Fariba Hajamadi

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Fariba Hajamadi (born Isfahan, Iran 1957) [1] [2] is an Iranian American artist whose work employs photography and painting on fabric, canvas, [3] and wood panels, often presented as large scale installations. Her work investigates cultural and gender Identity, as well as narratives of displacement. A pioneer in the exploration of the representation of the “other”, Hajamadi dissects the cultural institution from the point of view of the cultural outsider both as a woman and as someone born in a non-Western culture. [4]

Contents

Fariba Hajamadi lives and works in New York City.

Background

Fariba Hajamadi left her native country of Iran in 1976, to pursue Fine Arts studies and received her BFA in painting from Western Michigan University. Hajamadi subsequently received her MFA at the California Institute of the Arts(Cal Arts), [4] [5] studying under Jonathan Borofsky and first generation conceptual artists John Baldessari, Michael Asher. Her fellow students included Ashley Bickerton, Christopher Williams, Kate Ericson, Mel Ziegler and Bill Wurtz.

Artwork

The starting point, for Hajamadi, is her photographs of the interiors of institutions devoted to the preservation of art and culture. Her large scale works are a seamless collage made by compositing multiple layers of photographs, of the same location from different vantage points or by combining different locations. A new interior with a forced symmetry and perspective allows the viewer to see an interior from the center and the periphery at the same time. Her architectural interiors are fictional, dense with meaning, and have a quality of displacement that verges on the surreal. Her work where the line between photography and painting are blurred engages the viewer in a discourse on cultural identities, representation of the female, photography and historical truths. Since the 1980s, Fariba Hajamadi has been producing artworks that set out to diagram and re-construct the Western narrative of the “Other". Her use of such critical tactics began before they had entered the mainstream of contemporary artistic practice. Hajamadi began by examining the museum as the locus of Occidental civilization's reading of non-Western forms and practices. Hajamadi tacitly declared it to be something like the scene of a perpetual crime against humanity, insofar as it enshrines the trophies of a deep cultural misunderstanding. [4]

In her site specific installations Hajamadi created a series of wallpapers, reminiscent of toile de Jouy, with four themes Hunt, War, Eros and Rape... [6] Hajamadi has developed a unique art practice; a hybrid of photography, painting and installation, that endeavors to invent a relationship to the slippery conditions of autobiography. [7] She stretches the parameters of photography to achieve work of profound emotional resonance. One of the most powerful qualities of Hajamadi's work has been its psychological weight, which channels the mind's eye into her charged spaces. [8]

Exhibition

Fariba Hajamadi has exhibited her work and installations in the United States and  internationally since mid 1980s. Some of her solo exhibitions include: Musée de La Roche-sur-Yon, [9] ICA Philadelphia, [10] Queens Museum. [11] Rhona Hoffman Gallery [12] Chicago, Christine Burgin [5] New York, Gallerie Laage-Salomon, [13] Paris Maureen Paley [14] London.

Group exhibitions

Hajamadi has participated in numerous group exhibitions throughout her career. Some of these include:

Literature

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References

  1. ↑ "Fariba Hajamadi | Centre Pompidou". www.centrepompidou.fr (in French). Retrieved 2020-03-07.
  2. ↑ Fricke, Harald (1997-05-12). "Karawane der Globalisierung". Die Tageszeitung: taz (in German). p. 14. ISSN   0931-9085 . Retrieved 2020-03-14.
  3. ↑ Smith, Roberta (1987-04-17). "Art: Annette Lemieux in 2 Mixed-Media Shows". The New York Times. ISSN   0362-4331 . Retrieved 2020-03-07.
  4. 1 2 3 Hajamadi, Fariba (1998). Fariba Hajamadi. Hajamadi, Fariba, Block, René, Museum Fridericianum, Ausstellung "Echolot oder 9 Fragen an die Peripherie" 1998.03.22-06.07 Kassel. Kassel: Museum Fridericianum. ISBN   3-927015-09-1. OCLC   246233302.
  5. 1 2 "Christine Burgin Gallery". www.christineburgin.com. Retrieved 2020-03-07.
  6. ↑ "Olivier Zahm on Fariba Hajamadi". www.artforum.com. 3 January 1994. Retrieved 2020-03-07.
  7. ↑ Decter, Joshua (1994). Fariba Hajamadi. France: musée municipal de la Roche-sur-Yon.
  8. ↑ Mary Ellen, Haus (1988). "Fariba Hajamadi". Artnews.
  9. ↑ Imbernon, Laurence; Decter, Joshua (1994). Fariba Hajamadi: [exposition], 1994, musée municipal de la Roche-sur-Yon. La Roche-sur-Yon: Musée municipal. OCLC   34504526.
  10. ↑ "Investigations 20: Fariba Hajamadi - ICA Philadelphia". Institute of Contemporary Art - Philadelphia, PA. 2013-08-30. Retrieved 2020-03-14.
  11. ↑ New York Magazine. New York Media, LLC. 1987-07-13.
  12. ↑ McCracken, David (September 14, 1990). "Chicago Tribune".
  13. ↑ "Grabrielle Salomon Art Conseil". Gabriellesalomon.com.
  14. ↑ "MAUREEN PALEY – PAST EXHIBITIONS 1984 — 2004" (PDF). maureenpaley.com.
  15. ↑ "4th International Istanbul Biennial". bienal.iksv.org. Retrieved 2020-03-14.
  16. ↑ Jorgensen, Ulla Angkjaer (August 2019). Exploring the Black Venus Figure in Aesthetic Practices. BRILL. pp. 178–182. ISBN   978-9004395206.
  17. ↑ Decter, Joshua (1994). Fariba Hajamadi: The Invention of Disappearance. France: Musée de la Roche sur Yon. ISBN   2908117428.
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