75018 PARIS
September 15 - October 13, 2018


Constructing an artistic galaxy that explores subjects as varied and relevant as gender, power, exile and migration, the artistic collective composed of Ramin Haerizadeh (b. 1975, Tehran), Rokni Haerizadeh (b. 1978, Tehran) and Hesam Rahmanian (b. 1980, Knoxville) will present Night of Another Spring Part 1 at In Situ – fabienne leclerc, Paris.

The artists’ first personal exhibition in France, Night of Another Spring is divided into two parts. A first opening will take place on Saturday, 15 September 2018, offering an overview of their multidisciplinary oeuvre through videos, drawings, collages and paintings. Night of Another Spring: Part 1 will also mark the start of the artists’ residency in Paris, during which they will work within the gallery space for six weeks, producing polymorphic works and installations in situ that will be shown to the public on Saturday, 20 October 2018 as Night of Another Spring: Part 2.

In Situ – fabienne leclerc will also present a selection of Ramin, Rokni and Hesam’s works during FIAC, from 17 to 20 October 2018.

With a collaborative artistic practice that includes painting, drawing, video and immersive installations, Ramin, Rokni and Hesam propose a new definition of the collective in a constant state of movement and mutation, inviting friends and collaborators including carpenters, technicians, thinkers and caretakers to participate in their work. Transforming into a dastg?h – Persian for “device” or “machine” but also a melodic matrix in traditional music – Ramin, Rokni and Hesam act as operants within a collective organism, confronting issues such as power, otherness, displacement and destruction.

Night of Another Spring: Part 1 is structured around Reign of Winter, Big Rock Candy Montain, and Night of Another Spring, three artworks whose first two presented as moving paintings, employing a rotoscope of video news broadcasts that are subsequently transformed by the artists. Anthropomorphic zoomorphs and phytomorphs appear in lieu of human figures, and the artists evoke the Brechtian strategy of estrangement in order to re-contextualize images to which we have perhaps become desensitized.

The Royal Wedding’s theme, including the moving painting Reign of Winter and series of works that caustically straddles the border between draughtsmanship, painting and collage, is another expression of the artists’ reoccurring interest in subverting popularly held notions of legitimacy and prestige. As a grotesque deconstruction of an iconic image, The Royal Wedding is also a visual heir of modernism and surrealism.

Offering a meditation on the tension between high and low culture though their use of both traditionally artistic and banal materials, the artists ask us to re-examine forms, figures and issues absent from our field of vision. They work with a total freedom of rhetorical and visual strategies, employing distortion, subversion, inversion and obscuration at will in order to question habitual judgments. With experienced life as the common thread through Ramin, Rokni and Hesam’s work, any meeting, conversation, natural phenomena or event can become part of their creative process.

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