[上海]第三眼：伊朗当代艺术展

展览名称： 第三眼- 伊朗当代艺术展
策 展 人： 劳尔•扎穆迪奥
艺 术 家： 阿拉•德甘
           西莉亚•埃斯拉米•休莫
           马吉德•宾德哈
           迈赫兰•蒂斯卡和拉哈•拉蒂斯
           帕拉斯图•佛沃
           普然•金凯
           尚莱姆•恩特卡比
           瓦希德•谢丽费恩
展览时间： 2011.3.17-2011.4.17
开幕酒会： 2011.3.17（5:00pm-8:00pm）
展览地点  其他画廊上海空间-上海莫干山路50号M50创意园区9号楼1楼

EXHIBITION:  The Third Eye-Iranian Contemporary Art Exhibition
CURATOR:     Raul Zamudio
ARTIST:      Ala Dehghan
             Celia Eslamieh Shomal
             Majeed Beenteha
             Mehran Tizkar & Raha Rastifard
             Parastou Forouhar
             Pouran Jinchi
             Shahram Entekhabi
             Vahid Sharifian

DURATION:   March 17th 2011– April 17th 2011
VERNISSAGE: 5pm-8pm, March 17th, 2011
VENUE:      Other Gallery l Shanghai Space 101, Bld9, Moganshan Rd,M50, Shanghai

第三眼

展览将展出伊朗艺术家的作品，其标题的灵感源于几个不同的概念。展览的整体框架基于电影摄影术语“第三只眼睛”，以及地理学家爱德华•苏贾（Edward Soja）和文艺批评家/理论家霍米巴巴（Homhi Bhaba）所阐述的“第三空间”的概念。作为电影摄影的术语，“第三只眼睛”是指不受人的视觉操控，独立地捕捉世界景象的摄像机镜头。通过这种方式，它能为我们展现世界中那些未经发现的美，以及揭示其中所隐含的社会不平等。
本次展览的参展艺术家将这些开放理论作为创作出发点，反思这个不断变化的世界中传统和当代，宗教和世俗，以及正统和非正统之间的矛盾和冲突。本展览并不试图呈现生活在世界各地的伊朗当代艺术家的创作全貌，而是强调当代艺术实践中涌现的多样性。这种艺术实践带来一种新的艺术语言，它源于昨天，今天和明天的交汇所带来的形式，社会和文化方面的机遇和张力。
 

The Third Eye

The Third Eye is an exhibition of Iranian artists that culls its title from disparate sources. It uses as curatorial framework the cinematic vernacular for the camera, known as “the third eye,” with the notion of third space articulated by geographer Edward Soja, and that of the literary critic and theorist Homhi Bhaba. As a film trope, the third eye is the camera lens that captures the world independent from the human eye; in doing so, it can reveal to us its overlooked beauty as well as exposing the social disparity.
The artists use these open-ended narratives as thematic touch stones as well as reflecting on an ever-changing world where tradition rubs up against the contemporaneous, religion with the secular, and orthodoxy with heterodoxy. The Third Eye does not claim to be
representative of art being made by Iranians today, regardless whether they live within their country or abroad; rather, it serves to underscore the heterogeneous nature of an emerging contemporary artistic practice that evinces an artistic vocabulary rooted in a formal, social, and cultural crucible situated at a nexus between the past, the present, and the future.