Ramin haerizadeh biography sample

Ramin Haerizadeh (born 1975, Tehran), Rokni Haerizadeh (born 1978, Tehran) and Hesam Rahmanian (born 1980, Knoxville) have lived and worked together in Dubai since 2009. They work independently and together propagating a form of collaboration that doesn't suppress individualism. The seeds of their language were sown as early as 1999, back in Iran. Their practice offers up a novel redefinition of the collective, as theirs is constantly growing and contracting to incorporate friends, writers, and artists at large. It entails the use of both low and high art references, and they freely embrace 'what is considered marginal, wasted, wrong, messed up, useless, and taken for granted'. Their individual practices differ stylistically while political and social commentary become inherently subversive in a common reflection. The exhibitions they conceive are as much insights into their daily practice, which they designate as the ritual of living and working together.

Immersive and multi-media, their installations build upon their perception of life as theatre while also making visible their process. Generally, their proposals begin with the 'creatures' that the three artists become, physically and mentally, and whose very beings are the roles played. Multivalent references from a variety of sources are carefully contrived and filtered growing in parallel without trying to reconcile them. Placing emphasis on the importance of 'reporting on our time', they wish to bring attention to the urgencies of the present moment while opening up questions over a spectrum of subjects such as views on art and culture, gender fluidity, and power mechanisms.

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In their ‘moving painting’ From Sea to Dawn (2016), the artists focus on some of the most urgent issues of today, which echo a long and recurring history of Iconoclasm and migration issues. The artists use the term ‘moving paintings’ when referring to works made by combining a

Brothers Ramin and Rokni Haerizadeh met Hesam Rahmanian in the early nineties in Tehran, at an underground art class. Later, while building their creative career, they lived and worked in a place that was open to musicians, actors, writers, artists, poets, and the like. It was an alternative space some have compared to Warhol’s Factory.

Over the years, spending so much time together, the three naturally grew into a collective of sorts, fueled by collaboration with many outside, like-minded practitioners. Their subsequent move to the UAE has resulted in a flourishing practice that redefines the home in ritual and scope. They wake at the same time each day, taking in the sights and sounds of the morning, and discuss recent reads and discoveries. Each room of their home and studio—which boasts a library, cinema, and research center—offers a chance for activity and immersion. While some may consider it a prison of their own making, the Haerizadeh brothers and Rahmanian love how it exists somewhere between public and private.

The trio’s home could be considered something like a sketchbook or notebook for projects, like “The Birthday Party” at the ICA in Boston (December 16, 2015–March 27, 2016), that include performance, installation, and video.

After hearing from the Haerizadehs and Rahmanian for our spring 2020 Art Issue, we recently checked in to see how the trio was doing during the pandemic. They shared the new video above, and said, “We made casually [it] with our phones on our daily activities/routines, including extracts from a poem by Mahmoud Darwish and an adaptation of The House is Black by Forough Farrokhzad as voice over. We have been pri

EXHIBITION (SELECTION)

Solo exhibitions

2024
Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian : That Which Does Not Belong, Arts Club, Dubaï, UAE

2023
The Beautiful Decay of Flowers in The Vase, Galerie In Situ - fabienne leclerc, Grand Paris, FR
The Demon'Diwan, CCCOD, Tours, FR

2022

"Parthenogenesis" New York University (NYU), Abu Dhabi, UEA
"ALLUVIUM " OGR Torino (off site project in Venice), Complesso dell'Ospedaletto, Italie

2020
Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, Either he's dead, or my watch has stopped, Groucho Marx (while getting the patient's pulse), Schirn Kunsthalle Frankfurt, DE

2019
Toronto Biennal of Art, Toronto, CA
The Rain Doesn?t know Friends from Foes: Ramin Haerizadeh Rokni Haerizadeh Hesam Rahmanian, Frye Art Museum, Seattle, USA

2018
Like clouds, the forms of the world turn into one another, curated by Madeleine Mathe, Centre d?art Contemporian Chanot, France, FR
Night of Another Spring (Part I & II), In Situ - fabienne leclerc, Paris, FR
Forgive me, distant wars, for bringing flowers home, OGR, Turin, IT
From Sea to Dawn, Galerie Krinzinger, Vienne, AT

2017
The Maids, Museu d'Art Contemporani de Barcelona, Barcelone, ES

2015
The Birthday Party, Institute of Contempory Art (ICA), Boston, US
Those Who Love Spiders, and Let Them Sleep in Their Hair, Den Frie Centre of Contemporary Art,  Copenhagen, DK
All the Rivers Run Into The Sea. Over. / Copy. Yet, The Sea Is Not Full. Over, 8th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, AU
The Fal, Rodeo Gallery, Istanbul, TR
Slice A Slanted Arc Into Dry Paper Sky, Kunsthalle, Zurich, CH

2014
The Exquisite Corpse Shall Drink the New Wine, Gallery Isabelle van den Eynde, Dubai, AE

2012
I Put It There You Name It, Gallery Isabelle van den Eynde, Dubai, AE

Group exhibitions

2024
Jameel Prize: Moving Images, V&A Museum South Kensington, Lon

Work on Paper

Collage, acrylic, gesso, watercolor, ink, and gouache on paper

Field of Negotiation is a collaborative technique of creating by a trio of artists, Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian. This generative field has become the core of a practice which avoids improvisation and unconstrained interaction, and takes on a multidisciplinary form: moving pictures, paintings, and installation among others. The aim of this practice is to yoke different positions and multiple angles of thinking onto one surface, a field of debate. The trio’s figurative language draws on documentary news images, Iranian literature, and Persian paintings from late-Safavid to the early Qajar dynasties. The work depicts the European refugee crisis as a tragic exodus of mythological proportions. People and objects are transformed into mythical creatures in view of the political situation that is both alienating and mournful. Refugee camps in France and Greece and other European cities form the background for the drawings using painting and collage to transform the picture and explore how we deal with the Other in our midst.

Ramin Haerizadeh (born 1975 in Tehran), Rokni Haerizadeh (born 1978 in Tehran), and Hesam Rahmanian (born 1980 in Knoxville) live and work together in Dubai since 2009. They work both independently and together, propagating a form of collaboration that nevertheless supports individualism. The seeds of their language were sown as early as 1999, back in Iran. Their practice offers up a novel redefinition of the collective, as theirs is constantly growing and contracting to incorporate friends, writers, and artists-at-large. Inherently subversive, the collective makes use of both low and high art references. And while their individual practices differ stylistically, common ground is found in political and social commentary. The exhibitions they conceive are insights into their daily practice as