Reports & thoughts from Tehran based art space: parkingallery by its Art Director Amirali Ghasemi ...

Monday, November 21, 2005

Iranian Poster Exhibition in Ogaki, Japan

From Posterpage:
Iranian Poster Exhibition in Ogaki
October 29 – November 26, 2005; Kanazawa University
Ogaki Poster Museum, Japan
Noboru Matsuura, Professor of Kanazawa University and the director of Ogaki Poster Museum invited Iranian poster designers to Ogaki Poster Museum for the Iranian Poster Exhibition in Japan. The exhibition is scheduled to open on October 29, 2005 through November 26, 2005.

Five international invitational poster exhibitions were held in this museum since now, that the well-known poster designers will take part in it from all around the world. Prof. Matsuura organized three periodical exhibitions: Polish Posters, 1999; Chinese Contemporary Posters, 2001 and 65 years Cuban Posters in 2003. He is also organizing Iranian Poster Exhibition now. This exhibition was organized by cooperation of the 5th Color.

He says: "Iranian posters have been drawing international attention in these years. This is mainly because people are taking a great interest in the Persian and Islamic culture. In other words the posters symbolize the fantastic culture of a specific country. I always think "Posters are art and message" and have introduced the masterpieces of posters from such countries as Poland, the United States, ex Soviet Union, Germany, Finland, Czech & Slovakia, Switzerland, France, China and Cuba. For this time of particular occasion I am thinking to introduce the posters of your country, Iran."

The list of Iranian designers are (click on the names to see the posters):
Majid Abbasi, Reza Abedini, Farzad Adibi, Morteza Akoochekian, Tahamtan Aminian, Majid Azadmanesh, Edik Boghosian, Maryam Enayati, Vahid Erfanian, Siamak Felizadeh, Farhad Fozouni, Amirali Ghasemi, Ebrahim Haghighi,Pedram Harby, Abdullah Kaviani, Ali Khorshidpour, Behrad Javanbakht, Saed Meshki, Morteza Momeyez, Davood Morgan, Alireza Mostafazadeh Ebrahimi, Iman M. Raad, Mehdi Saeedi, Bijan Sayfouri, Firouz Shafei, Ghobad Shiva, Farid Yahaghi.

The catalogue of exhibition was published by organizer. Please see the web site of the Ogaki Poster Museum for more information, and The 5th Color for pictures from the opening.
See the link in Perisan weblog in

Tuesday, November 08, 2005

Q&A with Typo magazine Issue 15 2005

Present Iranian typography is different from western design. What do you think is the main difference between western and Iranian typography?

I believe one of the main differences is that the smallest typographic unit in Iranian typography is “word” as opposed to the “letter” in the western typography. Therefore the Iranian designer not only considers the relationships between the words but the different possibilities and relationships among the letters within a word as well.

In some countries, graphic design has very positive feedback from the general public. In others, it doesn’t draw much attention, at all. How does the Iranian society value the work of graphic designers?
The Iranian society has historically been and still is very much a literature based society visual are in the second or ever the third position in term of communication. I would say although the designers in the past couple of decades have been making an effort in spreading the visual culture; however the lack of emphasis on this field in education has raised a generation neutral towards visuals.

The development of western graphic design is strongly influenced by technology. Today, this mainly means computers. What is your approach to the computer as a tool?
For me its like a big helping hand, as my I receive my inspirations from the contemporary life of our society & my sources are mainly my digital photos from urban surfaces & found type objects that they need to be touched & edited to be ready for work, my generation stood up & started its career in the age of computer but I used to mix the hand & the new tool together to create my design atmosphere more personal & unique.

What are the roots of your work? To what extend are you influenced by contemporary western design? Do you adjust your work to the taste of western audience?
Contemporary Iranian cultural & social life which includes all sorts of opposition, high and low, popular and elite and western and eastern ethics and global.

I am and am not. I use western design to learn from but the western design doesn’t set my aesthetic taste.

No! To be honest I don’t care if they like it or not. But I have to mention that after nine /eleven as the political aspects & the western medias grabbed world’s attention to middle east & I think it had positive & negative sides for our design in one hand every design/culture product from these part of the world praised & celebrated by western audience, in other hand as these are waves that are coming & going, the proficiency in choosing good design from poor design is getting harder & harder… this specially can be marked out while we are talking about typography (here Persian typography).

What is the role of women in contemporary Iranian design?

What is the like in the rest of professional fields; women are becoming more active in the field of design as well. However unfortunately their voices are not as much heard because of the male oriented society in which we live in. I have to mention as women have powerful participation in illustration field that most of the design studios are directed by men.

Thanks to Nazgol Ansarinia for Editing my answers!
Follow the link & you see (or download) the PDF vesrion of the 15th issue of typo magazine including Reza Abedini's lecture on persian type & typography...