•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

Ramin Haerizadeh EXHIBITED AT THE SAATCHI GALLERY

Men of Allah (01)
Ramin Haerizadeh
Men of Allah (01)

2008

C-Print

100 x 150 cm
Reminiscent of the traditional motifs of Persian tapestries, architecture, fabrics, and carvings, Ramin Haerizadeh’s work reconfigures the decadence of an ancient civilisation into lusciously futuristic tableaux. Printed as large photographs, his computer manipulated imagery conveys all the sumptuous associations of history within their super-slick modern surfaces. Using these appropriated forms as departure point for invention, Haerizadeh transforms tradition, myth, and legend into the realm of virtual reality, subverting convention through high-impact graphic design and digital modelling.
Men of Allah (03)
Ramin Haerizadeh
Men of Allah (03)

2008

C-Print

100 x 150 cm
Haerizadeh’s Men Of Allah are influenced by Taaziye, an historic genre of theatre popularised in the Qajar dynasty (1794-1925). The plays often tell stories of the life of Mohammed, and are still performed during the Muharram observances which mourn the martyrdom of the Prophet’s decedents. In these photos Haerizadeh draws upon this religious ritual to stage scenes with the surreal dynamics of computer animation, displacing the sense of time, place, and gravitas, and conceiving the physical elements of theatre as technical illusion.
Men of Allah (04)
Ramin Haerizadeh
Men of Allah (04)

2008

C-Print

100 x 150 cm
One of the key characteristics of Taaziye theatre is that plays are performed exclusively by men, even the lead female roles; in Iran women are discouraged from entering the acting profession. Casting himself in the place of every character, Haerizadeh uses his self-portrait as a means of social critique. Adopting the roles of both villains and victims, Haerizadeh’s bearded face becomes an uncomfortable mediator, transgressing gender, political, and religious boundaries through his highly sensuous images.
Men of Allah (05)
Ramin Haerizadeh
Men of Allah (05)

2008

C-Print

100 x 150 cm
In Men Of Allah (05) Haerizadeh reworks the codes of gender, body, and sexuality. Intimately grouped and provocatively posed, the figures gather in a perverse harem; their bodies mutating in contorted forms, neither male nor female, but something much more epicurean and exotic. Haerizadeh approaches his photos with the luxuriance of painting, allowing the rich tones and textures to carry the image into near abstraction. The angular layered segments of his digital alterations create a reference to cubism, while the folded and mutated skin mirrors the drapery effect of the sumptuous clothes.
Men of Allah (08)
Ramin Haerizadeh
Men of Allah (08)

2008

C-Print

100 x 150 cm
Haerizadeh’s Men Of Allah (08) uses technology to serpentine effect. Effusing the hyper-realism of virtual reality, his figures suggest an age-old tradition of street theatre, magic, and puppetry. Entwining these ideas of ancient and futuristic, Haerizadeh’s men evolve as bacchant gods, conveying a literary mysticism in their carnal revelry. Their otherworldliness is transmitted with hypnotic effect as flesh and fabric morph and aggregate in crystalline formations, envisioning a conjoined and refractive entity. Enshrouding the scene with an arabesque mystique, compressed and voluptuous bodies appear to be veiled in a gossamer of their own hair and tattoos, continuing the repetitive pattern formations of their regal pink garb.

Ramin Haerizadeh's BIOGRAPHY

Ramin Haerizadeh
Born in 1975, Tehran, Iran
Works and lives in Dubai



SELECTED SOLO EXHIBITIONS


2010
I’ll Huff and I’ll Puff, Gallery Isabelle van den Eynde, Dubai, UAE

2008
Men of Allah, GaleriArtist, Istanbul, Turkey

2007
Wonders of Nature, B21 Gallery, Dubai, UAEMelancholy of the Everyday, Studio 1.1, London

2003
Silk Road Gallery, Tehran, Iran


SELECTED GROUP EXHIBITIONS


2011
Beware of this Image’, Sharjah Biennal, UAE

2010
The Right to Protest , Artists from 11 countries , Museum on the seam, Jerusalem, Israel
Be Crowned with Laurel in Oblivion, Rokni & Ramin Haerizadeh & Bita Fayyazi, Thaddaeus Ropac, Paris, France
Iranian Bodies, Werkstatt Galerie, Berlin, Germany

2009
Raad-o-Bargh, 17 Artists from Iran, Thaddaeus Ropac Gallery, Paris, France
Keeping Up Appearances’ (with ‘Rock-Paper-Scissors’ series), B21 Gallery, Dubai, UAE
Unveiled: New Art from the Middle-East, Saatchi Gallery, London, UK

2007
Within and Without, NoMoreGrey Gallery, London

2006
Iran.com, Iranian art today, Museum fur Neue Kunst, Freiburg, Germany

2005
Beyond Black, The Third Line gallery, Dubai, UAE

2004
Turning points: Seven Iranian Artists, LeRoy Neiman Gallery, Columbia University, NY, USA The Fragmented Mirror, Casa Asia, Barcelona, Spain Persian Gardens, video installation, Museum of Contemporary Art in Tehran, Tehran, Iran Paris Photo, Le Carrousel du Louvre, Paris, France

2003
Water, The First Element, National Art Gallery, Malaysia Lucky Charms, Gallery Golestan, Tehran, Iran

1999
Painting group exhibition at the Mojhdeh Gallery in Tehran
Painting group exhibition of Non Frontiers Artists in Hotel Laleh