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Frieze Los Angeles 2024
February 29 - March 3, 2024 -
Press Release
At Booth B18, Frieze Los Angeles 2024, Dastan features a group presentation of works by Iranian artists Andisheh Avini (b. 1974), Homa Delvaray (b. 1980), Maryam Hoseini (b. 1988), Hoda Kashiha (b. 1986), Farideh Lashai (1944-2013), and Newsha Tavakolian (b. 1981). The art fair will be open to public viewing from February 29 to March 3, 2024, at Santa Monica Airport.
Farideh Lashai was one of the most prominent and pioneering figures in Iran’s abstractionism. At Dastan’s booth, the striking fleeting moment of her painting creates an uncanny setting of a vivid yet quiet field, extended by the fragile glass sculptural balls of Andisheh Avini displayed on the floor.
Andisheh Avini’s practice mashes up traditional architecture, carpets, marquetry, feathers, and Negargâri Irâni (Persian Miniature) with quotes from minimalism, abstract expressionism, and other movements, evoking his multicultural background. In this presentation, his sculptures create a dynamic installation that interacts harmoniously with a photograph by Newsha Tavakolian from her recent exhibition “And They Laughed at Me” (Museo delle Culture, Milan, 2023).
Paintings from Hoda Kashiha’s recent series of works add an intriguing dimension to the display. In her work, materiality is transformed within the confines of a canvas: delineations of forms and subjects become edges where time and space become temporarily alienated to accommodate multiple narratives simultaneously. In this sense, her paintings simultaneously neglect and emphasize the physicality of painting while alluding to digital media and virtual ‘material.’
Maryam Hoseini creates frantic compositions inspired by the narrative panels of the Negargâri tradition, reflecting on the history of violence, gender identity, oppression, and the glorification of the past.
Meanwhile, Homa Delvaray’s “Kolsum-Naneh”, a hand-embroidered and silk-screen printed fabric book, works like a centerpiece, binding together the presentation. Delvaray’s piece follows a 17th-century book criticizing a series of superstitious beliefs and spells attributed to Iranian women of the era.
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Farideh Lashai works
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Farideh Lashai Installation view
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Newsha Tavakolian | Installation Views
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