throughout the Middle East and Asia and the transcendence still sought after by twentieth-century abstraction.

Various influences from East and West merged in the formulation of her personal style. Fathi, who was born in Tehran in 1972, has herself drawn attention to a wide range of artists whom she admires and from whom she has drawn inspiration. Her most recent works, which rely exclusively on the line of the pen, are intentionally minimalist in technique and form. In earlier works, Fathi used a brush in wide sweeping gestures allied with her delicate pen work and a limited palette of white, black, red and yellow or used graffiti-like scribbles reminiscent of the work of Cy Twombly. On the one hand, her paintings, whether executed in black and white or polychrome, evoke the majestic and sublime aura of some American Abstract Expressionists and the French School of Lyrical Abstraction, particularly the work of Jean Degottex with whom she shares a palette and sweeping brushstrokes. On the other hand, Fathiâ&#x20AC;&#x2122;s work more closely recalls the approach of Asian modernists such as Lee Ufan and Cai GuoQiang. Yet these influences are all blended effortlessly in the work of this talented young painter and her work testifies to the continued vitality and power of post-war painterly abstraction as a visual language for contemporary artists. While European and American critics have often dismissed non-Western modernism

as imitative and outdated, these attitudes now seem increasingly outmoded and narrow, when faced with the sheer creativity and originality of global modernism. Fathiâ&#x20AC;&#x2122;s art is also grounded in the practice of calligraphy, which she mastered at an early age after a period of study in the Faculty of Graphic Design at Azad University (formerly Tehran University) and six years of training at the Calligraphers Association, primarily with the contemporary master Ostad Abdollah Foradi in Tehran. This dual formation informs her work, which she has been showing in Iran and internationally since the late 1990s. It is rare for a young woman to have achieved such prominence in the art of calligraphy, which is a male-dominated field and requires years of practice and perseverance to master. As restrictive as this discipline was, it has also stood her in good stead in developing her personal style, by giving her the necessary tools to focus on her modern interpretation of writing. In a sense, Fathiâ&#x20AC;&#x2122;s experience parallels that of PakistaniAmerican artist Shahzia Sikander. Her intense training in the art of miniature painting in her native Pakistan followed by a period of study at the Rhode Island School of Design, led Sikander to invent a highly original, postmodernist style which pioneered a new school of contemporary Pakistani painting.

Fathi’s current approach centers on a reinterpretation of siahmashq: a calligraphic exercise highly developed in the nineteenth century, in which large cursive letters of varying width are superimposed and repeated across the page in a free-style. Siahmashq is not intended to be read, but to serve as a practice sheet for the scribe. This produced semi-abstract, dense compositions of black ink on paper. Yet in her latest works, Fathi radically transforms this technique into a time-consuming, intense and technically and physically demanding process. This development in Fathi’s work reminds us of the tremendous variety in scale and media associated with Islamic calligraphy: I refer here to the miniature polygonal Qur’ans of the fifteenth and sixteenth centuries or to the portable forms of Qur’ans inscribed on narrow rolls of paper known as tumar, popular in the later Persianate and Ottoman cultures.

In Iran, the Saqqakhaneh movement (a term used to describe urban water-fountain shrines) referenced popular Shiite and devotional art as well as calligraphic abstraction, while the Naqqashi-Khat (painting/calligraphy) tendency explored purely calligraphic modernism. Other Iranian artists of the era searched for abstraction in Chinese landscape painting and Japanese woodblock printing, Italian post-war modernism, French art informel and even American Pop Art and Land Art movements. Fathi greatly admires her precursors and their achievements, although her approach differs from theirs: By comparison, her works are far more ambitious in scale and uncompromising in their commitment to minimalism. Her work perhaps represents the direction Iranian modern art might have taken if its development had not been aborted by the Islamic Revolution of 1979.

Fathi uses her skill in siah-mashq in a purely formal way, an approach also found among Iranian modern artists and Middle Eastern modernists, such as the Iraqi painter Shakir Hassan. Beginning in the late 1950s and early 1960s these pioneers used writing as a formal device to create an art that was both modern and local. After World War II, a new, cosmopolitan artistic movement spread across North Africa, the Middle East and Iran which explored both indigenous and international models.

Yet it is important to remember that as a painter, Fathi is selftaught. Growing up in Tehran in the 1980s and ’90s, an era of relative cultural isolation, there were few opportunities to develop the freedom of self-expression and spontaneity she aspired to as a painter. Let us recall that the Saqqakhaneh artists were primarily either in exile or deceased. The sense of spontaneity and universality in her work is a remarkable achievement considering the restrictions and challenges of

her artistic formation. Nevertheless, like other artists of her generation, she has managed to overcome these difficulties and familiarize herself with international modernisms and trends in contemporary art. Iranian contemporary artists have received considerable recognition and have been widely exhibited in the last ten years, their success perhaps due to the very difficult political and social context of contemporary Iran. This era has produced a remarkable crop of talented artists working in a wide range of artistic idioms from pop art to conceptual and political art. Yet only a handful of these artists have successfully explored the potential of calligraphic writing as abstract painting. Fathi has inherited this tradition but wears the mantle lightly. Internationally successful, she has had a truly global career since the 1990s, exhibiting first in Iran and then in quick succession in Dubai, London, New Delhi, and now Hong Kong and New York. Her current show brings together a series of large, formally interrelated canvases. As she has explained, the line starts on one canvas but leads her almost unconsciously to the next. These formal interrelationships make a powerful visual statement when the works are seen together. Whether channeling Baudelaire or the Persian master Hafez, Fathi has said that her practice is a form of meditation and it is this aura of the sublime that permeates her works and imparts to them a universal and timeless appeal.

Layla S. Diba is an independent scholar, art advisor and curator. She has been director and chief curator of the Negarestan Museum in Teheran (1975–79), art advisor for the Private Secretariat of HM Queen Farah of Iran, and Hagop Kevorkian curator of Islamic Art at the Brooklyn Museum of Art. In 2006, Dr. Diba was invited to develop programming and strategy for the future Guggenheim Abu Dhabi Museum and to serve on the Museum’s Asian Art Council and Middle East Focus Group. She curated the landmark Royal Persian Paintings exhibition at the Brooklyn Museum in 1998, exhibitions at the LehmannMaupin and Leila Taghinia Milani Heller Galleries in New York and served as an advisor to the Doris Duke Foundation. Her recent publications include Turkmen Silver Ornaments from the Marshall and Marilyn Wolf Collection (Metropolitan Museum of Art, 2011). She is currently co-curating the first major exhibition devoted to Iranian modern art for New York’s Asia Society Museum, slated for fall 2013. Dr. Diba holds a BA from Wellesley College and an MA and PhD from the Institute of Fine Arts at New York University. Her articles have appeared in numerous scholarly publications. Dr. Diba is also a collector of Persian and Islamic art and a benefactor and advocate for numerous Persian cultural causes.

Untitled, 2011, pen and varnish on canvas, 27.6 x 110.2 inches

Untitled, 2009, acrylic, pen and varnish on canvas, 70.9 x 73 inches

Untitled, 2011, acrylic and pen on illustration board, 11 x 11 inches each

Untitled, 2007, pen and varnish on canvas, 39.4 x 39.4 inches

Untitled, 2011, pen and varnish on canvas, 57.5 x 50.4 inches

Untitled, 2009, acrylic and pen on canvas, 70.9 x 54 inches

Untitled, 2012, pen and varnish on canvas, 17.7 x 212.6 inches

Untitled, 2006, acrylic and pen on canvas, 39.4 x 70.9 inches

Untitled, 2012, pen and varnish on canvas, 31.5 x 173.2 inches

Untitled, 2011, acrylic and pen on illustration board, 11 x 11 inches each

Untitled, 2011, pen and varnish on canvas, 70.9 x 72 inches Left: Detail

Untitled, 2011, pen and varnish on canvas, 47.2 x 47.2 inches

Untitled, 2011, pen and varnish on canvas, 70.9 x 88.6 inches

Untitled, 2011, pen and varnish on canvas, 39.4 x 39.4 inches each

Untitled, 2011, acrylic, pen and varnish on canvas, 70.9 x 88.6 inches

Golnaz Fathi achieves effects of contraction and expansion in her atmospheric images created with pen on canvas, that hover somewhere between certain images shot by Harold Edgerton and the drawings of Sol Lewitt and Il Lee. Significantly, Fathi arrives at her subtle compositions rich in tonal contrasts by using the technique of siah-mashq, which consists of repeating letters, until the pictorial support is entirely covered with dense marks. Fathi’s process-oriented art is grounded in the slow metamorphosis of the practice of the calligrapher, so charged with meaning. Art historian and critic Michaël Amy talks with her about identity and influences. Michaël Amy: You live in two very different places, namely Paris and Tehran. Please tell us about this. Golnaz Fathi: This is a recent development. I lived in Iran, and only traveled outside of my country to participate in exhibitions and residencies—until last year, when I applied for a residency in Paris. I was hoping things would get better in my country, but unfortunately, they only got worse. I only want greater freedom. There were times when I seemed to be gasping for air, as things are so difficult for us here in Iran. I love my country, but we do live in trying times. As I live in Tehran for half of the year, I cannot delve into political matters, as that would get me into trouble. Paris is my favorite city. I have been traveling there often since 1998, know the city well, and have made good friends there, which is so very important to me. I love the language and culture of Paris. The cultural branch of

the French Embassy has made my dream come true by granting me a residency visa. It is very difficult for a person with an Iranian passport to move about these days, as one is prevented from entering almost any country. One obtains, at most, a tourist visa, allowing a maximum stay of thirty days. MA: Where is home? What is the meaning of exile? GF: Paris offers so many things I do not have access to in Iran, such as contemporary dance, good theatre, and music. I arrive as a thirsty person in France, and drink from these sources. And then, there are the museums. Paris allows me to keep up with developments in the art world. I learn so much there, about culture and everyday life. As I am not leaving my country permanently, and my move to and from Paris is recent, the meaning of exile has not hit home yet. Moving is obviously easier when one is eighteen years old, as one accepts change more easily at that age.

The day I left for my residency, I thought over and over again: Why must I do this? My roots are, after all, in Tehran. I built my life in Tehran, and then, all of a sudden, I should leave all that behind and start a new life? This is not at all easy. That is another reason why I chose Paris—to make things easier for myself. If I had to go to a place I did not know, and where there was no one I knew, I must confess, I would have stayed put. Such a move would be far too scary for me. I am so attached to home. It is my quiet haven. There, I find the peace and quiet I need, and in my solitude, I am able to think. MA: When we in the West consider Iran, we think, among other things, about repression and censorship—which is more overt in that part of the world than in our Western democracies. Your imagery approximates a coded language. Is this a correct reading? GF: It is correct indeed; one creates a coded language. We have learned how to cope, in the midst of all the troubles. This is the only way we can live and, more importantly, enjoy living.

MA: What role does memory play in your work? Is your work happy, or is it sad? Is it nostalgic? GF: Memory is important, but I value the present. However, one’s memories are embedded in one’s subconscious, and consequently affect one’s work. The viewer must decide whether my work is happy or sad. I have done my part, without thinking of these things, or whether anyone likes what I am doing. In my work, I try to talk about the inner life—the expression of basic human emotions. MA: How important is your Iranian identity to your work, and to your self-image as an artist? For us in the West, it’s attractive, because it’s laced with political and religious associations. How do you get beyond that to have your work viewed in the larger, international context? GF: I value my roots and culture, and use these in my work. I talk in my own language, and not in yours. I reach beyond religion and politics. I do not write in my work in the traditional sense of writing to communicate meaning. My works are un-written. They are not composed in

any recognizable language. My non-texts cannot be deciphered with the eyes—instead, they have to be read with the heart. The imagination needs to come into play, to make sense of my work. MA: Eastern calligraphy has inspired artists in the West. I am thinking of certain artists associated with the COBRA movement, Abstract Expressionism, and European peinture informelle. Were these artists important to you in bridging the East-West divide? GF: They are all important to me. MA: Which artists have inspired you? GF: The Abstract Expressionists—Jackson Pollock and Robert Motherwell stand out. I also love the Catalan artist Antoni Tàpies, the Belgian poet, writer and painter Henri Michaux and the South Korean artist Lee Ufan. From my own country: Charles Hossein Zenderoudi and the Iranian Saqqakhaneh school of art.

MA: What were you looking at as you developed your oeuvre? GF: I aimed to find my own language. I trained as a calligrapher, and wanted to do something with the expertise I had acquired—though without repeating what I had learned. Thus, I began to break the rules. I am grateful for those years of apprenticeship, as without those I would not be able to do what I do now. My writing has become abstract—it dissolves into lines. I do not want to reach any particular point, as to do so would amount to arriving at one’s destination. That would be the end. Instead, I want to be on the road. I want to make art that is mysterious, as art needs to place demands on the viewer. MA: Which books have marked you? GF: I love Tolstoy, Dostoyevsky, Milan Kundera, Ivan Klíma, Albert Camus, Simone de Beauvoir, Heinrich Böll, Philip Roth, Nietzsche, Hermann Hesse, and Stendhal. These authors have experienced life. They give you all of their knowledge, for free. They talk about things that touch you somewhere deep inside. Their books are without expiration date, because the themes

these books address are the important ones in life. These authors force me to think things through. They raise all manner of questions. They do not provide the answers, but open my eyes to the world around me, and reveal my inner-self to me. They are there for me, and are my closest friends. MA: How is your work both perceived and received in the West? Would it be viewed differently, both in the East and in the West, if you were, say, a French male artist? We are talking about the politics of identity here. GF: My work is well-received both in the East and the West. In the East, it comes across as somewhat familiar, as something recognizable, whereas in the West, my work comes across as particularly attractive and even exotic. In the West, my work leads to a process of discovery. I may be telling my secrets, though without revealing these. MA: Does your work have spiritual or even mystical content? GF: My work is spiritual. These are my meditations. I sit down for hours writing in this unknown language I have created. The French poet Charles Baudelaire said about journeys: “It doesn’t matter where. As long as it’s out of this world!” The question is: What is our destination? However,

the latter is not important. The important thing is to leave, and to go far away. One can go anywhere. I exit the here and now, the everyday world, when making my works. My writings, my lines and my paintings are like a road. In my works, I say things I am incapable of stating with words. I am alive as long as I am working. When one has peace of mind, one is happy wherever one is. It takes hours and hours, and layer upon layer to build up my paintings. I take my very fine pen into emptiness, and seek to integrate time and space. My lines don’t end—instead, they return. A line exists in time. My lines are woven together, which reminds me of Rumi’s poem, which I paraphrase: Is it possible? Our souls, together, but unaware? Me in you, and you in me—burning, hiding? These verses hold meanings I cannot possibly convey through words. Michaël Amy is an art historian, critic, lecturer and curator with a BA from the Department of Art History and Archaeology at the Vrije Universiteit Brussel, and an MA and PhD from New York University’s Institute of Fine Arts. He is a Professor of Art History in the College of Imaging Arts & Sciences at Rochester Institute of Technology. His articles have appeared in the New York Times, Burlington Magazine, Art in America, Art & Antiques, ARTnews, Apollo, Art on Paper, Art China, and the New York Sun.

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SELECTED GROUP EXHIBITIONS 2012 Written Images, Contemporary Calligraphy from the Born in Tehran, 1972 Middle East, curated by Karin von Roques, Sundaram Lives and works in Tehran and Paris Tagore Gallery, Hong Kong 2011 Written Images, Contemporary Calligraphy from the E D U C AT I O N Middle East, curated by Karin von Roques, Sundaram 1996 Diploma in Iranian Calligraphy, Iranian Society of Calligraphy, Tehran Tagore Gallery, New York 1995 Bachelors of Arts in Graphics, Azad Art University, Tehran The Art of Writing, Art Forum of Wiesbaden, Germany 1990 Secondary Studies Degree, Tehran Transvangarde (contemporary art from around the world), October Gallery, London SELECTED SOLO EXHIBITIONS 2010 Iran Inside Out, Farjam Collection, Dubai 2013 Sundaram Tagore Gallery, New York 2009 International Woman Artists’ Biennale, Korea Falling Leaves, the Third Line Gallery, Dubai Iran Inside Out, Chelsea Art Museum, New York 2010 Liminal-Subliminal, October Gallery, London Selseleh/Zelseleh: Movers & Shakers in Contemporary Controlled Chaos, The Third Line, Dubai Iranian Art, curated by Layla S. Diba, Leila Taghinia-Milani Ride Like the Wind, Sultan Gallery, Kuwait Heller, Leila Heller Gallery, New York 2009 Doha series, The Third Line, Doha 2008 Look What Love Has Done to Us, Cramer Gallery, Geneva 2008 My Freedom, Xerxes Gallery, London Word Into Art: Artists of the Modern Middle East, British Sleepless Nights, The Third Line, Dubai Museum at DIFC, curated by Venetia Porter, Dubai 2007 Beyond Words, La Fontaine Centre of Contemporary Art, Bahrain 2007 Cutting Edge: Spotlight on the Avant-Garde of Emerging 2006 Golnaz Fathi, The Third Line, Dubai Countries, Artcurial, Paris 2005 Espace SD, Beirut Collected Memories, ArtSpace Gallery, London Un-Written, The Third Line, Dubai Within and Without, No More Grey Gallery, London Virtual Painting Exhibition, ArtəEast, New York Mah Gallery, Tehran Espace SD, Beirut Unnamed Gallery, Amman, Jordan Maison des Jeunes et de la Culture de Neuilly, Neuilly- Wishes and Dreams, Meridian International Center, sur-Seine, France Washington D.C. 2004 Agence Le Carré Bleu, Paris Art Paris Art Fair, Grand Palais Galerie L’Oeil du Huit, Paris Niavaran Artistic Creation Foundation, Tehran Golestan Gallery, Tehran 2006 Transit, Istanbul Improvisation Days, Istanbul 2002 Golestan Gallery, Tehran Don O’Melveney Gallery, Los Angeles 2000 Golestan Gallery, Tehran Word Into Art: Artists of the Modern Middle East, the British Shahr-e-Ketab Bookstore of Niavaran, Tehran Museum, London 1999 Seyhoon Gallery, Tehran Ninth International Open Exhibition, Woman Made Gallery, Chicago 1998 Seyhoon Gallery, Tehran 2005 Espace SD, Beirut Mah Gallery, Tehran Italian School of Tehran, Iran

2004 2003 2002 2001 2000 1998 1997 1996 1995 1994 1993

Depot Square Gallery, Boston Elga Wimmer Gallery, New York Fatima Gallery, Tehran Italian School of Tehran, Iran Royal Mirage Hotel, Dubai Williams Tower Gallery, Houston, Texas Sixth Tehran Contemporary Painting Biennial, Tehran Museum of Contemporary Art Italian School of Tehran, Iran The National Arts Club, New York Lo Sguardo di Luce, Padova, Italy New Art from Iran, Art-Centre of Plano, Texas New Art from Iran, Museum of Arts and Science, Daytona Beach, Florida Golestan Gallery, Tehran Don O’Melveney Gallery, Los Angeles New Art from Iran, Art Museum of Southeast Texas, Beaumont New Art from Iran, Queens Library Gallery, New York La Maison du Livre, Brussels Hôtel de Ville de Saint-Gilles, Belgium Golestan Gallery, Tehran Courtyard Gallery, Dubai Meridian International Center, Washington D.C. Azteca Gallery, Madrid Seyhoun Gallery, Tehran Seyhoun Gallery, Tehran First Islamic World Calligraphy Festival, Tehran Museum of Contemporary Art Seyhoun Gallery, Tehran Calligraphy Exhibition, Reza Abbasi Museum, Tehran Calligraphy Exhibition, Seyhoun Gallery, Tehran Exhibition of Art University Students, Tehran Museum of Contemporary Art Exhibition for Iranian Women Painters, Turkey Second Painting and Miniature Exhibition, Tehran Exhibition Centre Second Tehran Contemporary Painting Biennial, Tehran Museum of Contemporary Art

HONORS & AWARDS 2010 Young Global Leader Honoree, 2011, The World Economic Forum Selection Committee, Sharjah Calligraphy Biennale 2007 Residence Scholarship, Fabrica, Treviso, Italy 2004 Residence Scholarship, Cité Internationale des Arts, Paris 2003 Residence Scholarship, Cité Internationale des Arts, Paris 1995 Best Woman Calligraphist in Ketabat Style, Iranian Society of Calligraphy, Tehran 1993 Diploma of Honour in Graphics and Painting, Tehran Museum of Contemporary Art SELECTED COLLECTIONS Brighton & Hove Museum, Brighton Carnegie Mellon University, Doha Islamic Arts Museum, Malaysia, Kuala Lumpur The Asian Civilisations Museum, Singapore The British Museum, London Devi Art Foundation, New Delhi The Farjam Collection, Dubai S E L E C T E D P U B L I C AT I O N S 2011 A New Art From Emerging Artists, Iain Robertson (London: Lund Humphries) 2010 Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran, Saeb Eigner (London: Merrell Publishers) 2009 Contemporary Art in the Middle East: Artworld, Nadine Monem, editor (London: Black Dog Publishing) Different Sames: New Perspectives in Contemporary Iranian Art, Hossein Amirsadeghi, Anthony Downey, Mark Irving and Hamid Keshmirshekan (London: Thames and Hudson) 2008 Arabesque: Graphic Design From the Arab World and Persia, Ben Wittner and Sascha Thoma, editors (Berlin: Die Gestalten Verlag) 2006 Word Into Art: Artists of the Modern Middle East, Venetia Porter (London: British Museum)

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President and curator: Sundaram Tagore Director, New York: Susan McCaffrey Director, Hong Kong: Faina Derman Designer: Russell Whitehead Printed in Hong Kong by CA Design This exhibition was curated by Karin von Roques

Art consultants: Teresa Kelley Bonnie B Lee Deborah Moreau Rupal Patel Benjamin Rosenblatt Melanie Taylor

W W W. S U N D A R A M TA G O R E . C O M First published in the United States in 2013 by Sundaram Tagore Gallery Text © 2013 Sundaram Tagore Gallery Photographs © 2013 Golnaz Fathi All rights reserved under international copyright conventions. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. Cover: Untitled, 2011, acrylic, pen and varnish on canvas, 70.9 x 88.6 inches ISBN-13: 978-0-9839631-8-9