Vinyl Icons: Persian Pop and Turkish Psychedelia, Vane, 2016
131 بار بازدید -
2 سال پیش
-
Afsoon, Khosrow Hassanzadeh, Hushidar Mortezaie,
Afsoon, Khosrow Hassanzadeh, Hushidar Mortezaie, Malekeh Nayiny, Taravat Talepasand
‘Vinyl Icons: Persian Pop and Turkish Psychedelia’ is a unique presentation of art inspired by the popular music of pre-revolutionary Iran and Anatolia.
Curated by Sara Makari-Aghdam, a young North East England based curator of Azeri-Turk, Persian and English descent, the exhibition makes a clear connection between 1960s and 1970s Iranian culture and contemporary visual art from the Iranian diaspora.
One of Makari-Aghdam’s earliest memories of connecting to her father’s background was discovering his Persian pop cassette tape collection from his youth. Her father left Iran in 1974, five years before the Islamic revolution, to study engineering in the North East of England. For many diaspora migrants these records and tapes represent what life in Iran used to be, a time when modern musicians and artists were freely allowed to express themselves. Today Persian and Turkish pop records of this era, though scarce, have become highly collectable and an inspiration for many artists, as can be seen in the work of the five artists in the exhibition.
Western influence in Iran began to take hold in the Safavid era (1501-1722) but it wasn’t until the Pahlavi dynasty (1925-79) that the age-old struggle between tradition and modernity reached boiling point. After the Iranian Revolution, modern music was labelled by the new authorities as ‘Gharbzadegi’ meaning ‘Westoxification’ or ‘Occidentosis’, a term coined by writer, social and political critic Jalal-e-Ahmad. ‘Gharbzadegi’ was used to refer to the loss of authentic identity in the region through the acceptance of Western influence. Iran’s record labels such as the legendary ‘Ahang e Rooz’ (meaning ‘today’s song’ in Persian) were closed, cassette tapes and records were forbidden and Iran’s incredible collection of modern art was buried underground in the Tehran Museum of Contemporary Art.
A shift from Islamic artistic traditions under the Ottoman Empire to a more secular, Western direction has taken place in Turkey, which has been an associate member of the European Union since 1963. Anatolian rock music has not been subject to the same extreme censorship as modern Iranian music.
‘Vinyl Icons: Persian Pop and Turkish Psychedelia’ is a unique presentation of art inspired by the popular music of pre-revolutionary Iran and Anatolia.
Curated by Sara Makari-Aghdam, a young North East England based curator of Azeri-Turk, Persian and English descent, the exhibition makes a clear connection between 1960s and 1970s Iranian culture and contemporary visual art from the Iranian diaspora.
One of Makari-Aghdam’s earliest memories of connecting to her father’s background was discovering his Persian pop cassette tape collection from his youth. Her father left Iran in 1974, five years before the Islamic revolution, to study engineering in the North East of England. For many diaspora migrants these records and tapes represent what life in Iran used to be, a time when modern musicians and artists were freely allowed to express themselves. Today Persian and Turkish pop records of this era, though scarce, have become highly collectable and an inspiration for many artists, as can be seen in the work of the five artists in the exhibition.
Western influence in Iran began to take hold in the Safavid era (1501-1722) but it wasn’t until the Pahlavi dynasty (1925-79) that the age-old struggle between tradition and modernity reached boiling point. After the Iranian Revolution, modern music was labelled by the new authorities as ‘Gharbzadegi’ meaning ‘Westoxification’ or ‘Occidentosis’, a term coined by writer, social and political critic Jalal-e-Ahmad. ‘Gharbzadegi’ was used to refer to the loss of authentic identity in the region through the acceptance of Western influence. Iran’s record labels such as the legendary ‘Ahang e Rooz’ (meaning ‘today’s song’ in Persian) were closed, cassette tapes and records were forbidden and Iran’s incredible collection of modern art was buried underground in the Tehran Museum of Contemporary Art.
A shift from Islamic artistic traditions under the Ottoman Empire to a more secular, Western direction has taken place in Turkey, which has been an associate member of the European Union since 1963. Anatolian rock music has not been subject to the same extreme censorship as modern Iranian music.
2 سال پیش
در تاریخ 1400/11/13 منتشر شده
است.
131
بـار بازدید شده