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Galerie Krinzinger

Galerie Krinzinger

Private Gallery
 
Nader Ahriman @ Zona Maco 2010 (April, 14th - 18th)
 
  Dear friends of the Gallery Krinzinger,

we are looking forward to welcoming you at our booth (ZMS11) at the Zona Maco 2010.
The curator, Adriano Pedrosa, has choosen the artist Nader Ahriman for Zona Maco Sur, the project room section at Zona Maco.

NADER AHRIMAN

In his painting Nader Ahriman reflects critically on ideological systems as well as on philosophicalcultural discourses from the 19th and 20th century in particular. Marxism led him to the metaphysics and philosophy of German idealism. In particular his works from the most recent years are deeply influenced by Hegel and his Phenomenology of Spirit. In his teachings of the manifestations of the spirit Hegel describes the development of the natural spirit out of simple, naive perception, via the guise of consciousness and self-consciousness, to the absolute knowledge of the world spirit, absolute reason, With his paintings Ahriman tries to trace this trajectory and to solve a seemingly irresolvable paradox: to capture the pure idea, the ultimate detachedness of matter on canvas and to make this visible by means of figurative painting.

Producing his very own version of logic, he connects these themes to create a transcendental code, detached from time and space, for perceiving the present. He develops a highly idiosyncratic aesthetic idiom and a mythology of both personal and historical relevance. The recurring conceptual figures, motives and references are frozen as it were and placed paradigmatically in stage-like abstract spaces. Like detached proxies they suggest a larger meaning. Innumerable drawings and sketches, representing a visual mental process, precede the painterly works. The individual motives of these atmospherically charged, excessively rich motifs are finally varied in various formats and compositions. Ahriman's picture titles, standing both explicitly and metaphorically for contents and themes, offer initial points of reference, even if a completely coherent interpretation is never made possible.

The Beautiful Moral World of the Polis (Die schöne sittliche Welt der Polis) (2009) addresses fundamental values that have had validity since Greek-Hellenic civilization. The state guarantees freedom that man needs to develop to come into his own. The individual organic figure resembles Antigone in a silent struggle for this very freedom, opposing the rigid systems and structures symbolically alluded to by crosses and the artifacts of modernity. A dual shift in perspective results in a double negation, i.e., affirmation of man through the encounter of existence and being. The color flowing through the painting on the right-hand side stands for chance, for evolution and nature. Painterly solutions are always also solutions involving content.

Viewed superficially and purely in terms of motifs, Ahriman's art sometimes recalls the French surrealists and their attempt to destroy logic in favor of the subconscious. This, however, is not what the artist has intended and certainly not a sarcastic commentary on the medium of painting.
PPP - the Beautiful Moral World of Polis (PPP - die schöne sittliche Welt der Polis) (2009) also pays homage to the Italian filmmaker Pier Paolo Pasolini, referring directly to the ideas of antiquity.
Like Antigone the director fought for freedom and liberal values from the stance of the 1968 period.
Like Antigone and Oedipus his death was also dramatic. But what is of particular interest here is his decidedly mythological language that was also employed by Pasolini in his films.

The Foot Washing - Return of the Laughing Consciousness and Laughing Equanimity of the Gods Towards Man (Die Fußwaschung - Heimkehr der lachenden Seeligkeit und des lachenden Gleichmuts der Götter zu den Menschen) (2010) tells the story of Homer's mythological hero Ulysses and his return to Ithaca. Coming back from many years of perenigration he is first only recognized by his old servant who, in the ritual of washing his feet, remembers his scars. This recognition, in turn, symbolically alludes to the idea of the knowledge of absolute reason in Hegel.

At the same time the picture refers to the disappearance of laughter from the monotheistic world, on which Nietzsche in particular comments, and its final return to man. Buster Keaton in the guise of the Venus of Milo underscores this in a humorous and ironic way.

Please do not hesitate getting back tous if you have any further questions.

Very kind regards,

Verena Hager and Michael Rienzner

Galerie Krinzinger
Seilerstätte 16
A-1010 Wien

Tel.: +43 1 513 30 06 DW 21
Fax.: +43 1 513 30 06 33
E-Mail: galeriekrinzinger@chello.at
www.galerie-krinzinger.at
 
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