Short Reviews

on Iranian

Contemporary Art

Exhibition Review

نمايشگاه خیابان‌های تهران هنرمند امین معظمی گالرى اُ

Streets of Tehran

 Ameen Moazami’s paintings, as are clear by the title, depict the streets and urban nature of Tehran. They are sometimes about the urban landscapes and well-known places such as passages, buildings, and specific structures, religious places, and cemeteries, and sometimes about documenting some parts of the space and a small part of the details of streets or alleys. The works in this exhibition are painted in various sizes and frames, with two different materials: oil paint on canvas and watercolor on cardboard.

The aesthetic he follows covers a wide range of subjects and his definition of Tehran is very broad for the audience. His work can be interpreted in different ways, such as wide perspectives along with closed ones, or night along the day, and in general, a process of documenting a city. Such kind of documenting sometimes goes beyond the documentary, and that is where the story begins; the walls of a usual house’s yard in the middle of a city, aged 30 or 40, at the end of a dead-end alley. A written fabric in black is installed above the entrance door and a covered car is there in front of the wall. Despite the signs of death and cessation of life, time is still passing in this image.

Using the strikes of the brush in the context of work and instant visual perception of a scene gives him the possibility to include the moment and passage of time in his work, besides his sense of visual curiosity. Most of the works in this exhibition are painted with oil, but the ones that have been painted with watercolor on cardboard, carry an intimacy and potential that distinguish their illusion and fantasy.

His paintings create a common memory with the residents and people familiar with the city and narrate it to those who do not know Tehran. In most of his works, he shows Tehran exaggerated and attractive, and the audience rarely sees any trace of pollution and ugliness from Tehran in these works; like the one from Resalat tunnel’s entrance where you can see no dirt on its walls and no smoky air there in this urban tunnel.

Although we find the artist’s obsession with naturalism in these works, this obsession has been used freely, which is somehow a relatively successful experience.