January 18, 2010

Bahman Jalali (1944—2010)

Bidoun is sad to learn that Bahman Jalali passed away on Friday at the age of 65 in Tehran. Jalali was not only a photographer who captured the Iranian Revolution and the war that would ensue, but was also an avid and keen photo collector, as well as a beloved professor of photography whose legacy continues to be seen in the generations who followed him. We salute him and his memory.


January 15, 2010

Bidoun and Art Dubai 2010

Art Dubai 2010
March 17–20, 2010
Madinat Jumeirah, Dubai

In 2010, Bidoun Projects becomes the curatorial partner for Art Dubai, taking on all non-commercial programming at the art fair. The Art Park will feature video programs curated by Bidoun and guest curators Masoud Amralla Al Ali, Aram Moshayedi, and Ozge Ersoy & Sohrab Mohebbi, plus a series of talks and performances co-curated with UbuWeb; a group exhibition looks at new and expanded formalist practices; and Bidoun has commissioned new performances and sculptural works that interact with the fabric of the fair. We will update you nearer the time, but hope to see you in Dubai this March!


January 12, 2010

BubuWeb: Hamlet Hovsepian

Hamlet Hovsepian Hamlet Hovsepian

Head 1975, 16mm, 12 minutes
Yawning 1975, 16mm, 2:20 minutes
Itch 1975, 16mm, 4:30 minutes
Untitled 1976, 16mm, 4:25 minutes
Thinker 1975-6, 16mm, 6:40 minutes

Staggeringly simple films: a man itching his back, a man thinking, a man yawning, but like the works of Samuel Beckett, these minute gestures stand in as grand statements of the human condition, akin to the films of Bas Jan Ader and Marcel Broodthaers. Rarely seen, these are gems of Armenian avant-garde art and are gestures of deviance; political commentaries that positively reverse the image of isolation current among cultural pessimists, as a seizure of space in a world of standardization, of the mass society. Hamlet Hovsepian’s film is not only the result of a small revolt against the deadly passivity of this society. The reduction it carries out, its silence, gives a universal turn to the meaning of emptiness, to the abstract space, and the frequently extended time.

View Hamlet Hovsepian’s films on UbuWeb


January 11, 2010

The Portfolio Project at Shelter: Aisha Miyuki Ansari and Zeinab Hajian

January 10, 2010—February 10, 2010
the shelter
t +971.4.434 5655
p.o.box 11370
Dubai, UAE

In November 2009 Bidoun launched a new, monthly exhibition project aimed at highlighting the work of art photographers based in the UAE.

The Portfolio Project this month will be featuring two former students of the American University of Sharjah, Aisha Miyuki Ansari and Zeinab Hajian, both of whom were taught by AUS professor and artist Tarek Al Ghoussein. The novelty of compositional experimentation and thematic exploration that marks academic work in art photography distinguishes the January series from previous month’s artists Hind Mezaina and Mohamed Somji.

More information on the artists on the Portfolio Project’s page


January 2, 2010

BubuWeb: Parviz Khatibi’s Seh Mullah


Seh Mullah
Parviz Khatibi
Farsi (no subtitles)
1985, 53 min

Parviz Khatibi was an iconoclastic intellectual, active across countless media, who kept one foot in popular entertainment and the other in political activism. During the Shah’s regime, Khatibi relentlessly published a satirical weekly named Haji Baba despite harsh censorship and several arrests. After the Islamic revolution, Khatibi continued the publication of the paper both in Iran and later in exile in New York and Los Angeles. In the realm of popular culture, he was a successful playwright, a key figure in the golden years of Radio Iran where he hosted a popular four hour morning show, an accomplished film directer (over 20 pictures under his belt) and a successful songwriter. Most notably, he penned the lyrics to Vigen and Delkash’s Bordi Az Yadam – one of the most iconic songs of Persian pop history. His gift for sharp but poppy lyrics is evident in Seh Mullah (1985), a made-for-television satirical musical mocking the then leaders of the Islamic Republic. In characteristic Khatibi style, the play utilizes popular folk and joke musical tropes combined with found footage and video effects to voice fervent political commentaries. The mullahs, played by actors donning clumsy masks and fake beards, are often seen singing, dancing and being chastised by their wives. In one scene Khomeini, with a baseball bat in his lap, calls Saddam Hossein on the telephone to share his woes and suggest a war between their countries to solve all their problems. Khatibi himself appears throughout as a diegetic narrator.

Watch Parviz Khatibi’s Seh Mullag on UbuWeb