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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
Marwan
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
Siska
Soyeon Cho
Stéphanie Saade
Sudarshan Shetty
Thomas Schütte
Thukral & Tagra
Tomáš Libertíny

Shahroudy Farmanfarmaian Monir

Exhibits at Beirut Exhibition Center

Today she is a role model for many Iranian artists, but Monir Shahroudy Farmanfarmaian came to the international limelight only recently, in her late seventies. Stylistically, she is the only contemporary artist of the last 40 years to use the mirror-mosaic technique with Islamic geometric pattern and reverse-glass painting to create modernist artworks. She developed this distinct style in the late 1960s and 1970s, a result of her deep emotional ties with her country and her training in New York in the early 1950s, which sharpened rather than suppressed her sense of cultural identity.

 

Her three installations of mirror-mosaic panels reflect the colours of the Iranian national flag, a country to which she is spiritually and aesthetically attached. The Embracing Synthesis in green, symbol of harmony, represents the three forms of action: mental, physical and verbal. The Number of Material Order in red, represents stability and the physical world, the cardinal points and the four seasons. The centrepiece in white, Birds of Paradise, represents peace, clarity, the beginning and the end.

 

Farmanfarmaian has never fitted any classification, any art movement, or any school of thought. Her work, free from human tragedy, sentimentality and political statements, has a recognisable universal idiom. Hers is the journey of a passionate artist who has always admired the craftsmanship and geometric visual vocabulary of her country and who, in her persistent quest for new designs, creates and reinterprets ancient forms into modern artworks.

 
2017
2018
2017
No exhibitions for this year
2018
No exhibitions for this year

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