South likes: Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian at Gallery Isabelle van den Eynde, Dubai

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Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, The Exquisite Corpse Shall Drink the New Wine, 2014, installation shot. Courtesy of Gallery Isabelle van den Eynde.

South likes: Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian at Gallery Isabelle van den Eynde, Dubai
The Exquisite Corpse Shall Drink the New Wine
Gallery Isabelle van den Eynde, Dubai, UAE
18 March – 18 May, 2014

The trio of Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian return to Isabelle van Eynde Gallery for the sequel of the show I Put it There, You Name It, held at the gallery in 2012. With a collaborative approach as well as with an improvisational attitude, the three artists put up a meandering exhibition, wandering between surrealistic inspirations, spontaneous visual puns, and the manifold influences generated by the context of a city—Dubai—filled with shopping malls and consumerist desires. The exhibition is opened by a large painting by Rokni Haerizadeh, Royal Goldfish, which is a grotesque remake of the portrait made in the occasion of the christening of newborn Prince George. The official composure of the original portrait is turned topsy-turvy as the members of the English Royal Family are distorted into bizarre figures, which are the representation of rather unofficial psychologies and drives. A reference to the literary production of Ubayd‐i Zakani, a Persian poet and satirist of the 14th century, playfully interacts with the different registers of representation displayed in the exhibition. In the series Joyous Treatise the artists’ trio directly drawn inspiration to the poet’s Risala-i-Dilqusha, a satirical commentary that was very controversial and widely censored at the time due to its obscene and homoerotic language. The abundance of objects and of decorative elements disseminated across the space continuously refers to sublimations of drives and fears, private domestic idiosyncrasies, and carnal fetishism. In the opulent visual impact of the show, different threads intertwine, balancing anthropomorphous figures, sensual decorative inclinations, and well-digested rhetorics of institutional portraiture. The icing on the cake is however a persistent irony, which supports the whole discourse developed throughout the show with witty observations and extravagant visions.

Michelangelo Corsaro

http://www.ivde.net/exhibitions/the_exquisite_corpse_shall_drink_the_new_wine_1#/0

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Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, The Exquisite Corpse Shall Drink the New Wine, 2014, installation shot. Courtesy of Gallery Isabelle van den Eynde.

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Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, The Exquisite Corpse Shall Drink the New Wine, 2014, installation shot. Courtesy of Gallery Isabelle van den Eynde.

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Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, The Exquisite Corpse Shall Drink the New Wine, 2014, installation shot. Courtesy of Gallery Isabelle van den Eynde.

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Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, The Exquisite Corpse Shall Drink the New Wine, 2014, installation shot. Courtesy of Gallery Isabelle van den Eynde.

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Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, The Exquisite Corpse Shall Drink the New Wine, 2014, installation shot. Courtesy of Gallery Isabelle van den Eynde.

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Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, The Exquisite Corpse Shall Drink the New Wine, 2014, installation shot. Courtesy of Gallery Isabelle van den Eynde.

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Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, The Exquisite Corpse Shall Drink the New Wine, 2014, installation shot. Courtesy of Gallery Isabelle van den Eynde.

 

 

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