Two Interpretations of Contemporary Iranian Ceramics, a Group Exhibition

Two Interpretations of Contemporary Iranian Ceramics” is a selection of modern and contemporary approaches to Iranian ceramic art over half a century.

While the first interpretation marks the arrival of ceramic art in museums and galleries in the 1950s and 60s, the second one displays the experiences of the generation of young artists in ceramic-based artistic creativities.

First interpretation: Monir and Mohammad Mehdi Ghanbeigi

Curator: Eskandar Ghanbeigi

10 June 2022-26 June 2022

In the contemporary art world and in the present time, the definition of art and artist has transformed more than ever, but what seems more significant in this realm is the artist’s inspiration and the affectability and impact of the artist and his or her work on the audience. If we were to have a study on contemporary Iranian ceramic art, the names of two pioneering artists in this field are undeniable: Monir (born 1949) and Mehdi (born 1945) Ghanbeigi, artists who have created ceramic and porcelain masterpieces influenced by the Iranian and world art history. Such works include the Marlik Cow, the paintings of Lascaux and Altamira Caves from the fifteenth millennium BC, large urns belonging to the third millennium BC found in Hissar (in Damghan City) and Sialk pre-historian hills, the horse miniatures of the Seljuk and Ilkhanid era (11^th and 12^th century), and the Kufic script of the early centuries of Islamic civilization.

In terms of technique, the interest again in the historical periods of Iranian art can be examined in the works of these two artists, namely the ones that were inspired by the gray pottery of the third millennium BC, red glazing, gold-colored pottery (alchemy belonging to the eighth century) and the revival of Neyshabur pottery. To create their artworks, Monir and Mehdi combine countless materials in the glazing, ranging from natural substances such as the Ashnoon plant (Seidlitzia rosmarinus) to minerals including different types of oxides (copper, manganese, titanium, cobalt, silica, chromium, selenium, etc.), using handmade diesel kilns or the unique facilities of the Maghsoud porcelain factory. For many years, these two have conducted arduous experiments in the process of creating the work for glazing. It is as if the work, which is a part of the artist’s existence, is placed in the kiln by chance while the artist waits patiently to see the work at the end of the process.

Important features of the works of these two artists are the seductive vibrancy of the colors, and glazes that are as bright and varied as the visual past of Iranian art. In addition, the use of script, calligraphy, forms with historical reputation, geometric shapes, floral and vegetal designs inspired by Iranian miniature painting, as well as paying attention to Iranian literature such as the works of Saadi, Ferdowsi, Nizami, and in contemporary literature, Ahmad Shamloo, Mehdi Akhavan Sales are the most vital characteristics of their work which are inseparably linked to both artists. These pieces are influenced by the cultural and visual heritage of the history of Iran and the world in terms of beauty and have a contemporary tone in terms of concept so that their unique installation works (a work called goats) in 1999 reveal their recognition of contemporary art.

Monir received her bachelor’s degree in Ceramics and Mehdi his master’s degree in Art History and Painting from the Modern Art Faculty of the University of Canterbury in the United Kingdom. They have worked earnestly in the field of education for many years. Aiding in the establishment of ceramic workshops for the enthusiasts and the cultural growth of ceramics as contemporary art is one of the most important achievements of the two. Other efforts of the artists include judging seven editions of the National Biennial of Iranian Ceramic Art as well as twenty editions of the Youth Arts Festival, participating in the Venice Biennale in 2012, and teaching at the universities of Al-Zahra and Heritage. The promotion of Iranian ceramics as a unique art in the contemporary era is due to the endeavors of Monir and Mehdi Ghanbeigi, so both can be considered the forerunners of contemporary Iranian ceramic art.

Dr. Hossein Ardalani