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Ali Faramarzi: Painting before the audience, a pleasant art event Ali Faramarzi: Painting before the audience, a pleasant art event Tehran, September 17, 2006 Artistic activity in front of the audience is a pleasant event in the field of the visual arts of the country and in the light of such valuable movements; the art of paintings gradually takes another color and gets an independent stand among people. Ali Faramarzi in an interview with Mehr reporter, about his motive to set up a training painting workshop in the open space of Tehran Contemporary Art Museum said: “In fact, this was done at the request of Tehran Contemporary Art Museum and I drew a picture with the theme of native architecture in the workshop. Of course during the creation of the work, I inspired by the architecture of the Museum – which is based on architecture of desert- city elements and surrounding area too.” He added: “This work is depicted in a sort of postmodern framework. In fact Genesis is a symbol of human that could reach to eternity through using creativity and detection of inner secrets. It took six sessions in a workshop format to complete this work. However, painting in front of the audience was a new experience that I found in this workshop and felt that the audiences were satisfied with this type of visual and close contact too.” Faramarzi asserted: “I think that artistic activity in front of viewers could be considered a pleasant event in the field of the visual arts of the country, especially when such activities expand increasingly. As with such valuable activities, the art of paintings gradually takes another color and gets an independent stand among people. Of course in 1980, I accompanied with artists like Iraj Eskandari and Shidel, set up the first training painting workshop in Tehran Contemporary Art Museum that was welcomed by then audiences too.” The training painting workshop was set up under the supervision of Ali Faramarzi in the open space of Tehran Contemporary Art Museum for six days and fans could visit the created works of this workshop in the Museum.

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Convention of visual artists for Lebanon and Palestine Convention of visual artists for Lebanon and Palestine Tehran, August 9 2006, 12:24 PM One day workshop of visual arts with the presence of the Head of the art center institute, Head of the visual art center and some of artists and experts in the art field was held in the center of the artistic creation of the institute for the intellectual development of children and young adults yesterday morning. This meeting was held in the center of artistic creation of the artistic creation of the institute for the intellectual development of children and young adults from 9:00 in the morning and artists started their job by Palestine and Lebanon theme in this workshop. Report MN Photos of Lebanon war by Reza Borji and Majid Kalhor were desplayed just at the entrance of training workshop. Ravage and massacre were the dominant motive of these photographers. Some of the visual artists such as Ali Faramarzi,Naser Araste, Taha Heidari and Mohammad Eskandari were busy painting in the workshop. “I present this work on the occasion of war in south Lebanon and believe that holding this kind of workshops is useful in some ways. First, our cultural and artistic class expressed a suitable reaction to war and proved that they are united. Our gathering in one day has led to our familiarity with each other and our activities. Meanwhile every artist could see other styles and contact with it”. Painter and chief of Faramarzi Gallery, Mr Ali Faramarzi said after finishing his work, adding “Today’s artists gathering will led to our deeper presence in important social issues. Today statesmen threaten the world to war and this treat is serious. So, the words of cultural and artistic class of society through unity could have an influence on war hawks”. In the middle of convention salon, there was a big table that famous caricaturists who their names and cartoons are always seen on the press, were working. Bahram Azimi, Bahram Arjomandnia, and Head of cartoon house Masood Shojaee Tabatabaee were among them. “I hope that there is no such a war in the world that makes us to work on this theme. Artistic work on this item is probably very painful for us. Despite we decided to exhibit the works of all of the artists and out the profit of their sale, help the children of Palestine and Lebanon.” Showing his work, Bahram Azimi, expressed. “As a matter of fact, Caricature is more eloquent in comparison with other visual arts and has a wider addressee. Anyway it is not possible to see a cartoon from artistic point of view and you should draw it by a social viewpoint.” said In response to this question that how much cartoon as a visual language could be effective in showing social pains. I said goodbye to Azimi and walk around. All of the caricaturists around the table were drawing. Most of them finished their works and delivered them. Smiles of satisfaction are seen on their faces. I see Reza Borji in convention salon, approaching me and asked with a special honor whether I saw the Photos, and I assure him that I saw his photos. In another corner of the salon, there is a table that its artists are little children. They picture the Lebanon and Palestine war based on their mentality and childish joy. Fateme Bahreini is another artist who draws a picture with the theme of Palestine. In this work, there is a cradle that is surrounded by blood, fire and barbed wire. Inside cradle, there is an infant with a milk bottle that instead of milk contains blood. The artist explains that this Palestinian child toils from the very beginning of his birth. I walk around the convention salon and see the works until 7:30.TV&Radio Media Cameras were seen and prepare report from the workshop alive. To this time, twenty works of these artists were bought by organizations such as Tehran mayoralty, Red Crescent and Red Cross. One day convention workshop of visual artists with the title of “resistant art” concluded in the center of the artistic creation of the institute for the intellectual development of children and young adults Last night.

http://mehrnews.com/fa/NewsDetail.aspx?NewsID=364468

July - August 2006 Everyday, the painting workshop is held around the open space of Tehran contemporary art museum, Report MN. These workshops start from 18:00 and artists create a piece of art work in front of interested people. In the first part of these workshops, started from July 9 to August 3, Ali zakeri, Ali Nedaii, Naser Araste, Ahmad Vakili, Shahla Armin, Habib Tohidi and Jafar Najibi will be hosting and from Wednesday, August 2 to Monday August 7, Ali Faramarzi and Mehrdad Moheb Ali will be providing another workshop. These workshops reportedly continue and their schedule will be announced step by step by contemporary art museum.

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“Movie actors say their words to authorities by their guild and defend their rights. The reason for Iran artist’s guild is to defend rights of visual artist’s guild as well”. Artist and Faramarzi gallery chief, Ali Faramarzi said about cancellation of the bill (to allocate half a percent of operational budget of administration offices for buying Artistic works). “The reason for the existence of Tehran Expo is based on the ‘half a percent’ bill and Expo one developed on this base too. Unfortunately, there are no local buyers and basically anyone who could afford to buy in the field of artistic works and art economy could not be dependent on private sector.” He added, “I think that cultural commission of Majlis should approve a measure to allocate some budget for buying artistic works. In Expo one, Majlis president, Dr, Hadad Hadel told that he tried hard to put forward ‘one percent’ bill instead of ‘half a percent’ bill in expediency council and we-artists and gallery owners-expect to put forward this bill in Majlis again.” Then Faramarzi said: “why do artists and gallery owners not protest against cancellation of this bill? Because religious guidance Ministry pays some of expenses of the artist’s house and members of the house do not want to lose this money. Meanwhile, Movie artists with their guild could say their words to authorities and defend their rights effectively, visual artists fail.” He concluded. “A number of artists such as Parviz Kalantari, Farah Osoli and Faride Lashai expressed their objection to cancellation of ‘half a percent’ bill, but majority of artists remained silent. The reason for Iran artists club is to defend artist guild and when an artist is not able to defend his artistic rights, how could he blossom the art?”

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July 24 2006, 15:45 Report IRNA News Group The chief of visual arts center had a session with gallery owners of Tehran to discuss with them about holding the second Tehran Expoart. Habib Sadeghi said that Saba complex would provide enough space for gallery owners to set up their art sale exhibition in February. The secretary of previous art expo and owner of Faramarzi gallery, Ali Faramarzi on behalf of gallery owners said that when we did not have customers, setting up exhibitions is a waste of time and money. Earlier, the ex-chief had had a session with gallery owners but due to cancellation of “half a percent” bill, that session concluded without result. As it turns out, the issue of this “half a percent” is not clear yet but Sadeghi promised to see the MPs and convince them in this regard

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By Paris Tanzifi A glance at the collection of Ali Faramarzi’s drawings Yearning for return Monday July 17 2006 by Paris Tanzifi When the signs and symbols coded and formatted properly in a semiology system, precise reading and decoding would be done and decoder is able to understand the concept accurately. But, there are signs and semiology systems that are not so precise and their decoding are difficult and with high error index. Drawing is one of those semiology systems that is as old as human and earth birth. In spite of that, these signs have the power to provoke viewer’s mind and impose their theme into long term memory of viewer who tries to decode them. Such an effect survives drawing through time and involves so many drawers. Ali Faramarzi is one of them whose drawings are a way to express him. His mind exists between layers of signs of his drawings and his being survived due to this idea. Farmarzi’s drawings are drawn on paper by conte crayon and displays country scenes, woodlands and cottages. These views in the mind of an artist, who lives in a super city like Tehran, would develop an impression of his ethnical and eternal memories. And the artist with their drawings expresses a kind of “Yearning for return.” “Yearning for return ” is an old concept in the spiritual education of the artist ancestral land and with spread of monotheistic and Abrahimi religions in his ancestral lands, became more colorful . Adam and Eva were the first humans that lived in the heaven, but because of their fault were descended into earth. Return to heaven is a wish that with this story has permeated into culture of artist and enliven it. According to these teachings, heaven is more like a garden full of trees. So the idea of garden and tree becomes very prominent in Iranian art and culture. The images of garden and tree have permeated in all layers of Iranian lives and stretch from birth to death. Contemporary Iran still keeps image of garden in the form of carpet patterns against invasion of modernization and its symbols. Image of garden creates a holy effect against the very own garden. This image is an ideal one that nobody can reach it. The pattern of the garden on a carpet is more perfect than the real garden. An inaccessible dream of a garden that reminds human of heaven yearning. Heaven is so perfect that simply induces wistfulness in humans and calls them. Drawings of cottages, trees and woodland in comparison with real ones present a perfect truth of imperfect reality of these places and ended with the account of human heaven. Faramarzi in his drawings depicts his dream of heaven with images of trees, woodland and cottages and shouted the yearning for return to heaven which is a sign of aggravation of return dream in this artist. When human is in sorrow and suffering and loses the power to change the situation “yearning for return” reinforces. Because, as long as he thinks he is able to change the situation, takes his chance to change it and return to previous situation is senseless. A person, who has a clear prospect, builds his utopia based on what he has been deprived of. Therefore he loses his motive to return to what inscribed in his ethnical and eternal culture. So Faramarzi’s drawings without saying anything of social problems and without involving in presenting social dirt, display the extremity of its upset and pains. These drawings show that the artist and his society are in extreme sorrow and suffering and have lost their motive, so through wrapping in a cocoon of psychic balance, strive to the dream of yearning for return. Tough texture of drawings is another sign of sensational expression of this situation. Drawers and artists convey a concept through using different textures of various things in the picture and feed their picture with new sensation through this feature. The special melody of light and shadow that makes the texture visible is beyond our visual resolution and means bulking of the colors shadow in any kind of visual regulations. Special weight of light and shadow is a kind of premium sensational motive and could be understood only in constructional conformity with other materialistic sensations. Viewer of a work not only sees its lightness and darkness, but also experiences a quality of softness, coldness, roughness and silence and gets help from visual and tactile experiences at the same time to decode it. Tough textures of Faramarzi’s drawings leads to creation of a tough space and in combination with one-hue space of drawings whose gray domain has been obliterated to the extreme possibility and only white and black color tones are used to represent heaven, displays extreme toughness and hatred around the artist. An artistic work is a reflection of artist’s feeling about his environment and its direction is determined by the vast function of artist’s ecologic society. Necessity of the discharge of the social pressures and its sensational result in society could bring an artist to the extreme passiveness. Although Faramarzi expresses his hatred from terrible condition of the society in his drawings through displaying garden, tree and country sceneries, discloses a dream that its realization is impossible. Therefore he creates a situation that could not escape from it. Such a contact with the subject of drawing shows the serious condition of artist’s life and reveals its deep impact on him. Now the artist is the voice of society’s wish and what unsettle the balance of society emerges against the dream again. This image emerges from artist’s unconsciousness and he could not resist it. So this image becomes the central role in artist’s works. The dream of returning to heaven plays the role of the ballast and if its function disrupts by artistic expression, the balance of artist’s society will be unsettled. To prevent the destruction of this unstable balance, the artist expresses its necessity in his works unintentionally and knows that if it happens, he could get out of eternal memories and tell his memories of civil life.

Ali Faramarzi: Artist club should defend guild rights of visual artists. Saturday, July 24, 2006 Ali Faramarzi: Artists’ club should defend guild rights of visual artists. The reason for Iran artists club is to defend artist guild. Movie actors say their words to authorities by their guild and defend their rights. The reason for Iran artist’s guild is to defend rights of visual artist’s guild too. Artist and manager of Faramarzi gallery,Ali Faramarzi about the cancellation of allocation of half a percent of operational budget of administrational offices for buying artistic works said: “ The reason for Tehran Expo is based on the “half a percent” bill and Expo one developed on this base too. Unfortunately, there are no local buyers and basically anyone who could afford to buy in the field of artistic works and art economy could not be dependent on private sector.” He added, “I think that cultural commission of Majlis should approve a measure to allocate some budget for buying artistic works. In Expo one, Majlis president, Dr, Hadad Hadel told that he tried hard to put forward “one percent” bill instead of “half a percent bill” in the Expediency council and we-artists and gallery owners-expect to put forward this bill in Majlis again”. Then Faramarzi said:” why do artists and gallery owners not protest against cancellation of this bill? Because religious guidance Ministry pays some of expenses of the artist’s house and members of the house do not want to lose this money. Meanwhile, Movie artists with their guild could say their words to authorities and defend their rights effectively, visual artists fail.” He concluded. “A number of artists such as Parviz Kalantari, Farah Osoli and Faride Lashai expressed their objection to cancellation of half a percent bill, but majority of artists remained silent. The reason for Iran artists club is to defend artist guild and when an artist is not able to defend his artistic rights, how could he blossom the art?”

http://www.hamvatansalam.com/news63697.html

Ali Faramarzi in an interview with Mehrnews Tehran, July 15, 2006, 11:26 Artists’ club should defend guild rights of visual artists. The reason for Iran artists club is to defend artist guild. Movie actors say their words to authorities by their guild and defend their rights. The reason for Iran artist’s guild is to defend rights of visual artist’s guild too. Artist and manager of Faramarzi gallery,Ali Faramarzi about the cancellation of allocation of half a percent of operational budget of administrational offices for buying artistic works said: “ The reason for Tehran Expo is based on the “half a percent” bill and Expo one developed on this base too. Unfortunately, there are no local buyers and basically anyone who could afford to buy in the field of artistic works and art economy could not be dependent on private sector.” He added, “I think that cultural commission of Majlis should approve a measure to allocate some budget for buying artistic works. In Expo one, Majlis president, Dr, Hadad Hadel told that he tried hard to put forward “one percent” bill instead of “half a percent bill” in the Expediency council and we-artists and gallery owners-expect to put forward this bill in Majlis again”. Then Faramarzi said:” why do artists and gallery owners not protest against cancellation of this bill? Because religious guidance Ministry pays some of expenses of the artist’s house and members of the house do not want to lose this money. Meanwhile, Movie artists with their guild could say their words to authorities and defend their rights effectively, visual artists fail.” He concluded. “A number of artists such as Parviz Kalantari, Farah Osoli and Faride Lashai expressed their objection to cancellation of half a percent bill, but majority of artists remained silent. The reason for Iran artists club is to defend artist guild and when an artist is not able to defend his artistic rights, how could he blossom the art?”

http://www.mehrnews.com/fa/NewsDetail.aspx?NewsID=352058

By B. Abdullahi: Biennials wondering for an empty wall Unavailability of a suitable place for holding artistic biennials. Report Iran Cultural group Whereas authorities of Tehran painting and caricature biennial are preparing to organize these two important visual artistic events in the second half of the year, a big obstacle has developed in front of them. A problem named “lack of place for holding”. The story began when the authorities of Tehran contemporary art museum – where the biennials held before – announced that the museum would only display museum items. So organizers of biennials such as “6th international Tehran biennial caricature” and “6th contemporary Iran paintings biennial” tried to find a new place to exhibit the works, but their effort had no solution yet. Other biennials are in foggy outlook, spend days, hoping to find some light too. The first question in this regard is that if the decision of contemporary art museum authorities is right. “I think they are right, as it is not the duty of a museum to hold biennials and it should not been done from the beginning to develop such an expectation from a museum.” Said the gallery owner, Leila Golestan in reply to this question ,adding” “Of course, a substitute place should be anticipitated before a biennial such as ‘paintings biennial’.” “Ask the museum. But in my opinion, no biennials are held in the museums all over the world. You may say ‘we must do that’, but a saloon with enough space should be erected for biennials. It seems that administrators overlooked that and on the other hand they did not know that during the last ten years our visual arts would expand so much. So they leave other places and just look at ‘contemporary art museum’” answered, Aidin Aghdashlo to same question ,adding: “Of course, it is not late yet and we must think about the future. It is possible to erect a saloon and specify it for such an occasion, just like other places in the world.” I asked her, concerning the situation what you suggest for holding suspended biennials. She answered: “We must do as they did in Venice biennial. Besides the main salon, we have to allocate other salons in the city, until the main salon erects”. Ali Faramarzi, painter and drawer believes that: “The art museum has done a great favor to visual art community whether intentionally or unintentionally, as our community must gain independence someday and gets out of museum umbrella. By this chance, visual artists could check and find their capabilities and possibilities.” “there is something that should not be forgotten. It is the creation of an art work that is hard not its exhibition. So in any place that a panel or wall could be found, an artistic work could be displayed.” He added. I asked him about the solutions to this problem. “I suggest that two clubs of painters and caricaturists exhibit their works together and ask artists to resolve this problem by empathy and unity.” answered Faramarzi. It is said that works of caricature biennial are due to exhibit in Saba artistic and cultural complex. Also the secretary of the biennial expressed his interest to exhibit these works there, but apparently nothing special has happened in this regard. The secretary of caricature biennial, Faez Alidoosty who did not managed to take their assent says that the biennial will probably be held in Niavaran Farhangsara .About the new policy of contemporary art museum, she believes that: “the reasons of contemporary art museum are logical and acceptable, but there must be a substitute for that place and it is the duty of authorities of guidance ministry to resolve this problem”. She added: “Biennials bring image and esteem for country art, so organizers of biennials should not think about minor issues such as finding some place, but spend their energy and time on holding this event the more the better”. With regard to simultaneous holding of caricature and painting biennials, Alidoosty said: “Because of huge number of works in two biennials, lack of suitable space even for one biennial and difference in size of caricature and painting works, practically this is not possible”. Painter and secretary of the 6th painting biennial, Farah osooly with regard to not holding biennials in contemporary art museum said: “We have only one contemporary art museum that must work in its field, so holding six different biennials in a year, will take the museum out of its main duty”. He added: “Although we and museum have an understanding about this issue, lack of a place for holding painting biennial suffers us. On the other hand, no place has been erected for holding biennials and due to the large size of paintings, they could not presented in an open or unsafe space”. Osooli noted that now it has been realized that there is no place in Tehran for biennials. “Saba complex which is affiliated to art cultural institution has not accepted us and seems not to be interested in holding biennials. They reason that they are not collaborated in organizing biennials. It is reasonable but do not resolve our problem”. She said and then emphasized that: “It is heard that biennials would be stopped if there was not a suitable place”. “Art cultural institution as the owner of Saba complex must cooperate in holding painting biennial, because there is no destructive competition between them” said Leila Golestan in this regard. Regarding the emerging problem between contemporary art museum and biennial organizers, supervisor of the museum, Alireza Sami’azar said: “I am also shared in this trouble with art community. Besides I as the official person in charge of visual art center feel a great responsibility, but the truth is that during the last decades, the most prominent job that the government did to support art and artists –except for a few measures to present Iran to the world –was holding biennials. This was an opportunity to evaluate artists’ performances and their achievements and at the same time provide the honor of innovation and glorious improvements”. He added: “I think that as some biennials are in suspension; this very opportunity is at risk too. We do our best to hold biennials in a proper place in a proper time and now the best choice is to confer with organizations that have suitable places for biennials. Meanwhile, the guidance ministry is determined to erect a building, named “National center of Iran Art Exhibitions” which its place is between contemporary art museum and carpet museum”. He emphasized: “Design and architecture of this center will be done soon and of course this project like any other one needs hard work and stability in cultural field. But I am pessimistic that current problem will not last in the coming years”.

A glance at the new collection of Ali Faramarzi’s works by the theme of desert A glance at the new collection of Ali Faramarzi’s works by the theme of desert The painter of life is in desert. You go to desert and look at it for years, solid with plain lines. The Sun shines on sand grains and exceptional hue of “Ocher” or yellow desert ascend from it. The beauty of desert is in simplicity. What Zen masters say about perfection and simplicity is epitomized in the desert. No solid line separates hills from even and consistent surface of desert. The strong contrast of light and shadow is seen from everywhere. There is no hue. In desert even grasses are yellow. Everything is in harmony, as if the earth is in prostration to greatness of Sun, reflects only its shining and There are desert, azure sun and white cotton like clouds in between earth and sky. A triad composition of white, blue and yellow ocher: the main colors of the life in the land of honesty and simplicity, in the sincere heart of desert. Colors Colors bear symbols with themselves. Green color means life, means spirit. Desert sees green color for a short time. Among newly blown green grasses in desert spring, this is the turquoise color that sits on top of mosque domes. As if it bestows a earthen garden to the sky, and other houses, dome like ceilings and cradle of the desert turn themselves khaki in respect of blue sky, like the very heart of the desert in order that the dome of the masque shines well. Now this is the whiteness of the light and darkness of the shadow. In the desert, the warmness comes out of the light and whiteness, calmness and quietness come out of shadow, like water that permeates out of the shadow side of a cruse. The blue sky quickens by yellowness of the Sun and yellowness of desert soil does by blueness of water in the heart of its ducts too. And the result of soil, water and sky union is the lively tree. Painter Ali Faramarzi is the painter and honest viewer of the desert. It is been several years that he watches and draws the desert. He started with black and white drawings and then reached to the main color of the desert: yellow ocher and through it he found the nature of life, order and simplicity and gave colors of life to the parallel and endless lines of his works. Faramarzi saw the life of the desert heart through red and purple tones. He inscribed on his ground with pastel and crayon and showed to the viewer the signs of covert desert life through a new combination of expressionistic colors. Faramarzi with his drawings and colors is the explorer of the covert life of the desert and present it generously to the viewer of his works like the warmness of the desert. Life These days are not days of the life for the desert. It pulled into itself some lives and has bereaved the others. An artist who loves the people knows how to hearten them. Desert always donates life. This is what plain and consistent lines of sky and land of the desert says. It does not matter, if we do not see. The painter of life is still in the desert. “ Due to the greatness and infinity of the subject that is the desert , these pictures in big sizes could be closer to the nature of that space; Then these works take us as part of them just like the desert that embraces us. Specially now that the earthquake disaster has happened in the desert, I think a condition has raised that we told the world that our cultural and art class love all parts of this homeland and not only forget part of it, but spend their life for it for several years.

Joined exhibition in Faramarzi Gallery An exhibition of joined paintings of some of Faramarzi’s students is going to open in Faramarzi Gallery from tomorrow. In this exhibition, Maryam Mo’taghedi, Parichehr Ziayee, Shabnam Ziayee, Farnoosh Moini and Mahlagha Seid Hoseinchi’s works are going to be exhibited. Each of these artists has their own style and method for creation of artistic works. Faramarzi’s students have seven individual and joined exhibition in different galleries during the last year.

Ali Faramarzi: Content and spirituality of Koran never generated by propaganda Ali Faramarzi: Content and spirituality of Koran never generated by propaganda Monday July 3 ,2006 News No: 56299 Art group “Our authorities just hold festivals, but they do not understand that the content and spirituality of Koran are never generated by propaganda.” said contemporary artist and sales art manager (Expo), Ali Faramarzi in an interview with Iran Koran reporter (IKNA), adding “My word to authorities is that instead of holding of so many Koran festivals, spiritual biennials and …that has no effect but spread of sloganism and superfacialism, let the people to understand their need to god and pace forward towards him.” He added: “That way, concepts of Koran and spirituality emerge out of their works and the content has the real spirit, gnosis and religion that come out of the hearts and therefore are accepted by the hearts.” The examiner of the first round of Iran artists’ club opined that the content could be born by cesarean, but should be happened in the nature of humans. “Authorities do not mention that the content is an intimate matter and approaching to the divine art and then Koran art could only be possible by divine nature.” said master of drawing and painting and member of the Iran & Italy cultural club. He criticized superfacialism and formalism trend in religious art and added. “superfacialism in Koran art is not related to one person or group or even an organization, but it is now a part of culture that unfortunately the authorities have a major role in its creation. It is not the product of today’s or yesterday’s society, but is a culture that developed in our country during several years and its correction needs a vast cultural construction.” The expert of ‘Tehran Expo art’ added. “Art of Koran is the fruit of humans’ faith and unless it happens in any person, you cannot depict it by recommendation, notification, order or even holding biennials.” The manager of Faramarzi gallery concluded: “In a situation that human shelters the religion just for the sake of relief from anxiety and insecurity, it is obvious that the content does not develop completely and the works of Koran arts are completely shallow and slogan like. As that famous saying quotes ‘comes out of the jug , the very thing that is in it’ .”

http://www.iqna.ir/news_detail.php?ProdID=56299

Children to be draw the biggest painting of the world with the subject of holy prophet (pbuh) Children to be draw the biggest painting of the world with the subject of holy prophet (pbuh) On the last day of Mordad, five thousand Iranian children and young adults will create the biggest painting of the world with the subject of holy prophet (pbuh). Reported by Mehrnews, this painting will be five kilometers long and be registered in records Book (Ginuus). Its subject is holy profit and painters’ effort will be judged and supervised by 250 students of visual arts. Painter and manager of Faramarzi gallery, Ali Faramarzi welcomed the project and said: “We must differentiate between paintings of children and young adults and paintings for children and young adults, as the second one is frequently drawn by adults.” He added: “The paintings of children and young adults should be drawn by themselves and from their point of view and not by a master or student of painting who puts the idea or composition at their disposal and they just execute them.”. He continued “Last year, there was a project with the name of children painting in Fadak Park located in Shahrak Gharb, but actually ideas and subjects of paintings came out of adults and children just executed them.” Adding, “Maybe a child or young adult‘s painting does not look as beautiful as an adult’s one, but it is loyal. This kind of painting gives the child, self-confidence, courage and the power of self-expression. The other kind of painting teaches them to tell lies and takes their self-confidence. So a cultural act turns against itself, just because the adults want to show how well their children draw pictures.” He declared that: “if we carefully look at the children’s behavior around ourselves, we will find that they usually try to act like adults, because they think that their behavior is wrong. So in these projects, we must give them self-confidence and the strength of self-expression. But unfortunately in almost all of the art classes – except classes of the institute for the intellectual development of children and young adults that a professional view governs on them – The idea of painting impose on children by the master.” He added: “Organizing five thousand children is difficult too, as they are gathered from different neighborhoods and have cultural conflicts indeed and this issue makes execution of the project much more complicated”. He emphasized that: “The good point of this project is the gathering of many children, expressing themselves and experiencing together. And above all they experience a good day together. This could be a beginning and outset for the meeting of the children and young adults to draw collectively and have a nice day on Fridays.” Regarding this issue, the writer of children and young adults’ books, Seid Ali Kashefi said that we should provide the opportunity of contribution of different ethnic groups and even other religions. “I presume that it is better not to limit such a project to Tehran teenagers. This project could be done across the country. Also minority religious groups could get familiar with holy prophet of Islam.” He added. “The project of longest painting of the world with the subject of holy prophet of Islam seems interesting. I suggest that we free our teenagers in doing this project and not to limit their creativeness. Let them to present their ideas. If these paintings were painted creatively and liberally by own teenagers, they would be worth consideration from artistic point of view too.” He continued. “Any activity with the intention of paying respect to Holy prophet is worth appreciating.” Kashrfi concluded. It is said that the project of the longest paintings of the world is executed by the center of artistic creation of city teenagers affiliated to art and cultural center of Tehran teenagers.

Criticize of secretary of Tehran Art auction, Ali Faramarzi on cancellation of “Half a percent” for buying art works Criticize of secretary of Tehran Art auction, Ali Faramarzi on cancellation of “Half a percent” for buying art works May 31, 2006 IRNA The secretary of great sales Art Exhibition of Tehran, Ali Faramarzi, criticized on the decision of merger commission of Majlis about cancellation of Bill of buying Art works by administrative offices through half a percent income of operational budget. The Bill of buying Art works by administrative offices through half a percent income of operational budget was already on the agenda of these organizations that the merger commission cancelled it recently. Faramarzi in an interview with IRNA art reporter mentioned that this bill through creating a suitable financial ground, could develop an evolution in art quality of the country and its cancellation with the excuse of saving was not rational. “If the artists are the image of the country, legislator should hold a right for the progression of their career and activities.” said Faramarzi. “Allocation of half a percent of operational budget of official organizations of the country for buying art works, whereas consumption budget of many of these organizations are many times bigger than allocated figures, should bring no pressure on economy of the country.” He said.

http://www.irna.ir/fa/news/view/line-8/8503103879145806.htm

“Article H of proviso 7 of Budget law rejected in merger commission and nobody said a word.” According to this article, governmental offices are bound to buy art works by half a percent of their operational budgets. Just one month ago, ninety six gallery owners convened in the office of Hosseini Rad to discuss planning and organizing second Tehran Art Expo. But not more than two weeks later, it turned out that the “half a percent” was not approved to hold Art Expo on its base. The manager of Faramarzi gallery announced the minutes of that session. Now after resignation of Hosseini Rad, Ali Faramarzi said to Fars News that when this measure was a law, we could ask the managers to buy art works for ministries and offices, but now there is no motive for any endeavor and even holding Art Expo. More notable is that, Amir Reza Khadem a member of cultural commission of Majlis has told that although purchasing of art works by administrative offices did not have any law , it was not unlawful.

The Secretary of the second Tehran Art Expo: Holding the second Tehran Art Expo nonsense The Secretary of the second Tehran Art Expo: Holding the second Tehran Art Expo nonsense Fars News “By cancellation of article H of proviso 7 of budget law that was devoted to buying art works by administrative offices, holding of the second Tehran Art Expo is nonsense.” the secretary of the first Tehran Art Expo, Ali Faramarzi said. In responding to the cancellation of article H of proviso 7 of budget law of 1385, the manager of the Faramarzi gallery, Ali Faramarzi in an interview with Fars reporter said that that when this measure was a law, we could ask the managers to buy art works for ministries and offices, but now there is no motive for endeavor and even holding Art Expo. “The only motive for holding Art Expo was allocation of half a percent of operational budget of administrative offices for buying art works, but now this article has been cancelled and just for not being objected, it is said that despite cancellation of this article, there is no ban on buying art works by administrative offices.” said Faramarzi. “It is more like a joke. That is right that there is no ban, but how many managers can be found to show interest in buying these works and buy two or three of them. These purchases are nothing and after all who has the courage to spend governmental budget to buy art works.” he added. “Earlier there was a specific measure that we acted upon it, but now even guidance ministry does not take the responsibility of expenditure of holding of such an Art Expo.” he emphasized. “Art Expo does not have special buyer in Iran yet and on the other hand, Tehran Art Expo is not well established in the world to be self sufficient and pays its costs. Meanwhile, the artists do not have interest in participating in it anymore.” he added and emphasized on the necessity of this law. He concluded that the law that had been approved before with great endeavor now was overlooked and authorities should be accounted for that.

http://www.farsnews.com/newstext.php?nn=8503090156

May 2006 “Holding sales exhibition of art works is one of the basic needs of the art of the country and has a great impact on evolution of art economy.” said the artist and managing director of great art sale of the year, Ali Faramarzi. “The first sales exhibition hold with reference to government measure in order to provide a ground for buying art works by governmental organizations in 1383.” said Faramarsi in an interview with IRNA cultural reporter. “ It seems that this year the cultural managers of the country are determined to hold the second Art sales Exhibition and range of art works sales will include a wider part of the community.” added he. Faramarzi described the continuous and annual holding of this exhibition as a base for familiarizing people with visual arts. “The sales exhibition of art works will progressively present these works to people as a must to buy items and led to useful growth of visual effects in the society.

Holding of painting exhibition of national union and unity of Iranian folks in Tehran Holding of painting exhibition of national union and unity of Iranian folks in Tehran May 24, 2006 IRNA A joined painting exhibition with the subject of national union and unity of Iranian folks is going to hold in Faramarzi gallery. Speaking with cultural reporter of IRNA, manager of the gallery, Ali Faramarzi added that holding this exhibition with this subject and with regard to the situation created by publishing a caricature in Iran Jome’, would be very effective. Two weeks ago, Iran Jome’ publication in its cartoon page that is for children readers published a caricature that produced a lot of protest among Azari language folks. “The aforementioned issue was not an article, but a cartoon that was published in cartoon children page of the Iran Jome’ in a limited number of 3000 copies.” added Faramarzi. “An artist is a part of the community that with regard to his ability to produce cultural contact, could act and reestablish calmness and balance to the country.” explained he. “An artistic work is an eternal creation that setting up an art exhibition for paying respect to Azari folks is the duty of visual artists.” added he. This university professor asked active visual artists to present their works to Faramarzi gallery in order to be participated in the exhibition. Meanwhile, Faramarzi called publication of the cartoon in Iran Jome’an unintentional act and said that you could not found a perfect act and everybody could make a mistake in every position.

http://www.irna.ir/fa/news/view/menu-153/8503031101144735.htm

An Artist: Accepting the principles of new Economy, the only way of the art development in the country An Artist: Accepting the principles of new Economy, the only way of the art development in the country Tehran May 3, 2006 IRNA National, Culture, Art, Visual “The only way of the country art development in the field of visual arts is to accept the principles of the New Economy.” said the member of the holding council of the first Tehran great sales Art exhibition, Ali Faramarzi. This artist in an interview with cultural reporter of IRNA added: “The economy of visual arts in the concurrent condition of the country is programmed on a base of a kind of traditional process that there are independent artists on one end and on the other end there is the government that is the main buyer of art works.” He explained: “In the concurrent condition, galleries are not able to present their special function as the financial supporters of artists and sell artist’s works in mass level and with economical efficiency.” This Gallery owner added: “The continued holding of Tehran great sales art Exhibition is one way to get out of the present condition and to promote the new principles of art economy in the country.” With reference to the setting up of Tehran great sales Art Exhibition, he said that the continued holding of this exhibition would led to the attraction of the public and raise in social awareness about the art issue and in the long term it would raise the interest of people in buying artistic woks in mass level, meanwhile, the production of art works would enter a professional era. “According to standard definitions, a process is professional when the performer does not do anything but that process and that process has a financial account too and provide enough income for the performer to meet his usual demands.” added Faramarzi. “This is the condition that an artist’s concentration on his work will enhance and the quality of the work goes up.” Conclude he.

Galleries determine the policy of holding the second Tehran sales Exhibition Galleries determine the policy of holding the second Tehran sales Exhibition Tehran April 2, 2006 IRNA National, Cultural, Art, Visual Meeting of gallery owners led to the determination of the policy of holding of the second Tehran great sales Exhibition. Reported by IRNA cultural reporter on Saturday, there were 96 gallery owners from all over the country in this meeting. Ali Faramarzi, one of the members of policy makers council of the first Tehran great sale Art Exhibition told IRNA reporter about the decisions of this meeting: “In the joined meeting of gallery owners with managers of the visual arts center of Culture and Islamic guidance Ministry, some decisions were made about the holding of the second great sales art exhibition. Based on these decisions, the exhibition is due to set up by a council that its members will be elected by voting and from active gallery owners of the country. So, with regard to continued activity of elected council of previous Exhibition, all of the members of that council submit their resignations to the managers of visual art center and gallery owner’s council.” “Holding this Exhibition by gallery owners will lead to expansion of national collaboration in setting up of important artistic events of the country and gradually provide the base for unity of gallery owners and foundation of national association of gallery owners.” said Faramarzi. “Some actions with collaboration of handicrafts association have been done for founding the association of gallery owners. As in accordance with the law, foundation of a new association starts as a subsidiary of an old association.” explained he. “Foundation of gallery owners’ association is an important step towards expansion of art and generation of a new financial base for visual arts.” concluded he. The meeting of gallery owners held in community hall of contemporary art museum during the last working day of the last week.

http://www.irna.ir/fa/news/view/menu-153/8502095754123119.htm

Shargh: Last Wednesday, the managers of ninety six galleries of Tehran had a session with the Head of the visual art center and Tehran contemporary art museum, Abdolmajid Hosseini Rad, and decided to hold the second Tehran Expo in the fall. Last Expo was held two years ago and the main buyers were governmental organizations. Works of painting, sculpture, calligraphy and so on from different galleries were put together and a lot of them were sold. According to a law that passed by Majlis, governmental organizations could spend half a percent of their operational budget on buying these works. One of the buyers of the previous Tehran Expo was Industrial Ministry that bought a lot of items, but after a while returned them and did not pay for them. The manager of Valli Gallery and one of the members of holding council of the first Expo, Mojgan Valli knows the drawbacks of the first Expo, but thinks that setting up and holding Expo is more important than its drawbacks. The first drawback that she mentions in the first Expo was the lack of the suitable place and therefore some fellows did not have a good place. The first Expo was held in Vahdat Hall, but the organizers wanted to set it up in a better place (like Tehran International Exhibition). Another drawback of the first Expo was the increment in the price of the works. Some of the artists thought that as most of the buyers were governmental offices, they could raise the prices. It is said that after a while and due to talks of Alireza Samie Azar, the then chief of contemporary art museum and Head of the visual art center, the figures returned to reality. The manager of Golestan Gallery, Leila Golestan looks at this problem from another point of view. “The young fellow that the price of his work changed from 80000 toman to 800000 toman, could not raise his head anymore and sell his work by the previous price.” added Leila and mentioned another drawback. “Some of the works are missing. The buyer says that they have not received them but we delivered the works to Guidance Ministry.” She added: “They gave discount without consultation and permission of gallery owner and did not give us any invoice. The housing Ministry had not paid %20 of the buying price and on Wednesday’s session the holding council told us that housing Ministry has paid two third of that money and the council is waiting to get the remaining one third to pay to the gallery owners. On what reason has the council not told us about that two third?” Regarding this issue, Mojgan Vallipour told us: “We collect 16 million tomans of the remaining money and are waiting for the 8 million tomans to pay the gallery owners in whole.” Ali Faramarzi, the other member of Tehran Expo council says that all of the unsold works have been returned to their owners. Also, about the discounts that council gave to buyers he told: “Sometimes the consultation was made with gallery owners, but occasionally the buy lasted to one and a half o’clock at midnight and there was no possibility for consultation.” Vallipour accepted too that it was better to give these discounts with the consultation of the gallery owners, but she pointed to another issue. “We wanted governmental institutes to buy from us in order to institutionalize this activity.” She referred to Book exhibition that after several years now has turned into a regular and institutional event. All of the drawbacks were presented on Wednesday’s session and Head of visual art center replied that these drawbacks were related to previous management and he should not be accountable. “When we are working with Guidance Ministry, we face with a governmental institute and not a person that could not be held accountable anymore with changing his position.” said Leila Golestan. “Those issues were noting.” explained Vallipour. Quoted by Faramarzi, The second Tehran Expo is due to hold in fall and after resignation of first council, the second one will be elected. He as the speaker and sales manager of the first Tehran Expo announced that the total sales of this round was 620 million tomans and added that the selection and shipment of works were on the charge of the gallery owners and there was no recommendation to them.

Second Art Expo Sent on April 29, 2006 16:36 News The second Tehran Art Expo is held. This subject is told to Fars News by Ali Faramarzi. Returning from a session with the Head of visual art center and 96 gallery owners, he spoke of the setting up of the second Tehran Art Expo with the cooperation of visual art center of Guidance Ministry. According to the measure of the previous cabinet, ministries and governmental institutes could allocate half a percent of their operational budgets for buying art works.

Tehran April 2, 2006 11:59 Ali Faramarzi in an interview with Mehr: Meeting of 96 Gallery owners with the Head of visual art center about the second Expo On Wednesday, April 26, 2006, ninety six gallery owners met with The Head of visual art center about holding the second Expo. Announcing this issue, the painter and manager of Faramarzi Gallery in an interview with visual reporter of Mehr explained this session: “After holding the first Expo, the holding council was supposed to prepare the second Expo, but this council resigned on Wednesday’s session with the presence of the Head of the Tehran contemporary art museum, Abdolmajid Hosseini Rad and the deputy of visual art center, Meisami and 96 gallery owners and new candidates are going to be elected.” Reported by visual reporter of Mehr, in this session, the strong and weak points of the first Expo which was held in Vahdat hall several years ago were identified. According to this report, in the meeting of 96 gallery owners with the Head of visual art center discussion were made mostly around the programs and presenting the views about the second Expo.

http://www.mehrnews.com/fa/NewsDetail.aspx?NewsID=318508

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