Hamed Yousefi
In more than 60 texts, first published on-site at 56th Venice Biennale, artists and writers trace the negative collective that is the subject of contemporary life.
# 82
From its inception in the late 1940s, Iranian modernism constantly found itself facing an indifferent public that considered modern art socially irrelevant. In retrospect, the history of modernism in Iran looks like a history of artistic attempts to overcome this sense of alienation from the public. But the more art tried to bridge the gap, the deeper the gap between art and the public grew. In this context, Art+Art came less as a new response than as a radical negation of the presuppositions of the question itself. Shishegaran’s work turned the question of the art-public relationship on its head and dissolved the binary between art and life altogether.
# 65
