Nastaran Safaei

News

http://www.magpie.ae/event/last-chance-nastaran-safaei-farnaz-rabieijah-impact-tangency/

Abu Dhabi Crossroads: Susan Hefuna in collaboration with Attitude Dance Society

This collaboration between performance artist Susan Hefuna and NYUAD’s Attitude Dance Society offers a performance interpretation of Hefuna’s drawings and the urban movement that unfold every day at crossroads in Abu Dhabi.

This is part of the programme of free public events and workshops designed to allow the public to explore the themes of The Creative Act: Performance, Process, Presence, the second exhibition of artworks from the Guggenheim Abu Dhabi collection, now running at Manarat until 29 July. Featuring works by more than 25 artists from different nationalities and generations, the exhibition explores the related themes of performance, process, and presence through a variety of mediums.

After the performance, guests are invited to an extended evening of music, art, and activities that relate to the artwork featured in The Creative Act.

https://files.artbutler.com/file/1054/10f47f27c7344d79.pdf

Lucerne:   AB   Gallery   • Arealstrasse   6   • CH-6020   Emmenbrücke-Luzern   • Schwitzerland
Opening   hours:   Only   by   appointment
Phone      +   41   41   982   08   84      •      Fax      +   41   41   982   06   89
office@ab-gallery.com      •      www.ab-gallery.com
Press   Release - AB   Gallery   Lucerne                                                               October   2014
Nastaran   Safaei – INNER   SELFIE
AB   Gallery   is   delighted   to   present   the   artist   Nastaran   Safaei   (*1984,   Tehran,   Iran)   in   her   first   solo   
exhibition in   Switzerland. Safaei   one   of   the young emerging   talents   of   the   Iranian   contemporary   art,   
has   gain   its   international   success   through   exceptional   sculptures   and   installations.   In   her   work,   the   
artist   mainly   focuses   on   social   issues   with   a   touch   of   personal   experiences   and   ironic   view   of   these   
situations.   In   the   exhibition   \"Inner   Selfie\",   whose   title   can   be   loosely   translated   as   \"Inner   Self   Image\",   
the   artist   shows   various   aspects   of   her   personal   \"being\"   as   a   woman   as   well   as   her   emotions   which   
she   is   not   allowed   to   show   or   even   live   in   her   country.   In   her   art,   Safaei   expresses   the   schizophrenia,   
which   she   is   at   the   mercy   everyday:   a   flying   chest,   a   bust   of   her   head   with   octopus   legs,   her   fingers   
and   lips   served   as   \"finger   food\"   or   the   installation   \"Simurgh\",   in   which   30   decorated   chicken   were   
presented   or   served   on   golden   plates.
The   artist   describes   the   origin   of   her   artworks   as   follows:   \"Throughout   and   in   the   different   stages   of   
my   life   I   have   found   aspects   of   my   character   that   can   in   no   way   be   fitted   within   a   simple   template   or   
definition;   various   emotions,   very   conflicting   at   times,   that   I   have   been   carrying   through   the   ups   and   
downs   of   my   journey;   and   all   the   love/hate   that   has   come   my   way,   nested   in   or   departed   from   me.   
My   portrayal   of   such   emotions   and   experiences   is   perceived   as   a   dress   that   others   use   to   judge   me   
by.   While   in   it,   I   have   all   these   complex   concepts   and   enigmas   that   even   I   cannot   always   define.   I   
have   attempted   to   include   a   quite   personal   part   of   my   essence   in   my   works   while   depicting   my   
power   over   what   I   present   others   with   and   how   I   can   become   transparent   in   the   face   of   judgments   
and   comments.   The   embodiment   of   this,   along   with   a   contradicting   sense   of   purity   and   evil   – that   
can   coexist   in   my   soul   – is   displayed   in   my   works.\"
Nastaran   Safaei   studied   for   an   Associate   Degree   in   Graphic   Design   from   Sooreh   University   (2004)   and   
she   received   a   diploma   in   Graphic   Design   from   Naghshe   Kowsar   Art   School   (2001).   Afterwards   she   
focussed   mainly   on   the media   sculpture   and   installation.   Today   she   is   a   member   of   \"The   Association   
of   Iranian   Sculptures   as   well   as   co-founder   of   the   sculpture   circle   \"Maakous\".   Since   2002   her   works   
has   been   exhibited   in   numerous   solo   - and   group   exhibition   in   Iran   and   abroad.   2013   her   works   has   
been   shown   in   an   extended   solo   exhibition   at   Etemad   Gallery,   Tehran   and   at   the   same   time   in   a   
group   exhibition   entitled   \"Excuses\":   a   group   effort\"   in   the   Villa   Kuriosum   in   Berlin,   Germany.
From   early   October   to   late   November   2014,   the   artist   will   participate   at   the   Artist   in   Residence   
program   of   the   ORYX   Foundation   Lucerne   /   Switzerland   and   create   new   artworks   which   will   be   
presented   during   the   exhibition.
We   would   like    to   invite   you    to    the Open   Sunday,   November    23,    2014,    from    11   am    to    4 pm.   The   
exhibition   runs from   November   23   to   December   20,   2014   in   the   AB   Gallery   Lucerne.
For    more    information    please    give    us    a    call:    +    41    41    982    08    80,    write    us    an    email::    office@abgallery.com
or   visit   our   website:   www.ab-gallery.com.

http://myartguides.com/exhibitions/the-impact-of-tangency/

The Impact Of Tangency
The Mine

13 Mar 2017 — 15 Apr 2017
The Mine presents the exhibition “The Impact of Tangency”, featuring the new body of work by Iranian artists Nastaran Safaei and Farnaz Rabieijah. Best known for their large installations and sculptures dealing with social matters, in this exhibition the two artists develops a series of experimental approaches to print, revealing a sense of feminized interiority in connection with the surrounding world.


Nastaran Safei, Body Impressions series, 2017. Courtesy of the artist and The Mine.

http://www.themine.ae/welcome/index.php/exhibitions/images?ref=43

DUO SHOW: THE IMPACT OF TANGENCY GALLERY




















http://mamnoonrestaurant.com/blog/art-at-mamnoon-1

Art at mamnoon
Posted by Wassef

Art manifests itself in many ways at mamnoon, in the food, in the music and in the art. Our most prominent piece, an installation of thirty fiberglass chickens, hangs over the dining room. \"Simorgh\" is the work of Persian sculptor Nastaran Safaei. Maintaining an air of playfulness and levity, the artist has instilled a double meaning in \"Simorgh.\" It derives its influence primarily from the character of the same name in Farid al-Din Attar\'s twelfth-century poem \"The Conference of the Birds,\" which follows a flock as they travel through the many valleys of life as they search for illustrious King of the Birds. Safaei plays on the name further: Separately, the syllables of \"Simorgh\" translate to thirty (\'si\') birds (\'morgh\').


http://galleryinfo.ir/Event.aspx?Id=3907

مجموعه‌های «فراتر و بالاتر»، «بنای یادبود آن‌چه از یاد رفته‌است» و «تن‌نوشت‌ها»


پروژه‌های آران
 01 اردیبهشت 1396 تا 22 اردیبهشت 1396
 16 تا 20 (افتتاحیه)
 13 تا 19 (غیرافتتاحیه)


با ارائه سه مجموعه از آثار اخیر خود، نسترن صفائی، ذهن کاوشگر و تلاش مداوم خود در طی مسیر هنری اش را به نمایش می گذارد. در مجموعه «بنای یادبود آنچه از یاد رفته‌است»، با ساخت تصویر تلفظ کلمات : آرامش، سکوت، آن، شهود، هنرمند اهمیت مفهوم این کلمات را به خود و دیگران یادآوری می‌کند. مفاهیمی که نباید در تب و تاب روزانه از خاطر بروند. این بت واره‌ها با سیمان و خاک مقدس کشور پوشیده می شوند تا حضوری ازلی بیابند و منشا الهام برای دیگران نیز باشند.

در مجموعه «بالاتر و فراتر»، مرکب اثر بدن را به پارچه منتقل می کند. ثبت لحظه‌های آنی و حسی و حتی ناخودآگاه با نازک ترین واسطه ؛ پوست. اثر بافت بدن، کم رنگ و پررنگ شدن، سکون و حرکت و تکرار این چرخه ، قطع و وصل شدنِ ارتباط  با خود و جهان بیرون را نمایان می کند.

و در مجموعه «تن‌نوشت‌ها» ،خط ها و نقطه چین ها حوادث و مسیر تکامل را ثبت و بهم ربط می دهند
صمیمت و کیفیت بازیگوشانه ی که در این سه مجموعه به چشم می خورند، نشانگر ثبات قدم و بلوغ و نتیجه تلاش های یک دهه حضور هنرمندی پرتلاش و پیش رو ، در صحنه هنر ایران است.


Nastaran Safaei
Presenting series “Beyond And Above”, “Monuments For That Which is Forgotten”, and “Body Impressions”
Opening at Aaran Projects on 21st April 2017, on view until  12th May

Presenting three sets of recent works, Nastaran Safaei reveals her probing mind and restless quest in her artistic endeavor. In the series, Monument To That Which is Forgotten, she echoes words that are important to her; tranquility, silence, instant, and intuition. She builds monuments to these words to remind herself of importance of what is essential and ought not be lost in the hustle and bustle of everyday life. She coats these Totem like sculptures with cement and sacred soil of her land, wishing them to become eternal and to inspire others as well.

In her second series Above And Beyond, ink transfers body impressions on to canvas fabric. Emotions and unconsciousness are registered through the thinnest of mediums; the Skin. The impact of texture of body, at first pallid and then defined, tranquility and movement and the repetition of the cycle, reveals the connection and disconnection of self with the outside world.

In the series Body Impressions, the dots and dotted lines, register and connect the path of evolution of artist. The intimacy and playfulness in these three sets of works are indicators of her perseverance and maturity and are the fruit of her labors in the last one decade.


Nastaran Safaei - From Series Above And Beyond, ink on fabric, overall height 413 cm and width of each panel 145 cm, variable dimensions for installation. 2016


Nastaran Safaei - Monument To Tranquility -  Fiberglass, Cement, Ghel Mosh of city of Mahllat, and natural soil of Iran, 230x68x34 cm, 2017


Nastaran Safaei - Number 5, Body Impressions, ink on 308 gram deckle edge Hahnemühle fine art paper 59x42 cm, 2016

https://us.eventbu.com/dubai/nastaran-safaei-farnaz-rabieijah-solo-fari-bradley/1596019

Nastaran Safaei & Farnaz Rabieijah | Solo: Fari Bradley | The Mine | Thursday, 09. March 2017

The Mine
THE IMPACT OF TANGENCY
DUO SHOW: NASTARAN SAFAEI & FARNAZ RABIEIJAH

Nastaran Safaei and Farnaz Rabieijah are best known for their often-monumental installations that translate contemporary gendered and societal concerns. Here, they translate themselves. Finding themselves at a new juncture in their lives, as artists and as women both, they trade in the tactile materiality of sculpture for two experimental approaches to print. What emerges, unfurling luxuriously onto paper like a long-dormant shoot, is a feminised interiority and a newfound sense of connection, both to nature and to the outside world. In Body Impressions, Safaei uses her own body to make marks on textiles. Yet the figure is not depicted but only intimated here, with smears and swooshes that might be a shoulder or perhaps a knee; it is unclear. Spidery skeins of dots connect body parts to each other and trail off the page with a tentativeness that directly contrasts with the assertive intensity of these body prints. In Rabieijah’s Spinning Plate, meanwhile, plants are pressed into paper to leave beautiful deboss-like indentations. Unlike pressed and preserved plants, the botanic matter is then removed and discarded, leaving only the void behind, like a trail of perfume after someone has forever walked away.

http://artradarjournal.com/2015/09/25/6-young-iranian-artists-to-know-now/

6 young Iranian artists to know now
Art Radar delves into the practices of 6 emerging talents in the Iranian art firmament.

As AB Gallery holds a group exhibition of young Iranian artists, Art Radar studies the works of Sara Abbasian, Ali Esmaeillou, Sahand Hesamiyan, Azadeh Razaghdoost, Nastaran Safaei and Samira Hodaei.

5. Nastaran Safaei

Nastaran Safaei (b. 1984, Tehran) trained in Graphic Design, but later started to focus mainly on sculpture and installation. Her oeuvre engages with the inner, personal sphere as a woman – her personality, her emotions, self-reflection – and, by extension, with the social issues attached to femininity in general. Her work often involves bronze casts of her own body parts, as well as elements of feminine identity, such as mirrors, dresses or hearts.

Quoted in the press release for her solo exhibition “Inner Selfie” (2015) at AB Gallery, Safaei explains how her conflicting and changing emotions are at the basis of her work, which explores the transformative dimensions of her own being:

I have attempted to include a quite personal part of my essence in my works while depicting my power over what I present others with and how I can become transparent in the face of judgments and comments. The embodiment of this, along with a contradicting sense of purity and evil – that can coexist in my soul – is displayed in my works.

Flying (2014) is a symbol of the balance and harmony between anima (the breast) and animus (the wings), as Safaei writes on her website. The artist references Jungian philosophical thought, where anima is the symbol of womanhood and animus of manhood, co-existing in each individual regardless of gender. Through this sculpture, Safaei depicts what she calls “the fruit of evolution” – and the power as a result of perfection.

Her work Dress (2014) addresses the complexities of humankind, and her attitude about external appearance and true, inner character. The sculpture is of a colourful dress made of found and recycled everyday objects and papier machê attached to an iron frame. Where the womb is located, there is a dark, cavernous opening, with small bronze hanging sculptures.

The womb, “a place of genesis and nurture”, plays host to these shapeless pieces, which represent the artist’s yet-to-be-determined future events of her life. Safaei explains:

People usually see my appearance and judge me on the basis of how I look. But I have secrets inside me… formless secrets that even I cannot define completely; secrets and complexities that are quite special and valuable.



https://style-magazin.ch/lifestyle/privaten-veranstaltungen-kann-man-alles-zeigen-was-man-moechte


Nastaran Safaei
«An privaten Veranstaltungen kann man alles zeigen, was man möchte»
DIE AB GALLERY IN LUZERN EMMENBRÜCKE VERTRITT ZEITGENÖSSISCHE POSITIONEN AUS DEM ARABISCHEN RAUM UND LÄDT KUNSTSCHAFFENDE EIN, WÄHREND ZWEI MONATEN IN DER SCHWEIZ ZU LEBEN UND ZU ARBEITEN. WIR SPRACHEN MIT DER BILDHAUERIN NASTARAN SAFAEI ÜBER IHR LEBEN ALS KÜNSTLERIN IM IRAN, ÜBER IHREN EINDRUCK DER SCHWEIZ UND ENGEL.
Wer am kleinen Bahnhof Emmenbrücke Gersag aussteigt, würde hier nicht eine Galerie für Kunst aus dem arabischen Raum mit bemerkenswertem Konzept erwarten. Genau diese gibt es aber, ein paar Hundert Meter vom Bahnhof entfernt befindet sich die AB («across borders») Gallery. Der Standort Emmenbrücke hat sich als geeignet erwiesen: Er ist zentral gelegen und aus der ganzen Schweiz sowohl mit den öffentlichen Verkehrsmitteln als auch mit dem Auto gut erreichbar. Parkplätze sind genügend vorhanden. Wegen der täglichen Staus zu Stosszeiten gibt es hier aber nicht die klassische Vernissage an einem Abend unter der Woche, sondern «open sundays».
 

Heidi und Franz Leupi laden regelmässig Kunstschaffende ein, am Programm «Artist in Residence» teilzunehmen. Während zwei Monaten können diese in einer Wohnung gleich neben der Galerie wohnen, Atelier und Materialien stehen ihnen zur Verfügung. In der grossräumigen, zweistöckigen Galerie ist auch das Lager untergebracht, und die Leupis wohnen direkt über den Ausstellungsräumlichkeiten. Und noch etwas ist ungewöhnlich: In der Galerie gibt es einen gemütlichen, offenen Essraum mit orientalischen Leuchten und bunten Kissen. Hier werden Kunden empfangen, man speist und trinkt inmitten von Kunst.

Wir trafen die Bildhauerin Nastaran Safaei, kurz bevor sie nach ihrem zweimonatigen Aufenthalt nach Teheran zurückkehrte. Die Dreissigjährige zeigt in der Ausstellung «Inner Selfie» Werke, die während ihrer Zeit in der Schweiz entstanden sind sowie einige ältere Arbeiten. Parallel werden die Gemälde der Iranerin Elnaz Farajollahi gezeigt, die ebenfalls am Programm «Artist in Residence» teilnahm. Die Doppelausstellung dauert bis 24. Januar.

SI Style: Nastaran Safaei, was hat Ihnen in der Schweiz am besten gefallen?
Nastaran Safei: Hier ist es so ruhig und friedlich. Das war sehr wichtig für mich und meine Arbeit. Es gibt viel positive Energie, und du fühlst dich sicher. Natürlich ist auch die Natur sehr schön.

Welcher war Ihr schönster Moment?
Ich glaube, beim Arbeiten in den Studios war ich am glücklichsten. Aber ich nahm auch die Gelegenheit war, die Schweiz zu erkunden, ich besuchte Genf, Zürich, Bern und Basel und mochte sie alle.

Wie hat die Schweiz Ihre Arbeit beeinflusst?
In Luzern habe ich überall Engel gesehen. Das Motiv habe ich in einer Arbeit aufgenommen und kombiniert mit einem Glücksstein aus dem Iran, der in unserer Tradition für Schutz steht. Ein anderes Mal habe ich aus einem Stück Leinwand ein Kleid gefertigt und es mit meinen blossen Händen bedruckt. Danach fotografierte ich das Kleid an all den Orten in Luzern, wo ich mich am liebsten oder am häufigsten aufhielt. Es ist eine Dokumentation meiner Zeit hier.

Was denken Sie, wenn Sie junge Frau von hier sehen? Ist das Leben sehr anders als im Iran?
Natürlich ist das Leben anders. Aber als Künstlerin fühle ich mich sehr gut in meinem Land. Es waren wunderbare zwei Monate hier, Heidi und Franz Leupi sind so liebenswürdig. Trotzdem bekam ich nach etwa einem Monat Heimweh.

Fühlen Sie sich im Iran frei als Künstlerin?
Ja, ich fühle mich absolut frei. Ich habe meine eigene Wohnung, meine Arbeit, meine Freunde. Ich kann von meiner Kunst leben, bin nicht reich, aber es reicht. Iran hat seine Probleme, wie jedes andere Land auch.

Können Sie Ihr Werk «Flying», eine nackte Brust mit Flügeln, zeigen?
Nein, öffentlich kann ich diese Arbeit nicht zeigen. Aber an privaten Veranstaltungen geht es. Ich mache alles, was ich möchte.

Begeben Sie sich nicht in Gefahr, wenn Sie solche Kunst machen?
Nein, das ist kein Problem. Teheran ist reich an Kunst, es hat eine hohe Dichte an Galerien, und es leben sehr viele Künstler dort. Jedes Wochenende gibt es irgendeine Kunstveranstaltung.

Nutzen Sie soziale Medien?
Ja, ich bin oft auf Facebook, manchmal auf Instagram. Das ist für mich sehr wichtig, um meine Ausstellungen zu promoten.

Wer kauft Ihre Kunst?
Da ich die meisten Ausstellungen in Iran mache, sind es meistens iranische Sammler. Aber ich habe auch ein paar Käufer in Europa, da ich zum Beispiel auch schon in Berlin ausgestellt hatte.

Wie geht es weiter?
Wenn ich zurück bin, werde ich sofort loslegen mit neuen Projekten. Ich spüre, dass sich in mir etwas verändert hat. Ich konnte andere Materialien testen, einfach drauflosarbeiten. Ich kehre voller Energie zurück.





https://likeyou.com/events/nastaran-safaei-hamed-rashtian-samira-alikhanzadeh-ashkan-sanei-babak-kazemi-made-in-iran-ii/

Nastaran Safaei, Hamed Rashtian, Samira Alikhanzadeh, Ashkan Sanei & Babak Kazemi – Made in Iran II

The Iranian group exhibition “Made in Iran II” at the AB Gallery Lucerne starts the season with brand new art pieces from Tehran. In addition to latest creations by already well-established names of the contemporary art market, works by AB Gallery’s recent discoveries are going to be exhibited for the first time in Switzerland. Linked to the previous exhibition of the series “Made in Iran”, this show enables the visitor to deepen his insight into the current happenings of the Iranian art market and discover a fascinating culture.

Nastaran Safaei was born in Tehran, Iran, in 1984. She studied Graphic Design at the Sooreh University (2004) and the Naghshe Kawsar Art School (2001) before she specialized in sculpture and installation. Body parts and personal (female) feelings are reoccurring elements in her oeuvre. Her works always convey emotions and raise questions about the (inner) self of an individual. Since 2002 Nastaran Safaei exhibits extensively, for example in Switzerland, Great Britain and Germany. Today she is a member of the Iranian sculptors’ association.

The lion as a topic is a fascinating issue to the young sculptor Hamed Rashtian (*1984, Tehran) in many ways. On the one hand the old tradition of the lion as a tombstone or stone sculpture in Persian culture captures him for many years now. Among others, his former tutor Parviz Tanavoli, one of the most influential, contemporary sculptors in Iran, inspired him to work on this theme. On the other hand the lion appears as a hugely important symbol for the artist’s own personality. Consequently very own experiences are reflected in his art pieces, too. For over ten years now, Hamed Rashtian creates sculptures made of bronze or fiberglass. Since 2006 he exhibits them internationally, for example in the UK, Germany or the UAE.

Born in 1967 in Tehran, Samira Alikhanzadeh started painting in 1987 under the supervision of the Iranian Master Aydin Aghdashloo. Two years later, she attended Tehran’s Azad University where she continued to complete her MA in painting. Frequently, mirrors and old photographs can be found in the oeuvre of the artist. By using old portraits from the 30s, 40s and 50s she intends to transport a melancholic truth of her culture’s past and also the humor that comes along with it. Especially while looking at old-fashioned and sometimes even obscure appearances a certain humorous effect can be achieved. Since 1995 Samira Alikhanzadeh exhibits extensively in North America, Europe and the Middle East. Just recently, her artwork was on display in the Iranian Pavilion at the 56th Venice biennale.

To simply classify Ashkan Sanei‘s (*1985, Urumieh) paper works as drawings would not meet their wide range. Examining his art pieces closer, clear work marks can be spotted, which structure the surface remarkably. For example, Ashkan Sanei uses sandpaper in order to give life to the material. Additionally, he even tears the paper apart or puts holes in it. In doing so his pieces gain a quite haptic appearance and the actual working progress moves to the focus. In 2011 the artist gained a MA in painting from the Isfahan University of Art. Since 2004 his works can be seen regularly in different exhibitions.

In his photo series “Khoramshahr Number by Number” Babak Kazemi (*1983, Ahvaz) deals with the war-torn city Khoramshahr. Over two years he collected impressions of the effects of the Iraq-Iran-war and finally combined these with portraits of local individuals. Quite obviously a clear reference to the consequences of a war can be figured out, such as the forced displacement of humans. Babak Kazemi started his artistic career as autodidact in 1996. Since then he collected various prizes and awards and exhibits in solo and group shows. During the Venice Biennale 2015 an installation by him was exhibited at the Iranian Pavilion.

Opening hours Mon-Fri 10 am – 6 pm, and by appointment


http://www.tavoosonline.com/Gallery/GalleryDetailEn.aspx?src=2037

Sculpture Exhibition by Nastaran Safaei

Opening: Friday Dec 7, 2012- From 3-8 pm

The Exhibition will be on view until Dec 18, 2012

Gallery is closed on Mondays

http://www.sharghdaily.ir/News/120713/%D8%B3%D9%86%DA%AF%E2%80%8C%D9%87%D8%A7%DB%8C%DB%8C-%D8%A8%D8%B1%D8%A7%DB%8C-%D8%B9%D8%A8%D9%88%D8%B1
http://www.sharghdaily.ir/Default.aspx?NPN_Id=1288&PageNO=9

کوتاه درباره نمایشگاه نسترن صفایی در پروژه‌های آران
سنگ‌هایی برای عبور
علیرضا امیرحاجبی
خواسته یا ناخواسته بر محیط اطرافمان تأثیر می‌گذاریم. البته تأثیر نیز می‌پذیریم، اما بیش از پذیرش در فکر و تلاش هستیم تا اسباب تغییر و تأثیر باشیم. فاعل باشیم و مؤثر. حال این تأثیرات می‌تواند مفید حال دیگران باشد یا برعکس ویرانگر و مخرب. می‌توان گفت که شاید هدف غایی برای بسیاری از اندیشمندان و هنرمندان نیز همین تأثیرگذاری باشد؛ از فلاسفه و نویسندگان گرفته تا هنرمندان در تمامی رشته‌ها.
اما گروه دیگری از هنرمندان نیز هستند که با زبانی ویژه و نه زبانی عامه‌پسند، بسترها و روش‌های جدید و نسبتا شخصی‌تری را برمی‌گزینند. برای چه؟ برای بیان تأثیری که از جهان گرفته‌اند. ذهنشان چه‌ها دریافت کرده؟ چه‌ها دیده؟ چه‌ها ندیده؟ به چه صداهایی گوش داده و چه اصواتی را شنیده؟ چه چیزهایی فراموش شده؟ و نیز آرزوهای خوش‌فرجام یا نافرجام و نگاه به آنچه از دست رفته و دیگر بازنمی‌گردد که همان زمان است. اینها بر ذهن و بر بدن و بر رفتار هنرمند تأثیر می‌گذارد.
در چنین شرایطی اگر هنرمند دست به کنشی خلاق بزند، (که خود نوعی تأثیرگذاری بر محیط است) نمی‌توان این کنش را تنها بر مبنای فاعل‌بودن هنرمند تعریف کرد. در اینجا هنرمند مانند آینه عمل می‌کند؛ آینه‌ای که دارای اعوجاج است. هنرمند به‌طورکل شفاف نیست و جهان از ورای جسم و ذهن او به‌وضوح دیده نمی‌شود. حتی رئالیست‌ها هم که ادعای وضوح و شفافیت خفه‌شان کرده باز هم بازنمایی‌هایشان مبهم است.
 واقعیت دست‌به‌دست می‌چرخد و دست‌آخر تبدیل به دروغی بزرگ می‌شود. پس هنرمند در چنین مقامی تأثیر می‌پذیرد و سپس با درونی‌کردن موضوعات، آنها را شخصی کرده و دوباره بازتاب می‌دهد، اما نکته همواره فراموش‌شده در اینجا مسئله کشف آن چیزی است که در هنرمند و نیز در طبیعت پنهان شده است. هنرمند دست به جست‌وجو و «مشاهده» می‌زند. از خود سؤال می‌کند. در رفتار طبیعت به مفهوم عام کلمه دقت می‌کند تا به پرسش‌های بیشتری برسد. هرچند که برای این پرسش‌ها پاسخی یافت نشود. کشفِ انتزاع یکی از مهم‌ترین دغدغه‌های گروهی از هنرمندان است؛ پدیده‌ای نهفته در طبیعت، در ذهن و در بدن که برخی به دنبال بازنمایی‌اش بودند و برخی نیز از این دغدغه گذشتند و به «مفهوم» انتزاع و آبسترکسیون بیشتر توجه کردند. در هنرهای متأثر از ذن بودیسم هنرمند در پی بازنمایی اثر انتزاعی نیست، بلکه درصدد کشف و بیان مفهوم انتزاع در زندگی روزمره و هستی است.
 این چند خط را به‌عنوان مقدمه‌ای مناسب یا نامناسب نوشتم تا به آثار جدید نسترن صفایی تحت عنوان «فراتر و بالاتر» اشاره‌ای کنم؛ مجموعه‌ای تک‌رنگ که تأثیرات انتزاعی مرکب خطاطی بر بدن هنرمند روی کاغذ یا پارچه کتانی را به نمایش می‌گذارد. صفایی در این مجموعه همان کنش کشف را دنبال می‌کند. زبان او زبان جدیدی نیست، اما آنچه بیان می‌کند کشف جدیدی است؛ حداقل برای خودش و مخاطبی که کارهایش را پیگیری می‌کند. بدن... امری فراموش‌شده است زیرا زیاد از حد به آن پرداخته‌اند. از فرط دیده‌شدن دیگر دیده نمی‌شود. از فرط بودن دیگر نیست. بدن تبدیل به امری عادی شده. همین بدن در آثار صفایی، (جدا از نگاه اروتیسم مصرف‌گرا/ لذت‌گرا) تبدیل به جغرافیایی کشف‌نشده می‌شود. این آثار شاید در زیرمجموعه هنر اتفاقی (Happening art) قرار گیرد زیرا با عناصری سروکار دارد که ناگهانی، بداهه، تکرارناشدنی و وابسته به پارامترهای زمان/ مکان است، اما به‌لحاظ زیباشناختی و تأثیرپذیری به هنر کالیگرافی ژاپنی وامدار است. نحوه ارائه سه اثر از این مجموعه به شکل طومار (Scroll)، تک‌رنگی‌بودن، استفاده از مرکب سیاه و نیز توجه ویژه به فضاهای خالی این گمان را تقویت می‌کند که تمایل هنرمند بیش از اینکه به سمت زیباشناسی هنرمندانی چون ایو کلاین باشد، به‌سوی تجربه‌های شهودی شرقی است. توجه به مفاهیمی چون «آن» (Instant) و برخورد لحظه‌ای بدن با سطح سفید و انتزاعی هنرمند را از جهان شلوغ و پرهیاهوی معاصر جدا و فضای گالری را تبدیل به جایگاهی برای یافتن هارمونی و توازن طبیعی می‌کند. در چندین اثر قاب‌شده، هنرمند به شکلی کمال‌گرایانه سعی بر این دارد که با شکلی از «مشاهده» درونی، تأثیرات مرکب خطاطی و لکه‌ها را با نقطه‌چین‌ها و خطوطی تشدید و به یکدیگر مرتبط ‌کند. چیزی از بدن دیده نمی‌شود. تنها نشانه‌ای مبهم از وجود و حضور شخصی یا چیزی که بر سفیدی انتزاعی تأثیر گذاشته است. این تأثیر بازتاب تأثیری است که طبیعت و محیط بر هنرمند داشته و در آینده نیز خواهد داشت؛ کشف یا بازکشف مفهوم انتزاع و تجرید بدون ورود به حوزه دستمالی‌شده نقاشی آبستره اکسپرسیونیستی. صفایی در این مجموعه، هم خود و هم مخاطبش را مورد آزمایش قرار داده است. ایده مجموعه «فراتر و بالاتر» جای پای محکمی را برای آینده این هنرمند پدید آورده است.


http://tandismag.com/31727/the-impact-of-tangency.html

The Impact of Tangency  Nastaran Safaei & Farnaz Rabieijah
Opening: MARCH 9, 2017
MARCH 9 – APRIL 25 | 7:00PM – ۱۰:۰۰PM
Mine Gallery

The Mine is pleased to present The Impact of Tangency, a two-person show by Iranian artists Nastaran Safaei and Farnaz Rabieijah. A tangent is like a glancing blow. Perhaps you barely feel it. Perhaps the actual point of contact is so small so as to be nearly imperceptible, but it still leaves its mark all the same. A bruise spreading across a cheekbone; ink blooming across paper. We talk about tangents—that point when an object, any object, touches a curve—as distractions, as a kind of veering off course. At the same time, there’s a certain honest immediacy in following a tangent, and perhaps a certain vulnerability too.

Safaei and Rabieijah are best known for their large installations that translate contemporary gendered and societal concerns, often at a monumental scale. Here, the artists translate themselves. The longtime friends found themselves standing at similar junctures in their lives, as artists and as women both. In these new bodies of work, they trade in their usual medium of sculpture, which involves extended tactile contact and a very manual engagement with the materiality of the object, for a series of experimental approaches to print. What emerges, unfurling luxuriously onto paper like a long-dormant shoot, is a feminized interiority and a sense of connection, both to nature and to the outside world.

In her Body Impressions series, Safaei uses her own body to make marks on textiles. Unlike the full-body prints of Jasper Johns or David Hammons, however, the body is not depicted but only intimated here, with smears and swooshes that might be a shoulder or perhaps a knee; it is unclear. Spidery skeins of dots connect body parts to each other, sometimes trailing off over the page with a tentativeness that directly contrasts with the assertive intensity of these body prints. In Rabieijah’s Spinning Plate series, meanwhile, plants are pressed into paper to leave beautiful deboss-like indentations. Unlike pressed and preserved plants, the botanic matter is then remove and discarded, leaving only the void behind, like a trail of perfume after someone has forever walked away.


https://www.360cities.net/image/etemad-gallery-oct-2015-nastaran-safaei-thirty-03

Etemad Gallery Oct 2015 Nastaran Safaei Thirty 03
Tehran

سـی
شاید انگیزه اصلی این نمایشگاه زمانی در من ایجاد شد که در آستانه سی سالگی بودم. سی سالگی برایم بلوغ ذهن، دگر شدگی، از مرحله ای به مرحله دیگر رفتن و برایم تداعی داستان سیمرغ عطار را می کند.

پرندگانی که تصمیم به یافتن سیمرغ که در قله کوه قاف زندگی می کند میگیرند. پس از طی طریق و تحمل مرارت، تنها سی مرغ توفیق رسیدن به قله کوه را می يابند، و آنجا عکس خود را در آب می بینند ودر می یابند سیمرغ خود آنها هستند. با خود می اندیشم این پرنده ها بعد از رسیدن به هدفشان باید هدف دیگری داشته باشند و به سمت قاف دیگری پرواز کنند. اگر ساکن بمانند٬ تحلیل می روند و خورده می شوند.

کلمه مرغ پیشترها به طور خاص به مفهوم پرنده نر یا ماده بود. اما امروزه بیشتر شاید تداعی مرغهای بسته بندی شده در فروشگاه های مواد غذایی را میکند. پرنده ای بی بال و پر و بدون سر که توانایی پرواز و رسیدن به هدفی را ندارد. میز شام سیمرغ٬ سی مرغ ایستاده در بشقابهای برنزی٬ بزک شده و رنگارنگ٬ همانند مدلهایی در سالن مد هستند که تزئینات خود را به نمایش گذاشته اند.

تحت تاثیر کلمه ی سـیـمرغ بودم که یک روز مـرغی درسـته را برای پخت غـذا خـریـداری کردم. مشغول پاک کردن و خرد کردن آن بودم که خود را بی تفاوت و ظالمانه در حال سلاخی کردن دیدم. در حالی که به دنبال دلیل این حس بودم تصویر خودم را در لباس سفید عروس در مراسمی آیینی دیدم که در آن نمایشِ قربانی کردن سی مرغ٬ برای تغییر و گذر به مرحله ای جدید از زندگی ام (سی سالگی) در آن اجرا می شد.

نسترن صفایی_متولد 1362، تهران، ايران

تحصيلات:

1383  فوق دیپلم گرافیک دانشگاه سوره، تهران، ايران

1380   دیپلم گرافیک هنرستان نقش کوثر، تهران، ايران

عضو انجمن مجسمه سازان ایران

نمايشگاه‌های انفرادی:

1393 گالری AB، لوتسرن، سوييس

1392‌  گالری اعتماد، دوبی، امارات متحده عربی

1391   گالری اعتماد، تهران، ايران

1389 گالری اعتماد، تهران، ايران

1387 گالری اثر، تهران، ايران

1387 گالری باغ موزه، تهران، ايران

1383  خانه‌ی هنرمندان ايران، تهران، ايران_گزیده نمايشگاه‌های گروهی:_1394  \"دیوارها زیادند، پلها کافی نیستند\"٬ موزه هنر زوگ٬ راپرزویل٬ سوییس

1394  \"معماری هویت٬ هنر معاصر ونیز\"٬ پالاتزو دلفین بولانی٬ ونیز٬ ایتالیا

1394  \"هویت فردی٬ هنر معاصر ونیز\"٬ خانه هنر ونیز٬ ونیز٬ ایتالیا

1393  \"تهران لندن را صدا می‌زند، لندن تهران را صدا می‌زند\"، استوديوی چاپ لندن، انگلستان

1392  \"خودشيفتگی\"، استوديوی هنر ايگرگ، تهران، ايران

1392  \"بهانه‌ها: حركتی گروهی\"، ويلا كوريوسوم، برلين، آلمان

1391   \"آمريكا خوشگله\"، گالری آران، تهران، ايران

1391   \"ميزان‌سن\"، گالری اعتماد، دوبی، امارات متحده‌ی عربی

1390   \"ششمين دوسالانه‌ی بين‌المللی مجسمه‌سازی تهران\"، فرهنگسرای نياوران، تهران، ايران

1390   \"كارهای نكرده\"، گالری محسن، تهران، ايران

1389  \"معكوس\"، گالری شيرين، تهران، ايران

1388  \"مجسمه‌های كوچك\"، خانه‌ی هنرمندان ايران، تهران، ايران

1387  \"معكوس\"، گالری 10، تهران، ايران

1386  \"دومين دوسالانه‌ی بين‌المللی پوستر جهان اسلام\"، موسسه‌ی فرهنگی هنری صبا، تهران، ايران

1386  \"دومين دوره‌ی مسابقات طراحی پوستر آنتی ايدز\"، كیاف، اوكراين

1385  \"دومين دوسالانه‌ی طراحی پوستر دانشجويی\"، نوی‌ست، صربستان

1385  \"معكوس\"، گالری اثر، تهران، ايران

1384  \"اولين دوسالانه‌ی تايپوگرافی پوستر ايران\"، خانه‌ی هنرمندان ايران، تهران، ايران

1381   \"نمايشگاه نقاشی و مجسمه\"، گالری هنر، تهران، ايران

ساير فعاليت‌ها:_

1394  ارائه آثار در آرت فر بازل٬ بازل٬ سوییس

1393  اقامت هنری 2 ماهه، بنياد ORYX، لوتسرن، سوييس

1393  ارائه‌ی آثار در آرت فر، بازل، سوييس

1392  اقامت هنری 1 ماهه، ويلا كوريوسوم، برلين، آلمان

1392  ارائه‌ی آثار در بنياد ميراث ايران، لندن، انگلستان

1389  ارائه‌ی آثار در آرت فر اسليك، پاريس، فرانسه


Thirty

Perhaps the main motive for holding this exhibition was developed in me when I was on the verge of turning thirty. To me, turning thirty means mental maturity, alteration, stepping from one stage into another and eventually reminds me of the story of “Simurgh”, inspired by a mythical Iranian bird of the same name, meaning thirty birds.

In the original story written by “Attar” (a renowned classical Iranian poet), a number of birds decide to fly to the highest point in the universe (Ghaaf Mountain), in search of a supposedly sovereign bird called “Simurgh” (in Persian Si means thirty and murgh means chicken/bird). After a lot of pain and endeavor, only thirty of the birds survive the passage, who then see their own reflection in the water and realize that Simurgh, is in fact themselves all together as a team. The idea behind this installation was that achieving goals should not mean reaching the final point of the path, as goals are in fact the checkpoints. After arriving at each checkpoint, you should set yet another goal, fly again and reach the summit of other mountains. If birds stay still, they will eventually decay and dwindle.

In the past, the word “Murgh” could refer to birds of any kind, regardless of gender, but in the present time, it is associated with a pre-packed chicken, sliced or as a whole, available in supermarkets and ready to be consumed. A decorated bird with its feathers plucked, headless, aimless and incapable of flying. Simurgh dining table, thirty birds standing in bronze plates, colorful and embellished, looks like a runway of models, showing off their ornaments and bijouterie.

I was still under the impression of the word Simurgh, when one day I bought a whole chicken to cook. I was cutting the chicken into pieces when suddenly found myself slaughtering a creature so cruelly and so indifferently. While looking for the reason why I felt like this, I imagined myself wearing a white wedding dress in a ritual ceremony sacrificing thirty birds as a symbol and allegory of transition and change into a new stage of my life; turning “Thirty”.

Nastaran Safaei

Born in 1984, Tehran, Iran

Education:_2004 Associate Degree in Graphic Design, Sooreh University, Tehran, Iran_2001 Diploma in Graphic Design, Naghshe-Kowsar Art School, Tehran Iran

Member of the Association of Iranian Sculptors__Solo exhibitions:_2014 Sculpture Exhibition, AB Gallery, Lucerne ,Switzerland_2014 Sculpture Exhibition, Etemad Art Gallery, Dubai, UAE_2012 Sculpture Exhibition, Etemad Art Gallery, Tehran, Iran_2010 Sculpture Exhibition, Etemad Art Gallery, Tehran, Iran_2008 Sculpture Exhibition, Assar Art Gallery, Tehran, Iran_2008 Painting Exhibition, Iranian Art Museum Garden, Tehran, Iran_2004 Painting Exhibition, Iranian Artists’ Forum, Tehran, Iran__Selected Group exhibitions:_2015 \"There are too many walls but not enough bridges\", Kunst Zeug Haus ,Switzerland_2015 \"Contemporary Venice - Architectures of Identities\", Palazzo Dolfin Bollani, Venice, Italy_2015 \"Contemporary  Venice – Self Identities\", Venice Palazzo Ca’zanardi and Venice Art House, Venice, Italy_2013 \"Tehran calling London - London calling Tehran\", London print studio, London, England_2013 \"Self-Musement\", Egreg Art Studio, Tehran, Iran_2013 \"Excuses: a group effort\", Villa Kuriosum, Berlin, Germany _2012 \"America the Beautiful\", Aaran Art Gallery ,Tehran, Iran_2012 \"Mise - en – scene\", Etemad Art Gallery, Dubai, UAE_2011 \"6th International Sculpture Biennale of Tehran\", Niavaran Cultural Center, Tehran, Iran _2011 \"The Undone\", Mohsen Art Gallery, Tehran, Iran_2010 \"Maakous\"Sculpture Exhibition, Shirin Art Gallery, Tehran, Iran_2009 \"Small Sculptures\", Exhibition of the Association of Iranian Sculptors, Iranian Artists’ Forum, Tehran, Iran_2008 \"Maakous\" Sculpture Exhibition, Gallery 10, Tehran, Iran_2007 The Second International Poster and Computer Animation Competition \"Anti Aids\", Ukraine _2006 The Second World Biennial Exhibition of Student Poster, Novisad, Serbia_2006 \"Maakous\" Sculpture Exhibition, Assar Art Gallery, Tehran, Iran _2005 \"The First Iran Biennial of Typography Poster\", Iranian Artists’ Forum, Tehran, Iran_2002 \"Sculpture and Painting Exhibition\", Art Gallery, Tehran, Iran__Other Activities:_2015 Presented at Scope Art Basel, Switzerland_2014 Two months Art Residency in ORYX Foundation, Lucerne/ Switzerland._2014 Presented at scope Art Basel, Switzerland_2013 One month Art residency in Villa Kuriosum, Berlin, Germany _2013 Presented at Iran Heritage Foundation Auction, London, UK_2010 Presented at \"Slick\" Art Fair, Paris, France

نمایشگاه آثار \" نسترن صفایی \" با عنوان \" سی \" مهر 1394 گالری اعتماد

http://zhmag.net/2016/05/nastaran-safaei/

Nastaran Safaei was born in 1984 in Tehran/Iran. Beginning her journey as a sculptor by experimenting with pottery and clay in 2000 she was mostly self taught in her experience until attending Parviz Tanavoli’s first series of sculpting workshops in 2006 focusing on the Bronze technique which resulted in her first solo sculpture exhibition at Assar art gallery. The successful show made her a member of the association of Iranian sculptors.
The main inspiration for her work is inner explorations of femininity by using mundane objects to express her experiences. She is deeply inspired by the mythological archetypes of Jung and the psychological methods of self-realization and ancient Iranian myths. Social and cultural issues influence her work deeply. She is currently working on the concept of time and the sub-conscious, focusing on the therapeutic aspect of her work in regards to her own psychological healing in relation to herself and the exterior. She regularly uses the human form to convey her ideas.

Other than the Bronze technique, use of other materials in her works, which include Aluminum, Brass, Fiberglass, Papier-Mache and mixed media were all based on personal experimentation and experience.


http://myartguides.com/exhibitions/the-impact-of-tangency/

\"There Are Too Many Walls But Not Enough Bridges\"
ORYX FOUNDATION AT KUNST(ZEUG)HAUS RAPPERSWIL

http://oryx-foundation.com/ofen/issues/treffpunkt-orient/events/2015-05-05--there-are-too-many-walls.php

\"There Are Too Many Walls But Not Enough Bridges\"
ORYX FOUNDATION AT KUNST(ZEUG)HAUS RAPPERSWIL

http://www.itsliquid.com/feedback-release-self-identities-faces-places-spaces-venice.html

SELF IDENTITIES – Faces . Places . Spaces | VENICE

http://www.ab-gallery.com/en/exhibitions/art-fairs/2015-05-01-scope-basel.php

SCOPE BASEL

http://www.ab-gallery.com/en/exhibitions/events/2014-09-25-nastaran-inner-selfie.php

AB Gallery



EXHIBITION

AB GALLERY LUCERNE
23.11 - 20.12.2014

«NASTARAN SAFAEI - INNER SELFIE»

Young Iranian artist Nastaran Safaei (born 1984, Tehran, Iran), one of the emerging talents of the Iranian contemporary art, has gained her success through exceptional sculptures and installations. In her work, the artist mainly focuses on social issues with a touch of personal experiences and an ironic view of such situations.

In the exhibition \"Inner Selfie\", a title that can also be loosely translated as \"Inner Self Image\", the artist shows various aspects of her personal \"being\" as a woman, as well as her emotions. In her art, Safaei expresses the schizophrenia, which she is everyday at the mercy of: a flying chest, a bust of her head with octopus legs, her fingers and lips served as \"finger food\" or the installation \"Simurgh\", in which 30 decorated chickens were presented or served on golden plates.

\"Throughout and in the different stages of my life I have found aspects of my character that can in no way be fitted within a simple template or definition; various emotions, very conflicting at times, that I have been carrying through the ups and downs of my journey, and all the love/hate that has come my way, nested in or departed from me. My portrayal of such emotions and experiences is perceived as a dress that others use to judge me by. While in it, I have all these complex concepts and enigmas that even “I” cannot always define. I have attempted to include a quite personal part of my essence in my works while depicting my power over what I present others with and how I can become transparent in the face of judgments and comments. The embodiment of this, along with a contradicting sense of purity and evil – that can coexist in my soul – is displayed in my works.\" (Nastaran Safaei)

Nastaran Safaei studied for an Associate Degree in Graphic Design from Sooreh University (2004) and she received a diploma in Graphic Design from Naghshe Kowsar Art School (2001). Afterwards she focused mainly on media sculpture and installation. Today she is a member of \"The Association of Iranian Sculptures”. Since 2002 her works have been exhibited in numerous solo and group exhibition in Iran and abroad.

From early October to late November 2014, the artist will participate at the Artist in Residence program of the ORYX Foundation Lucerne / Switzerland and create new artworks which will be presented during the exhibition.

http://www.ab-gallery.com/en/issues/artists-in-residence/nastaran-safaei.php

AB Gallery



NASTARAN SAFAEI

I have attempted to include a quite personal part of my essence in my works while depicting my power over what I present others with and how I can become transparent in the face of judgments and comments. The embodiment of this, along with a contradicting sense of purity and evil – that can coexist in my soul – is displayed in my works. (Nastaran Safaei)

From October until November 2014 young sculptor Nastaran Safaei will be guest as Artist in Residence in our studio. The artist is already known over her country\'s borders. Her exceptional sculptures and subtle installations are strongly associated with her personality and her emotions. Not rarely addressed the young artist in their works her position as a woman in Iran with some satirical \"wink\". Her works are often ambiguous and can be read not only as a reflection of Iranian society, but also as a confrontation with Western culture.

Nastaran Safaei studied for an Associate Degree in Graphic Design from Sooreh University (2004) and she received a diploma in Graphic Design from Naghshe Kowsar Art School (2001). Afterwards she focussed mainly on the media sculpture and installation. Today she is a member of \"The Association of Iranian Sculptures as well as co-founder of the sculpture circle \"Maakous\". Since 2002 her works has been exhibited in numerous solo - and group exhibition in Iran and abroad. 2013 her works has been shown in an extended solo exhibition at Etemad Gallery, Tehran and at the same time in a group exhibition entitled \"Excuses\": a group effort\" in the Villa Kuriosum in Berlin, Germany.

During her residency Nastaran Safaei will create new sculptures and installation which will be displayed in her solo exhibition\"Inner Selfie\" on November 23, 2014.

http://blogs.seattletimes.com/allyoucaneat/2014/10/15/more-art-at-mamnoon/

October 15, 2014 at 12:50 PM
More art at Mamnoon
Posted by Providence Cicero


Simurgh, an art installation by Nastaran Safaei, hovers above the dining room at the Capitol Hill restaurant Mamnoon.

The newest installation, 30 chickens suspended in flight, is the work of a young Iranian artist, Nastaran Safaei. Its title, Simurgh, is both a play on the Farsi words for 30 birds and the name of a mythical, all-powerful bird that figures in a famous Persian poem. As summarized in notes from an exhibition at the Etemad Gallery in Dubai, the story goes like this: “A flock of birds undertake a difficult journey to the highest mountain in the Universe in search of the great Simurgh. Only 30 birds survive the journey, and upon reaching their destination, they realize that the Simurgh they seek is within them.” Food for thought to sustain the soul, even as you nourish the body.


A peek at Mamnoon’s latest acquisition, Simurgh, through a pattern of eight-point stars laser-cut into poplar panels. Photo courtesy of Wassef Haroun







Simurgh II This installation by Nastaran Safaei represents superficiality. The brass plates suggest the need to reflect on one’s goals and aspirations as well as the consequences of not aspiring for greater development

Soaring to the greater purpose

Iranian artist Nastaran Safaei’s latest exhibition, “Simurgh”, is inspired by the well-known Iranian legend of a powerful, immortal mythical bird called Simurgh. But the name of the bird is also a play on the Farsi words for the number 30 (“si”) and birds (“murgh”). The story goes like this: A flock of birds undertake a difficult journey to the highest mountain in the Universe in search of the great Simurgh. Only 30 birds survive the journey, and upon reaching their destination, they realise that the Simurgh they seek is within them.

Safaei’s installations, “Simurgh I” and “Simurgh II”, reflect the philosophy behind this story. The first work features 30 sculptures of birds in flight, suspended from the ceiling. The second one is a dinner table with thirty brass dishes and a bird standing in each dish. The birds are headless, their feathers have been plucked, but they are painted with bright colours and decorated with jewellery and other trinkets.

“The birds in the story had the qualities of the mythical Simurgh because they had the passion to search for a greater purpose in life. The white, almost invisible birds in my installation represent these seekers. But I want to ask whether the birds will continue to be Simurgh if after reaching their ideal high point they stop progressing, developing and setting new and higher goals. The birds in the second installation represent materialistic, superficial and selfish goals, which transform a Simurgh into a soulless, headless chicken on a dinner plate,” the artist says.

“Simurgh” will run at Etemad Gallery until April 22.



Nastaran Safaei, Simurgh, 2014, Installation, Mixed media, 30 x 30 x 30cm (Each)

Etemad Gallery Dubai invites you to the private view of new sculptural works by Nastaran Safaei which coincides with Art Week at Art Dubai, 2014 and is her first solo exhibition in the UAE.

Natsaran Safaei’s practice centres on femininity and womanhood, interplaying between objects that embody these notions, or what society ascribes as ‘the feminine’. Objects such as kitchenware, high heels, handbags, cosmetics are superimposed with body parts and ephemera such hair, lips, eyes, feet are incorporated in her largely sculpture based practice.

For her Dubai solo, she takes a denature from her usual feminist concerns and presents an installation Simurgh (2014), based on Conference of the Birds by Farid al-Din Attar titled. Simurgh is an installation inspired by the famed mythical Iranian bird of the same name. This installation plays on the word Simurgh, which can also be read as a blend of two Farsi words, \'si\' and \'murgh\', meaning thirty birds. The installation consists of a dinner table with thirty dishes with a bird on each dish, each bird representing a year of her life for her thirtieth birthday.

Born in Tehran, Iran where she presently lives and works, Nastaran Safaei studied for an Associate Degree in Graphic Design from Sooreh University, Iran in 2004 and in 2001 received a Diploma in Graphic Design from Naghshe Kowsar Art School, Iran. She is a member of The Association of Iranian sculptures and has exhibited extensively in Iran as well as participated in Slick Art Fair Paris and Christies Middle Eastern Auction, Dubai in 2010 and 2011 respectively.

For more information about the exhibition artists and image requests please contact info@etemadgallery.com or call Ariane Nouchi on + 971 5614 98958.

Etemad Gallery Dubai is now located at The Courtyard:
The Courtyard, Sheikh Zayed Road (E11), Al Quoz 1, Street 4B (Between Times Square Ctr and Al Tayer Motor Showroom)
Tel : +971 4 347 0909