NOUVELLE VAGUE ARTSPACES - SOTOGRANDE
JANET RADY FINE ART - LONDON
NAVA CONTEMPORARY - SAN FRANCISCO
MIDDLE EAST INSTITUTE - WASHINGTON DC
APRIL - JUNE 2020 & EXTENDED THRU 2021
Originally opening on March 30th and running through May 13th 2020 - before being extended and included to the Middle East Institute's Fall 2020 Group Exhibit in Washington DC - the 'Let's Get Lost ( Let Them Send Out Alarms ) 2.0' VR show is the result of a collaborative effort reuniting London based art dealer and curator Janet Rady - JRFA - and Spanish based cross-cultural contemporary art project Nouvelle Vague Artspaces - NVA - that went to incorporate San Francisco art advisory NAVA Contemporary to collaborate on the launch.
‘ In March 2020 I moved back into my Marbella workshop after six months in Morocco, where I had been sourcing and producing the ‘Banners of the Unbanished’ monumental installation for the 1-54 African Art fair that successfully opened in February. A few days in, the world went into a lockdown. I decided to enforce the lockdown rule to the letter and only use media I had inside the workshop, at hand. Cutting off from outside supplies, I reflected on Rem Koolhaas’s idea of ‘Junkspace’ , a concept I had previously juggled with for my first London solo show at Mews 42 Gallery, down in 2013. I here worked around a monochromatic palette reusing recuperated furniture fabric, transforming my post-tribal lost forms into new forms - in order to express sentiment of confinement. The feeling of the outside from the inside. The freedom of inner vitality so present in all Persian poetry that ultimately also turned into the creation of a poetic soundscape ‘ The Strange Death of The Future’. The title of the exhibition is taken from a Chet Baker track I had on as I was working, it threw me back to the 1988 "Let's Get Lost" black and white film by photographer Bruce Weber - that I have always loved - documenting Chet Baker’s last days on earth. It expresses an idea of the internal voyage, where true creative freedom always lies’
The show also includes works from previous collections.
Totem VII Part I
LOST FORM 3
LOST FORM 2
MEMORANDUM OF THE UNKNOWN PATH
THEATRE ROYAL DE MARRAKECH
1-54 ART FAIR 2020 PUBLIC PROGRAM
FEB - MARCH 2020
WE R THE NOMADS AGENCY
WITH SUPPORT OF FLORA FAMILY FOUNDATION
MAGIC OF PERSIA FOUNDATION
'BANNERS OF THE UNBANISHED'
INSTALLATION NOMINATED TO
JAMEEL PRIZE 2021
INCLUDING PROJECTION OF TALKHIMT TADOUNIT
FIROUZ FARMANFARMAIAN FILM I MUSIC BY FORRM
¨Memorandum of the Unknown Path triggers the necessary question of a return to the source. If ecology of the planet is the restoration of a natural world order, then ecology of the spirit is a restoration of a link to our millenary archaic selves. It stems from an urge to create a Wagnerian ‘Gesamtkunstwerk’, a total work of art. To illuminate unseen stories, traces, through a Tolstoyan sense of time, weaving its wheels. Unwinding into unknown paths, tribal entanglement knotting Moroccan and Persian millenary cultures in a sufi-like dance of sacred fabrics and post-tribal symbols sourced in-between the Atlas mountains and the Sahara desert. To use air and space, shadow and light, sound and movement to free an ensemble of imaginary banners under the iconic dome of the Royal Theatre of Marrakech. A site specific intervention mirroring Berber and Persian Bakhtiari cosmogonies held together by the baraka of raw camel wool, nomad tent elements turned into work of art. A circle of contemplation and meditation, a haven where different cultures can meet and reflect.
As in recent explorations into post-tribalism such as in Poetry of the Tribe ( Salomon Arts & Leonard Tourné Gallery - Tribeca, NYC / Oct-Nov 2018 ) and into the idea of Trace with Permanence of Trace ( We R the Nomads & Space 50 - Chelsea, London / March - May 2019 ), Memorandum of the Unknown Path works to build on a universal nomadic quality. Not unlike works of Corean artist Kimsooja or Colombian artist Oscar Murillo it attends to cross cultural thematics such as identity, memory and exile. The exhibition presents itself as a synthesis with a look set upon the uncertain path forward. The balance between archaic spirit and tech-age philosophies. The juncture of cultures crossing and creating new tribes. The unicity of our planet. Contemporary revolutions. "
UD Magazine Profile by Cheryl Gatward
Installation views courtesy of Adnane Zemmama / 1-54 Art Fair
& Rana Rezapour
PERMANENCE OF TRACE
WE R THE NOMADS & SPACE@50
LONDON MARCH-MAY 2019
¨Appropriating and reinventing a ritual grammar drawn in the mythological signs and traditional crafts of the North African Amazigh tribal fabric, FarmanFarmaian’s Talisman panels' create space for an imaginary cartography, a new cosmogony. Fibulas, crosses, rafters... These millenary sacred patterns of femininity, fertility, abundance or protection obstinately imprint themselves as living traces. Traces continuously renewed and endless".
Sophie Abou Chahine
Banners of the Unbanished
Install View Artist
Install Detail 2
SYRA ARTS I WASHINGTON DC
OCT- NOV 2018
'The Natural World has been central to my work from the very beginning. I have developed a meditative / contemplative relationship towards the natural elements that I have tried to translate here on paper.'
POETRY OF THE TRIBE
SALOMON ARTS GALLERY NYC
LEONARD TOURNE GALLERY NYC
NEW JERSEY CITY I APRIL - SEPT 2019
Acclaimed writer and essayist Cyrus Bozorgmehr said of the exhibition, “Firouz Farman Farmaian’s meta reflection on the abstraction of tribalism takes us beyond family and landscape to channel the evolving rhythms of identity. Deconstructing memory and archetype, ‘Poetry of the Tribe’ is a vividly elusive series of visions – where monumentality shimmers through an intangible prism and totems tower within a collective consciousness rather than an earthly temple.“Tribalism is a realm of ferocious beauty, of ancestral longing, and ultimately - of love itself. No matter how efficient our superegos become, the visceral drive to weave ourselves into a timeless tapestry of loyalty,custom and symbol beats eternal.”
170x170cm Plastic Paint & Oil Pastel on Canvas
Totem VIII Part II
Totem VIII Part I
Totem VII Panel II
Totem 7 Part I
ORGANIC ABSTRACTION ( CHAPEL SERIES )
RESIDENCY, EXHIBIT & INSTALL
FABIEN FRYNS FINE ARTS
THE CHAPEL I SALUCCI HOUSE
'The Chapel Series plant the last development of my Abstract Organic phase. A progression debuted in a Finnish retreat circa 2015 with the NatureScapes series, continued in Spain in the winter of 2017-2018 in Fabien Fryns’s Chapel residency program in the rolling hills of the Paraladé domains, in Andalucia. They invoke an intensifying connection to the natural world I call organic abstraction'.
NOMADIC DISPLACEMENT ( TRACES )
EXHIBIT & SITE SPECIFIC INSTALLATION
MUSEE DE MARRAKECH
SEPT - NOV 2017
'Firouz Farman-Farmaian questions the idea of identity in the face of change as well as the intricate substance of memory. Remembrance as a fragile and obstinate posture in front of the forces of time, bringing up questions related to origin, of the trace and of the specificity of the traveled paths.
To contemplate identity and its multiple origins playing with a palette of different perspectives, binding, tying, weaving the rapport of the artist with a Morocco felt like a land of exile and asylum since the Iranian Islamic revolution of 1979. A mirroring interplay in between North Africa and Persian heritage, a silk road where we meet the reflection of a Kurdish great grandmother, incarnated mirage in the luminous dust of Berber tribal culture.
An invitation that makes it suddenly possible to meet moving shadows, women in their absent presence… Women that become wool and wool that become women, both motionless, weightless and imposing.'
Sophie Abou Chahine.
GALERIE GOLAN ROUZKHOSH
HAMBURG I FEB-SEPT 2017
'The spiritual and material worlds are never in opposition to one another in FarmanFarmaian's paintings. This is why I see in his artworks the outburst of a shamanic and iconoclast spirit. With his array of colors, his tremendous freedom and visceral energy Firouz FarmanFarmaian drives his viewer to experiment an astounding return to the beginning of life, of light, of movement'.
Dr. Jean-Baptiste Chantoiseau
Editor of the Musée Rodin
Alcuzcuz Panel I
265 x 240 cm 2018
Alcuzcuz Panel II
SUMMER AT THE CASPIAN
SHIRIN GALLERY NY
NYC I OCT- DEC 2016
NIAVARAN CENTER - TEHRAN
JAMM GALLERY - DUBAI
' In the Summer At The Caspian series, I worked on the forging of personal mythologies. Nostalgia of an unknown, or better said, of what was not to be known. Pre-revolution Iran and its contingencies, here brought to a personal family-related level, exploring the pre and post emotions of exile and its relation to memory and future.'
SEASONS OF THE LAND
JANET RADY FINE ARTS, LONDON
ROYA KHADJAVI NYC
GALERIA MAIOR, MALLORCA.
' I returned to paper studies using pastel, aquarelle, gouache and crayon, researching new linearities inspired by movement and geology. I progressed back onto canvas introducing large Sennelier oil sticks and specially scouted Moroccan pigments. The effort has translated into a growing body of work including recent series such as Organics, Oceanic Asphalts or Seasons of the Land'
DARK SIDE OF THE MASSES INSTALLATION
LOS BARRIOS CULTURAL CENTER
BARBATE CULTURAL CENTER
CADIZ REGION, SPAIN I MAY-AUG 2016
' The Dark Side of the Masses installation is an emotional + rational post-traumatic reaction to the November 2015 Paris Bataclan attacks. The Installation affirms itself as a full stop in the ongoing movement that characterises my action. The underlying thematics explore the excesses of materialism, and the void left wide open for the rises of sectarian spiritualisms and backward nationalisms.'
GALERIE GOLAN ROUZKHOSH
PARIS OCT-NOV 2015
MUSEE DE MARRAKECH
MARRAKECH JAN-MARCH 2016
"Retroprojection as a work on identity, loops back towards my subjective comprehension of historic images from Iran, tracing me back to the lost last years of Qajar rule, and in the process, grasping dying images floating halfway between childhood imagination and archival reality".
BLUE TAXI TO PARADISE
INSTALLATION, VIDEO INSTALL & EXHIBIT
NANDO ARGUELLES ART PROJECTS
SOTOGRANDE, SPAIN I 2015
LOS ANGELES I 2015-2016
"Blue Taxi To Paradise is what I found to be a chromoclast abstract approach to color blue. I chose to stage it as an installation favoring confrontations between mediums and dimensions, embedding it into my ongoing rapport-action-reaction to the vibrancy of solar light, the force of the natural elements and my idea of sub-structural layered architectonics."
NY, DENVER, SEATTLE I 2015-2017
PALMA DE MALLORCA I MAY-JULY 2016
HELSINKI I 2015 - 2020
The influence of my early years as an architecture student in Paris and the tutelage of my grand-father, Iranian architect Abdol-Aziz FarmanFarmaian have translated into my work dually, via a spacial approach and an intricate approach. What I call intricate is a technique I have developed through the years that takes its roots in the act of layering. I see it like a pile of painted interwoven structural studies layered into one, confronting the chaos of the outside world ( the natural world ).
GALERIE GOLAN ROUZKHOSH
PARIS I MAY-JUNE 2014
PARIS I JULY-OCT 2014
ANTONIO BANDERAS FOUNDATION
SPAIN I 2019
"Firouz Farman-Farmaian presents momentary meditations on the visible energy and motion of the natural world. Each painting is an instinctive moment of emotional and intellectual energy. Flowing through the synapses and the fractals of consciousness, they unfold into a dialogue with nature and on into lyrical reflection. These are not descriptions. They are not representations. They are snapshots from elusive experience; raw and fleeting, of something ending, something beginning."
Zahra Faridany-Akhavan PhD.
MEWS 42 GALLERY
LONDON I MAY-JUNE 2013
'If space junk is the human débris that litters the universe, Junkspace is the residue mankind leaves on the planet. The built product of modernization is Junkspace. Junkspace is what remains after modernization has run its course, or more precisely, what coagulates when modernization is in progress, its fallout '
Rem Koolhaas, Junkspace.