Siah armajani biography of mahatma

Décès du sculpteur et architecte iranien Siah Armajani

Voici un artiste peu connu du public français. Né à Téhéran, Siah Armajani rejoint une partie de sa famille aux États-Unis, où il suit une formation de philosophie au Macalester College de Saint-Paul. C’est en Iran qu’il avait commencé sa pratique artistique en réalisant des collages inspirés aussi bien des miniatures persanes, de la calligraphie arabe que des affiches politiques qu’il pouvait voir dans les rues de Téhéran. Aux États-Unis, il se passionne pour l’écriture et la poésie, l’art conceptuel et la réflexion théorique. Plus tard, il se tourne vers les mathématiques, la technologie et l’architecture. Qu’elle soit réaliste ou imaginaire. Pour North Dakota Tower (), il calcule le poids d’une structure dont l’ombre pourrait traverser cet état américain. Pour A Fairly Tall Tower (), il imagine un édifice surplombant la terre. En lien avec ce volet de sa carrière, il faut noter le pont Irene Hixon Whitney, qui relie le parc de sculptures du musée de Minneapolis au Loring Park. « Tous les bâtiments et toutes les rues sont des ornements. En outre, le phare et le pont donnent une place à la représentation des

An Exile Dreaming of Saint Adorno,

In , 21 year old Siah Armajani left his native Iran to study at Macalester College in St. Paul, where he majored in philosophy but dreamed of being an artist. Today he is a world-renowned sculptor whose work articulates both his lifelong passion for art and ideas, and his experience of living in a culture that is not his own.

In this work, Armajani explores exile as a physical, political, and emotional condition. He quotes Alberto Giacometti's surrealist masterpiece, The Palace at 4 a.m. (), which resembles a miniature stage on which a mysterious play is being enacted. Similarly, Armajani's cagelike structure is inhabited by a faceless figure who sleeps at a desk; outside and above, another watches. The two are frozen in this voyeuristic tableau, forever separated by the sculpture's closed doors and glass walls. Armajani's title references Theodor Adorno, the German philosopher who fled his native country during the Nazi regime. For him, exile was an ethical choice. As he wrote, "It is part of morality not to be at home in one's home."

Siah Armajani – An Iranian Installation Artist

It&#;s high time to learn more about Iran and its contemporary artists. Meet Siah Armajani (–). His works are known across the United States, Europe, and Iran, as he specialized in architecture and installation art. He often drew inspiration from the traditions of Iran as well as European art history.

Teheran

His first works were closely linked to his national heritage. In Shirt #1 from , he completely covered his father&#;s suit jacket with inscriptions of talismanic texts, folk poetry, and verses by the Persian poet Hafez. The work was inspired by his trips through southern Tehran, where he observed the scribes and &#;spell-makers&#; at work. The freedom of this calligraphic scrawl is characteristic of his early works.

Atlanta

As Armajani emigrated to the US when he was 21 to attend college, his art turned more towards installation art and architecture. His first big commission was the Olympic Torch for the Olympic Games in Atlanta in

New York

In , Armajani completed his commission for a lighthouse and a bridge for Staten Island in North Shore Esplanade at St. George&#;s Ferry Terminal. The lighthouse and

Siah Armajani (b. , Tehran; died in ,Minneapolis  ) moved to the United States from Iran in He attended Macalester College, in Minnesota, where he studied philosophy. His sculptures, drawings and public works exist between the boundaries of art and architecture, informed by democratic and populist ni is recognized as a leading figure in the conceptualization of the role and function of public art, with nearly one hundred projects realized internationally since the s.

The artist’s education in Western thought and philosophy began in Tehran, where he attended a Presbyterian school for Iranian students, and continued through his undergraduate years in the US. Early theoretical interests continue to influence his work, taking form in objects and architectural spaces designed in homage to literary, philosophical and political figures like Martin Heidegger, Ralph Waldo Emerson, Theodor Adorno, Ahmad Shamlou and Alfred Whitehead.

American vernacular architecture has been a consistent visual motif in Armajani’s practice, and is manifest in his public works, including bridges, gardens and outdoor structures. In the artist’s words: ‘I am interested in the nobility of usefulness. My inte

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