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BADGUIR at Teer Art Fair



Sina Shiri | Mehdi Moradpour | Milad Gorgin
Maryam Rahmanian | Negar Yaghmaian

 © Kaveh Kazemi

Defiant Revolutionary from the Revolutionaries the first Decade series
Tehran, 12th February 1979, Analog photography, Dimensions variables
She is amongst the revolutionary forces occupying Tehran University a day after the victory of islamic Revolution in Iran led by Ayatollah Khomeini.

BADGUIR is pleased to participate in the 2nd edition of TEER ART fair and to present a selection of work by young photographers based inside and outside of Iran. The booth will feature series by Milad Gorgin (born 1981, Ahwaz), Mehdi Moradpour (born 1988, Qazvin), Maryam Rahmanian (born 1981, New Jersey), Sina Shiri (born 1991, Rasht), and Negar Yaghmaian (born 1984, Tehran). All under the age of 40, each artist addresses, through his or her own highly personal vocabulary, the complexities of our contemporary moment.

 © Milad Gorgin,  Ahwaz, 1983
Untitled from the Hanauskagasse series, Vienna, 2016
Analog photography, Fine art print, 50x60cm, Edition of 5 + 2 AP
Exhibited: IRAN PHOTO (inside & outside), Paris, 2019

Shot from the window of his ground floor apartment near Vienna Central Station, Milad Gorgin’s “Hanauskagasse” (2016) pictures the

startled faces of strangers passing by. The isolation of immigration and the tension of each unexpected encounter with the other is contained

by Gorgin’s simple white window pane, a metaphor for the camera’s searching lens.

© Mehdi Moradpour, Qazvin, 1988
Untitled from the Makran series, 2018
Analog photography, ChromaLuxe Metal print, 120x120cm, Edition of 3+AP
Exhibited: IRAN PHOTO (inside & outside), Paris, 2019

For “Makran” (2018), Mehdi Moradpour travels through the province of Sistan and Baluchistan, once known as Makran, one of the largest and most sparsely populated in Iran. His images capture the devastating ecological and social implications of the region’s intense drought, a natural disaster resulting from the destruction of the ecosystem and poor management of resources.

 ©  Maryam Rahmanian, New Jersey, 1981
Shadnaz from the Fashion Influencers series, Tehran, 2018
Diasec print, 60 x 90cm, Edition of 5 + 2 AP
Exhibited: IRAN PHOTO (inside & outside), Paris, 2019

The proud figures in Maryam Rahmanian’s “Fashion Influencers” (2018) are female leaders of fashion influence on the social network Instagram, for which Iran is the seventh largest market. Pictured inside their homes in Tehran, these elegant young women are framed by the sharp lines and bright palettes of designer clothes and accessories, preciously arranged on wood paneled dressers or marble floors.

© Sina Shiri, Rasht, 1991
Untitled from the No man’s land series, 2017
Analog photography, Anti-Reflective Diasec print, 50x60cm, Edition of 7+2AP
Exhibited: IRAN PHOTO, Paris, 2018

Sina Shiri’s “No Man’s Land” (2017) offers an intimate look at the faces that trace the highways between distant cities. As a photographer, he studies each visage, seeking the lines of its story. For Shiri, “it is the people that best express the nature of a road, and what it connects.”

© Negar Yaghmaian, Tehran, 1984
Untitled from the One day, I saw the sun set 44 times series, 2016
Diasec print, 50x75 cm, Edition of 3 + 1 AP
Exhibited: IRAN PHOTO (inside & outside), Paris, 2019

The lyric, black and white images of Negar Yaghmaian’s “One day, I saw the sun set 44 times” (2016) evoke the pain of separation, the sadness of a lover’s breakup. “Through this life experience that most everyone has lived,” Yaghmaian says, “I took refuge in photography, a therapy to soothe the void.”
The work of these young, contemporary photographers offers a nuanced vision of Iran, one that reveals the complex changes that the country has experienced over the last four decades, changes that have been, from time to time, in opposition with traditional religious values.

© Kaveh Kazemi
Gas Mask Drill in Iran fromthe Revolutionaries the first decade,
Tehran mosqe, 11thMay 1988, Analog photography, Dimensions variable

A group of women Basiji (mobilized volunteer forces) in a Tehran Mosque, learning to use gas masks in case of a chemical attack by Saddam Hussein’s Iraq.

Bearing witness to these changes, we are pleased to show a selection of photographs from BADGUIR Honored artist Kaveh Kazemi’s “Revolutionneries the first decade,” a series realized between late 1978 and 1989. Chronicling this tumultuous decade in Iranian contemporary history, Kazemi’s work considers the recurring imagery of Iranian society that underwent a total transformation with the Islamic revolution of 1979 and the loss of human life and grief that war imposed as a testimony to the devastating realities of war Iran and Iraq between 1980 and 1988. The images shown here are part of a substantial archive of black and white photographs that tell the tale of a very difficult time in the history of the region.

BADGUIR at Teer Art Fair
Stand Phone: +98 912 84 45 108

25-27 June 2019 from 15:00 to 21:00
28 June 2019 from 15:00 to 20:00

Charsou Complex, 6th floor, Tehran

Badguir Supported by Tehran Image Works