Shahram Entekhabi:
"My work is always framed
within an urban setting and inspired by Charles Bauderlaire's
writings on the 19th century concept of the Flaneur and
diffuses the idea that the urban space is reserved for the
practice and performance of the white, middle class, hetero-sexual
male. I explore these idea via a variety of performative
practices using digital media, architecture and drawings.
In particular, I choose to highlight those individuals who
would ordinarily be marginalized, made invisible or forced
into self-ghettoization from the urban domain such as migrant
communities and their culture, particularly the communities
from the Middle East and their diaspora. The question of
visibility and invisibility, therefore, has been a situation
that I actively explore within my practice. With reference
to my earlier video work I create different scenarios of
an unknown migrant figure known as "M" who is
presented in various public scenarios (i? 2004,
Rockerfeller Boulevard, 2004, Alcazar,
2004). Sometimes "M" is walking, running or busy
creating informal structures using caution tape to raise
claim for his own territory. "M" is forever on
the move, mostly with his belongings in his suitcases in
tow, always already aware of the fact that as a guest he
may be asked to leave at any given moment. "M"
led me to explore further migrant prototypes such as: the
Islamic fundamentalist (Islamic Star, 2005), Kurdish
activist (Mehmet, 2005) Guerilla-guy (Miguel,
2005) and unknown criminal from the Balkans (Mladen,
2005). Some of these figures are having an enormous auto-aggression,
burning themselves, firing a hand grenade etc. In many ways
they defy the image of "M" as this coy, polite,
guest-worker contributing to German reconstruction. Furthermore,
I also transfer these ideas about confrontation within my
sculptures and para-architectural installations (Caution,
2001-06). These sculptures/ informal architectures are always
constructed in public-spaces and always made from caution
tapes suggesting ideas about safety zones and no go areas
and importantly who is permitted and not within the public
space. These works deal with the dual concept of performance
and public space and time".
"Through the embodiment
of diverse figures in his works, Shahram Entekhabi adopts
manifold attributes of an actual or presumed state of "being
different", making these visible by means of role play
in public space. He employs clichéd imaginary notions of
migrants, which are charged with additional content through
images in the media. These can be deciphered on the basis
of clothing, accessories and codes of behaviour".
Doris Berger, translation by Lucinda Rennison
"In a world of mounting tensions
between the Middle East and the much of the West, Iranian-born
architect, and video artist Shahram Entekhabi's film Happy
Meal (2004), presents a collision of cultures with
a sympathetic eye. This is a collision of cultures Entekhabi
knows first hand as someone who left his native country
of Iran in 1978 for Italy, and never went back. With the
change of regime in Iran, the ‘homeland' he once knew no
longer exists. Entekhabi now lives in Germany, a country
with which he does not share a cultural tradition. Political
reasons prevent him from returning to Iran, he is between
cultures, caught in limbo. This feeling of ambivalence and
displacement informs his work as an artist, and finds visual
form in his film Happy Meal.
In short, Entekhabi's film makes one question the stereotypes
of East and West, and encourages instead thinking about
the happy accidents, if only for a moment, of the collision
of cultures, and the possibility and excitement of new cultures
being created through this intersection".
Aimee Marcereau DeGalan, Happy Meal
"Using the most advanced technologies,
and a modern design, the viewer (at first an Internet user)
is offered a comic-book-style and deliberately humorous,
learning film. In combination with the videos, Sharahm Entekhabi
once again interrupts, with this "ready made,"
the rigid way of seeing, the so-called "western-oriented"
gaze, directed Islamic culture. These works offer an unaccustomed
and alternating glimpse at both the practice of daily prayers
and the Muslim reality, but without falling prey to obsessive
explanations. The artist playfully creates "counter
images" which deliberately avoid exploring the exotic
element in cultural differences; instead, these differences
are questioned and presented here as unstable constructions".
Antje Weitzel, translation
by Karl Edward Johnson.
http://www.entekhabi.org/
Shahram Entekhabi
b. 1963, Beroujerd, Iran
1976 - 1979 studied graphic design at
the University of Teheran, as well as architecture, urban
planning and Italian in Peruggia and Reggio Calabria
1983 - 2000 independent architect
from 2001 active in the field of photography,
painting, drawing, video art, installation and performance
2004 member of Baker-Nord Center for the
Humanities at Case Western Reserve University Cleveland
2006 scholarship VASL Lahore 2006 (Pakistan)
associated with the Anita Beckers Gallery
in Frankfurt
from 1983 has lived and worked in Berlin,
from 2006 also in London
selected one-man shows:
2006
M, Galeria Urs Meile, Luzern, CH
Something in Common, Galeria Anity Beckers,
Frankfurt, D
2005
KILID, Kunstfabrik am Flutgraben e.V., Berlin,
D
Glub, Hopkins Hall Gallery, OSU College of the
Arts, The Ohio State University, USA
Glub Installation, Merhson Center and Art, The
Ohio State University, USA
Migratory Aesthetics, University Theatre in Amsterdam,
NL
2004
Glub, Case Art Studio Gallery, Case Western University,
Cleveland, USA
I?, PLAY - gallery for still and motion pictures,
Berlin, D
selected group exhibitions:
2006
Busan Biennale, Busan Yachting Center, Museum of Modern
Art, Busan, ROK
Portraits - the view behind the make-up, Galeria
Anity Beckers, Frankfurt, D
This Land Is My Land, Kunsthalle Nürnberg, Nurnberg,
D
Berlintendenzen, La Capella, Barcelona, E
International Artists Residency Exhibition, VASL
Art, Haveli Baroodkhana, Lahore, PAK
dLux Media Arts / The Middle Eastern Video Project,
Sydney Opera House, Sydney, AUS
Almost Art, Slought Foundation, Philadelphia, USA
Urban Creatures, Pori Art Museum, Pori, FIN
Nouvelles Collections (Collection Jürg + Ruth Nyffeler),
Centre Pasqu Art Kunsthaus, Biel; Centre d'art, Bienne,
CH
Magmart Festival - video under volcano, Casoria.
International Contemporary Art Museum, Naples, I
2005
Real Representation / Representing the "Real",
Arena / Glashaus, Berlin, D
Beograd nekad i sad, Prodajna Galerija, Belgrad,
SCG
Come Fly With Me (online-video-exhibition on www.tank.tv),
London, GB
What? Me? a Racist?, Saarländisches Künstlerhaus,
Saarbrücken, D
Jigsaw Feelings. Contemporary video art from Berlin,
Museo Tamayo Arte Contemporáneo, MEX
e-flux video rental, Kunst-Werke. Institute for
Contemporary Art, Berlin, D
Walled Souls, presentation in relation to Circa Berlin exhibition,
Kunsthallen Nicolaj, Copenhagen, DK
Elektronenströme. Real fictions und inszenierte Realitäten
im Video, Kunstmuseum Bonn, D
Iranian Artist Returns, The Iranian Cultural Association
of Greater Columbus, Columbus. USA
I LOVE ART VIDEO - 6 edycja, Musée d'art moderne
et contemporain de Strasbourg, F
2004
Entfernte Nähe. Neue Positionen Iranischer Kunst,
Haus der Kulturen der Welt, Berlin, D
Not in the Sky and not on the Earth, Museum of
Contemporary Art, Skopje, MK
Schizorama, National Center for Contemporary Art,
Moskwa, RU
La Sage-femme y Spiral Woman, Sala Municipal de
Exposiciones del Museo de Pasió, Valadolid, E
just pLAy, Galeria Cirrus, Los Angeles, USA
2003
2th International Video Festival, Kansk, RU
Fair Play. Video Contest, PLAY - gallery for still
and motion pictures, Berlin, D
models + frames 8: Überlebensstrategien für Untrainierte
- The Winners Takes It
All..., Kunst und Medienzentrum Adlershof, Berlin,
D
www.entekhabi.org
bibliography
- Entfernte Nähe. Neue Positionen Iranischer Kunst,
Haus der Kulturen der Welt, Berlin 2004.
- This land is my land, Kunsthalle Nürnberg, Nürnberg 2006.
Berlintendenzen, La Capella, Barcelona 2006.
- Urban Creatures, Porin Taidemuseo, Pori 2006.
- Modell "Verpaßte Gelegenheit" - Symptome der Überforderung,
Brandenburgischer Kunstverein Potsdam, Potsdam 2005.
- Walled Souls. Screening on the occassion of the exhibition "Circa
Berlin", Kunsthallen Nikolaj, Copenhagen 2005.
- In the Shadow of "Heroes", ArtEast, Biszkek 2005.
- Beograd nekad i sad, Prodajna Galerija, Belgrad 2005.
- Bologna Flash Art Show, Sofitel hotel, Bologna 2005.
- GLUB, Case Art Studio Gallery, Case Western Reserve University,
Cleveland 2004.
- Entfernte Nähe. Neue Positionen Iranischer Kunst, Haus der
Kulturen der Welt, Berlin 2004.
- Not in the Sky and Not on the Earth, Museum of Contemporary
Art, Skopje 2004.
- La Sage-femme y Spiral Woman, Sala Municipal de Exposiciones
del Museo de Pasió, Valadolid 2004.
More Articles on Web Page: http://www.entekhabi.org/texts:
- Doris Berger, Semiotics of a Migrant Man located in Germany
- Kathrin Becker, Worte über M.
- Mari Brellochs, Kilid
- Sara Raza, Staging a Walkout
- Sara Raza, Travelling Light
- Sabine Winkler, head in the clouds
- Anna Smolak, Magdalena Ujma, Transculture
- Aimeé Marcereau DeGalan, happy meal
- Alia Rayyan, Of keys and pigeons...
- Antje Weitzel, How to Perform Prayers
Different Articles on Web Pages:
- http://www.galerie-meile.ch/nav/top/default.htm
- http://www.galerie-beckers.de
- http://www.edition5.org/files/ShaEnte1.htm
- http://www.ueberlebensstrategien.de/entekhabi
- http://verpasste-gelegenheit1.sabine-winkler.com
[Translated by Ma³gorzata Sady]
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