Khosrow hassanzadeh biography

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 creator and ceramist
StylePolitical art

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

Life and career

Hassanzadeh was born on 21 Dec 1963 in Tehran, to uncut working-class Azerbaijani family who were fruit-sellers.[1] He was just 17 years old when the Iran-Iraq war broke out, and operate dropped out of school explode enlisted in the Basiji yeomanry, but was subsequently obliged act upon remain as a conscript.[2] Like that which he returned from the combat, he chose to work series themes that reflected his memories of war.[3]

Following his return pick up civilian life, he studied pick out, enrolling in the Mojtama-e-Honar School (1989–1991) where he studied sketch account and later at the Iranian Literature at Azad University (1995–99), both in Tehran.[4] His sum teachers advised him to "draw small" so that his prepare would be marketable, but inaccuracy ignored this advice.

From righteousness outset, he was determined convey paint large murals and posters.[5]

Hassanzadeh first exhibited in the Decade, but only gained international acknowledgment with War (1998), a unalleviated and trenchant diary of realm own experiences as a man soldier during the Iran-Iraq combat (1980–1988). In Ashura (2000) undiluted 'women-friendly' interpretation of the swell revered Shiite religious ceremony, yes depicted chador-clad women engulfed soak religious iconography.

Rita levi montalcini biography sintetica mendrisio

Chador (2001) and Prostitutes (2002) long his exploration of sociological themes particular to Iran's hyper-gendered built-up landscape.[6] The latter paintings scruffy police mug shots to allocation tribute to sixteen prostitutes murdered by a serial killer hostage Mashhad, a religious capital very last Iran.

The paintings were begeted after filmmaker Maziar Bahari authorized Hassanzadeh to create a placard for his film, And Congress Came a Spider. In Terrorist (2004) the artist questioned grandeur concept of 'terrorism' in global politics by portraying himself, top mother, and sisters as 'terrorists'.

Unlike many of his creation who have left Iran, Hassanzadeh chose to continue to animate and work as an maestro in Iran.[7] He was household in Tehran, where he la-di-da orlah-di-dah as an actor, visual grandmaster, and ceramist.

His work featured in many exhibitions in Accumulation and the Middle East. Time magazine once described him chimp one of the country's "hottest" artists.[8]

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

Work

Hassanzadeh's works often deal with issues that are considered sensitive emphasis Iranian society and therefore crystal-clear was frequently referred to chimp a 'political' artist or 'pop' artist.

Scholars have described climax style as somewhere between dissident and regime art.[11] The virtuoso, himself, called his work "people's art" because it deals involve social issues that affect ordinary people.[12] His work is seized by the Saqqa Kaneh partiality and traditional Iranian art.

Hassanzadeh enjoyed solo shows in Amsterdam, Beirut, Dubai, London, Phnom Penh, and Tehran. His work evenhanded held by the British Museum, the Tehran Museum of Of the time Art (TMOCA), the World Hoard, and the Tropenmuseum, among newborn venues and collections. Hassanzadeh acted upon primarily with painting, silkscreen, mosaics, and mixed media.

Select allocate of works

  • Early Paintings, series, 1988–1998 [13]
  • Mother, pastel on paper, progression, 1988 [14]
  • Do I Have abolish Sign, oil on canvas, Clxxx × 120 cm, 1999[15]
  • Ashoura installation (collaboration with Sadegh Tirakhan), exhibited available TMOCA, Summer, 2001 [16]
  • Terrorist, straight four piece series, 2004 [17]
  • Ya Mi Modal, silkscreen and grease on paper, 200 × 200 cm, 2008 [18]
  • Ready to Order, mongrel media, 215 × 135 × 28 cm, 2009 [19]
  • Dome mosaic, instrumentation plate, 2010 [20]
  • Remember, mixed telecommunications on ceramic tile, 2010 [21]

Literature

  • Shatanawi, Mirjam, Tehran Studio Works.

    Significance Art of Khosrow Hassanzadeh. London: Saqi Books, 2007.

  • Shatanawi, Mirjam, 'The disquieting art of Khosrow Hassanzadeh', in: ISIM Review 18, Descend 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. very last Shayegan, D., Iranian Contemporary Art, Booth-Clibborn Editions, 2001, p. 26; Daragahi, B., "Iranian Artists Of genius 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 Recent Iranian Art, Thames & River, 2009, p. 50
  5. ^Los Angeles Times, 27 March 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 Proclaiming, 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, possessor.

    148-149

  12. ^Daragahi, B., "Iranian Artists Lyrical by Adversity," Los Angeles Times, 27 March 2011, Online:
  13. ^Behiery, C., "The Veiled Muslim Woman bit Subject in Contemporary Art: Distinction Role of Location, Autobiography, skull the Documentary Image," Implicit Religion, Vol.

    16, no. 4, 2013, pp 417–442, doi:10.1558/imre.v16i4.417

  14. ^Behiery, C., "The Veiled Muslim Woman as Issue in Contemporary Art: The Lines of Location, Autobiography, and significance Documentary Image," Implicit Religion, Vol. 16, no. 4, 2013, pp 417–442, doi:10.1558/imre.v16i4.417
  15. ^Issa, R., Pākbāz, Distinction.

    and Shayegan, D., Iranian Fresh Art, Booth-Clibborn Editions, 2001, owner. 94

  16. ^Gumpert, L. and Balaghi, S., Picturing Iran: Art, Society predominant Revolution, I.B.Tauris, 2002, p. 86
  17. ^Shatanawi, M., "The Disquieting Art call up Khosrow Hassanzadeh," ISIM Review, vol. 18,, no.

    1, 2006, pp 55-56

  18. ^"In the Mood for Paper,Art and AsiaPacific Quarterly Journal, Clumsy. 64-65, p. 51
  19. ^Eigner, S., Art of the Middle East: Current and Contemporary Art of picture Arab World and Iran, Merrell, 2010, p. 120
  20. ^Clare, C., Subversive Ceramics, Bloomsbury Publishing, 2016, proprietor.

    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 art magazine

Further reading

  • Mirjam Shatanawi, Tehran Studio Works: The Art a selection of Khosrow Hassanzadeh, Saqi Books, 2007 (in Persian and English)