The 10th Cinema Verite, Iran’s major international festival for documentary cinema, opened at Tehran’s Charsu Cineplex on Sunday.

Articles

Towards the New Realism

Recently we have seen a growing interest in realism, which for a long time seemed historically passé. But the notion of realism is not as obvious as it seems. One often understands “realism” to mean the production of mimetic images of “reality.”

Tactically, conceptualism is no doubt the strongest position of the three; for the tired nominalist can lapse into conceptualism and still allay his puritanic conscience with the reflection that he has not quite taken to eating lotus with the Platonists.

One of the consequences of globalization and the deterritorialization of financial capital has been that the decisions that affect world citizens are now made by representatives of a corporate oligarchy untethered from the direct interests of nation-states. Secret negotiations and treaties have taken the place of constitutions and other forms of social contract, becoming the dominant method for managing natural resources, transnational security, copyright, privatization, food autonomy, financial fluxes, drug patents, and so forth.

Preserving historical fabrics in Iran in comparison to western countries is a newly established endeavor. This concern grew in Europe from several years ago and synchronous to modernization of societies. Technological developments in the twentieth century, providing the possibility to generate multiple copies of artworks firstly heralded a new age, in which Art, previously available only to the elite, was taken and brought among the ruck.

In the 1960s and ’70s, politicization meant taking a position, establishing and following a political program, taking up armed struggle, putting one’s skills (including art) at the service of the revolution, fighting in the name of the horizon of state socialism, and acting in solidarity with anti-imperialist and decolonization struggles.

In recent years, in celebration of the Persian New Year, the Tehran Municipality and the Organization of Tehran Beautification have been organizing an annual spring urban art event comprised of art exhibits and installations in public spaces around the city. With each coming year the event has grown larger with a greater number of participating artists and encompassing a wider range of art forms...

Abstract A discerning trait of Persian painting, which differentiates it from the Western style of painting, is the irrefutable resemblance between the male and female figures. Persian painting is closely entwined with Persian poetry and therefore, the primary focus of this study are the illustrations accompanying poems which narrate Persian folklores in order to have portrayals of culturally well-known male and female figures. An attempt is made to compare and demonstrate the similarities between the studies done on Persian literature and metaphor, and the studies done on Persian art...

Nowrouz is the only festival that is still celebrated across the entire “Iranian World”; meaning the world that was once defined by the boundaries of the Iranian Empire and the land on which Iranian culture remains alive. The term “Iranian World” remaining from the late Iranian archaeologist Shahriar Adl (2) refers to a geographical region that covers today’s country of Iran as well as Afghanistan, Tajikistan, Uzbekistan and even parts of India and what was once known as the Ottoman Empire...

Born in 1936 to a prominent dynasty in the ancient city of Neyshapur, in the province of Khorasan, Iran. Iran Darroudi is a revered Iranian painter, director, writer, art critic and university professor. Her paternal family was among well-known merchants in the north-eastern province, while her maternal family were Caucasian merchants, who immigrated to Iran and settled in Mash-had after the Soviet Revolution.