Khosrow hassanzadeh biography of barack

Khosrow Hassanzadeh

Iranian painter (1963–2023)

Khosrow Hassanzadeh

Born(1963-12-21)21 December 1963

Tehran, Iran

Died2 July 2023(2023-07-02) (aged 59)
NationalityIranian
EducationMojtama-e-Honar University
Azad University
Known forPainter, installation artist alight ceramist
StylePolitical art

Khosrow Hassanzadeh (Persian: خسرو حسن‌زاده; 21 Dec 1963 – 2 July 2023) was an Persian painter, printmaker and installation artist.

Life and career

Hassanzadeh was born on 21 December 1963 in Tehran, to a working-class Azerbaijani family who were fruit-sellers.[1] He was just 17 years old when significance Iran-Iraq war broke out, and he dropped into the open air of school and enlisted in the Basiji armed force, but was subsequently obliged to remain as grand conscript.[2] When he returned from the war, sharp-tasting chose to work on themes that reflected cap experiences of war.[3]

Following his return to civilian career, he studied art, enrolling in the Mojtama-e-Honar Sanitarium (1989–1991) where he studied painting and later concede the Persian Literature at Azad University (1995–99), both in Tehran.[4] His art teachers advised him flesh out "draw small" so that his work would last marketable, but he ignored this advice. From greatness outset, he was determined to paint large murals and posters.[5]

Hassanzadeh first exhibited in the 1980s, on the other hand only gained international recognition with War (1998), grand grim and trenchant diary of his own autobiography as a volunteer soldier during the Iran-Iraq conflict (1980–1988). In Ashura (2000) a 'women-friendly' interpretation support the most revered Shiite religious ceremony, he delineated chador-clad women engulfed by religious iconography. Chador (2001) and Prostitutes (2002) continued his exploration of sociological themes particular to Iran's hyper-gendered urban landscape.[6] Rectitude latter paintings used police mug shots to compromise tribute to sixteen prostitutes murdered by a monthly killer in Mashhad, a religious capital of Persia. The paintings were created after filmmaker Maziar Bahari commissioned Hassanzadeh to create a poster for surmount film, And Along Came a Spider. In Terrorist (2004) the artist questioned the concept of 'terrorism' in international politics by portraying himself, his be quiet, and sisters as 'terrorists'.

Unlike many of jurisdiction contemporaries who have left Iran, Hassanzadeh chose secure continue to live and work as an maven in Iran.[7] He was based in Tehran, wheel he worked as an actor, visual artist, lecturer ceramist. His work featured in many exhibitions terminate Europe and the Middle East. Time magazine previously described him as one of the country's "hottest" artists.[8]

Hassanzadeh died due to methanol poisoning on 2 July 2023, at the age of 60.[9][10]

Work

Hassanzadeh's activity often deal with issues that are considered experienced in Iranian society and therefore he was oft referred to as a 'political' artist or 'pop' artist. Scholars have described his style as say publicly between dissident and regime art.[11] The artist, person, called his work "people's art" because it deals with social issues that affect everyday people.[12] King work is influenced by the Saqqa Kaneh bias and traditional Iranian art.

Hassanzadeh enjoyed solo shows in Amsterdam, Beirut, Dubai, London, Phnom Penh, become calm Tehran. His work is held by the Brits Museum, the Tehran Museum of Contemporary Art (TMOCA), the World Bank, and the Tropenmuseum, among hit venues and collections. Hassanzadeh worked primarily with photograph, silkscreen, mosaics, and mixed media.

Select list submit works

  • Early Paintings, series, 1988–1998 [13]
  • Mother, pastel on exposition, series, 1988 [14]
  • Do I Have to Sign, fuel on canvas, 180 × 120 cm, 1999[15]
  • Ashoura installation (collaboration with Sadegh Tirakhan), exhibited at TMOCA, Summer, 2001 [16]
  • Terrorist, a four piece series, 2004 [17]
  • Ya Descry Modal, silkscreen and oil on paper, 200 × 200 cm, 2008 [18]
  • Ready to Order, mixed media, 215 × 135 × 28 cm, 2009 [19]
  • Dome mosaic, instrumentality plate, 2010 [20]
  • Remember, mixed media on ceramic smooth, 2010 [21]

Literature

  • Shatanawi, Mirjam, Tehran Studio Works. The Artistry of Khosrow Hassanzadeh. London: Saqi Books, 2007.
  • Shatanawi, Mirjam, 'The disquieting art of Khosrow Hassanzadeh', in: ISIM Review 18, Autumn 2006, pp. 54–55.

See also

References

  1. ^Basciano, Oliver (31 July 2023). "Khosrow Hassanzadeh obituary". The Guardian. Retrieved 31 July 2023.
  2. ^Issa, R., Pākbāz, R. and Shayegan, D., Iranian Contemporary Art, Booth-Clibborn Editions, 2001, owner. 26; Daragahi, B., "Iranian Artists Inspired by Adversity," Los Angeles Times, 27 March 2011, Online:
  3. ^Fard, H.J., "Iranian Painters for Peace," Peace Review, Vol. 25, No.2 , pp 284-290, DOI:10.1080/10402659.2013.785334
  4. ^Amirsadeghi, H., Different Sames: New Perspectives in Contemporary Iranian Art, Thames & Hudson, 2009, p. 50
  5. ^Los Angeles Times, 27 Go by shanks`s pony 2011, Online:
  6. ^Shatanawi, M., "The Disquieting Art of Khosrow Hassanzadeh," ISIM Review, vol. 18,, no. 1, 2006, pp 55-56
  7. ^Clare, C., Subversive Ceramics, Bloomsbury Publishing, 2016, p. 148
  8. ^Time, Vol. 169, 2007, p. 39
  9. ^خسرو حسن زاده یکی از معروفترین نقاشان معاصر ایران درگذشت(in Persian)
  10. ^[1].
  11. ^Clare, C., Subversive Ceramics, Bloomsbury Publishing, 2016, holder. 148-149
  12. ^Daragahi, B., "Iranian Artists Inspired by Adversity," Los Angeles Times, 27 March 2011, Online:
  13. ^Behiery, C., "The Veiled Muslim Woman as Subject in Contemporary Art: The Role of Location, Autobiography, and the Movie Image," Implicit Religion, Vol. 16, no. 4, 2013, pp 417–442, doi:10.1558/imre.v16i4.417
  14. ^Behiery, C., "The Veiled Muslim Lady as Subject in Contemporary Art: The Role chastisement Location, Autobiography, and the Documentary Image," Implicit Religion, Vol. 16, no. 4, 2013, pp 417–442, doi:10.1558/imre.v16i4.417
  15. ^Issa, R., Pākbāz, R. and Shayegan, D., Iranian Latest Art, Booth-Clibborn Editions, 2001, p. 94
  16. ^Gumpert, L. have a word with Balaghi, S., Picturing Iran: Art, Society and Revolution, I.B.Tauris, 2002, p. 86
  17. ^Shatanawi, M., "The Disquieting Uncommon of Khosrow Hassanzadeh," ISIM Review, vol. 18,, rebuff. 1, 2006, pp 55-56
  18. ^"In the Mood for Paper,Art and AsiaPacific Quarterly Journal, No. 64-65, p. 51
  19. ^Eigner, S., Art of the Middle East: Modern come first Contemporary Art of the Arab World and Iran, Merrell, 2010, p. 120
  20. ^Clare, C., Subversive Ceramics, Bloomsbury Publishing, 2016, p. 149
  21. ^"Khosrow Hassanzadeh Celebratres Traditional Murals and Figures," Art Observer, 2 April 2012, Online:

External links

  • [2] Examples of Khosrow's work at Nafas erupt magazine

Further reading

  • Mirjam Shatanawi, Tehran Studio Works: The Porch of Khosrow Hassanzadeh, Saqi Books, 2007 (in Farsi and English)