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Joyce Scott
Kendell Geers
Koen Vanmechelen
Massimo Lunardon
Ursula von Rydingsvard
Zhang Huan
Abir Karmakar
Andrea Salvador
Antonio Riello
Atelier Van Lieshout
Chafa Ghaddar
Charbel-Joseph H. Boutros
Chitra Ganesh
Chittrovanu Mazumdar
Daniele Genadry
El Ultimo Grito
Fred Wilson
Gigi Scaria
Hema Upadhyay
Hye Rim Lee
Jaber Alwan
Jaime Hayon
Jan Fabre
Jaume Plensa
Javier Pérez
Joost van Bleiswijk
Josepha Gasch-Muche
Justin Ponmany
Karen Kalou
Kiki van Eijk
Luke Jerram
Manjunath Kamath
Marta Klonowska
Marya Kazoun
Michael Joo
Mithu Sen
N Pushpamala
Nabil Nahas
Nathalie Harb
Navin Thomas
Omar Fakhoury
Parul Thacker
Pascal Hachem
Pieke Bergmans
Poonam Jain
Prabhakar Pachpute
Raed Yassine
Ravinder Reddy
Rima Maroun
Sakshi Gupta
Sergio Bovenga
Shibu Natesan
Silvano Rubino
Sirine Fattouh
Soyeon Cho
Stéphanie Saade
Sudarshan Shetty
Thomas Schütte
Thukral & Tagra
Tomáš Libertíny

Moshiri Farhad

Exhibits at Beirut Exhibition Center

Farhad Moshiri’s early paintings of monumental clay jars are impressive containers of desire and memory as well as eulogies on the simple pleasures of life. These were some of his earliest works to be exhibited outside Iran and led to his critical international success.


The series is a variation on the theme of a simple, stoneware vessel – the kind used for storing grain, rice, tea leaves, or cooling water – which is rendered in colours that he associates with particular words, sentences or memories. These include favourite drinks (such as Ab Anar Tazeh - fresh pomegranate juice); food (like Miveh va Tarehbar, fruits and vegetables, with mentions of sweet Isfahani melons, grapes from Shahroud, or pomegranates from Saveh, and the price in tomans); or traditional popular dishes (such as Kaleh Pache).


The jars look almost three-dimensional, overwritten with fluid shekasteh script that reflects a bygone culture. With their thick bodies, simple contours and unobtrusive coloured surfaces, these elegant vessels are inspired by the antique jars discovered on archaeological sites and resemble ancient Iranian pottery.


The surface of the paintings resembles crackled glaze, a texture reminiscent of thick coils of un-worked clay and old pieces from the monochrome ceramic tradition that flourished in ancient Iran. The use of plain bold colours in layers of different tones, the sheer simplicity of the form and the modesty of the words chosen, all reflect Moshiri’s early, minimal aesthetic.

No exhibitions for this year
No exhibitions for this year

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