What would a young, urban, sensitive artist feel about growing up in Iran? Yes, he or she would HATE the repression, hypocrisy and, worst of all, banality, of a cleric-run state in the modern world. And so one enters this exhibition confronted by the monumental image of a crumbling statue of some self-righteous Imam being fellatioed by a hot, pink babe. The current regime is not going to last very long—there’s too much pressure from an outside world that offers young people more appealing alternatives. But what, other than anger, contempt, despair and disgust can these young artists offer? Where is a vision for a new Persian man or woman in a new Persian world? The only positive qualities found here are vigor and humor—especially in the cartoonish painting of Siamak Filizadeh and the brightly painted, poignant caricature sculptures by Bita Fayyazi. It’s notable that both them are still living in Tehran. Unfortunately, the most enjoyable part of this exhibition is the Persian classical music being played within one of the video installations. For whatever reason, young, educated Iranians seem more connected to their great tradition in music instead of the visual arts. Although, we should keep in mind that these thirty-six artists are just the ones chosen by the Chelsea Art Museum in New York. (Chris Miller)
The Craft of Reparations: DePaul Art Museum Connects Local and International State Violence “Remaking the Exceptional: Tea, Torture, and Reparations | Chicago to Guantánamo” at the DePaul Art Museum examines the question of reparations by tackling two cases: the well-documented tragedy of Chicago police torture and the ongoing international scandal of Guantánamo Bay.
