Otto Piene`s Rainbow in Iran

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A gathering from the “Rainbow” arrangement by German craftsman Otto Piene (1928–2014), one of the main figures in innovation based craftsmanship, pours light into the capital Tehran, offering bliss and a guarantee of peace.

His first ever display in the Middle East opened at the Tehran Museum of Contemporary Art on Tuesday nighttime, uncovering a mixture of craftsmanships running from depictions to light figures, smoke and blaze works of art, and delightful ecological “sky craftsmanship”.

The association between nature, innovation and workmanship is genuinely seen at the show organized by the executive of the Breckner Gallery in Düsseldorf, Till Breckner, in a joint effort with the chief of the New National Gallery in Berlin, Joachim Jaeger, and a companion of Piene, Guenter Thorn.

Piene’s “Light Goes to Isfahan” is one of the highlights of the show. The light model was enlivened by the vivid tile works of the Imam Mosque in Isfahan.

In a selective meeting with the Tehran Times on Sunday, Jaeger called the work “a soul”.

“It is exceptionally profound, the light moving gradually up and gradually down. Subsequently for Piene, light was an image of peace… and he is currently in Iran as a diplomat of peace with his works,” he said.

His fired works made amid the most recent years of his life are an alternate sample of his enthusiasm for association, in moving past fringes, and in dialog, he included.

“We thought it would respect reveal to them in Iran in light of the fact that it is critical in your way of life and in light of the fact that ceramic was imagined in Iran,” Jaeger expressed.

The display opens with an expansive memoir of Piene at the door to the historical center alongside huge photographs of his diverse activities made throughout the years.

Silk screen prints, arrangement of firecrackers, light figures and works of art beautify the whole gallery.

The shine and sparkle of “Light Room Prague” takes the guest into a world past that which one can envision.

“The thought of holding a show in Tehran came to me in 2013. Piene was inspired and exceptionally grateful to have the opportunity to hold show here on the grounds that it was vital for him to construct connects in the middle of societies and crosswise over fringes as he did in the early 1950s,” Breckner said.

About the works and the subject of the show, Breckner clarified, “The point is the rainbow. The rainbow is a physical marvel which happens everywhere throughout the world and appears to be identical everywhere throughout the world.

“It is concentric circles of light symbolizing that all individuals have an incredible arrangement in like manner. It is a philosophical thought exceptionally illustrative of Otto Piene’s works,” he said.

Giving more insights around a rainbow, Guenter Thorn said, “The geometry is exceptionally uniform and it is likewise the purest light you can see on the earth. It is not reflected shading, it is of unadulterated light in hues and shows up the same way all over, and it is extremely serene.”

He likewise said that Piene needed to take a constructive view and transmit a constructive sign to individuals through his “Rainbow” arrangement.

Jaeger proceeded with, “It was an impeccable title for Iran in light of the fact that [Iran] has such a vivid culture and hues assume a much bigger part in your nation. It could be fabulous to have this assortment of Piene’s works, and see the association in the middle of Iran and different societies.”

At the point when addressed about the association between craftsmanship, nature and innovation in Peine’s works, Jaeger said, “Otto did not simply make individual works. He likewise made activities. He was an innovator and when he had a thought, he worked out the subtle elements with gatherings.

“He required innovation to understand that, so he worked with different experts and specialists and you feel that it is not simply an insignificant work. The machines, and the winds, the fabrics all assistance in making a figure; his works are not static yet moving,” he stated.

He proceeded with that his works are similar to a progressing process, that is past shows still exist. “It is not simply that the display begins the minute his works of art arrive and finishes when they are back in the containers. It has distinctive stages; that is the reason [the exhibit] is extremely fascinating in this contemporary world.”

About the sketches that Piene made by smoke and blaze, Jaeger said, “When you go to the smoke and flame compositions, you have a comparable thought it is similar to a world made out of a methodology and he [Piene] had an idea, a size, a material, a paper and a canvas and later on brought fire once more. This demonstrates the connection to nature, and fire as a material for craftsmanship.”

Thistle likewise included, “The blaze depictions are the minutes that he (Piene) attempted to catch the moment of vitality change.”

“The blaze sketches are extremely beautiful and catch this change of vitality into pictures. That is an alternate part of his work fortifying the entire space around the work with exceptional hues,” Jaeger expressed.

Piene established the powerful European post bellum development Group Zero with Heinz Mack in 1957, as a feature of a push to change and reclassify craftsmanship in the consequence of the Second World War.

Breckner discussed the development of the Zero Group and said, “Before World War II, painting was on canvas and model. Furthermore the Zero Group began with what we could do on canvas that was not painting.”

They additionally provided for a few clarifications about the materials Piene utilized as a part of his works including the fabric utilized for sails utilized by sailboats.

“Peine first did the drawings and afterward had others sew the fabrics and make the wanted outlines. He never shut the entryways and constantly talked about the entire thought with others,” Thorn said.

On his “sky craftsmanship” ventures, Breckner clarified that Peine’s “Rainbow” arrangement really prompted “sky workmanship”.

“How we utilize light as a part of craftsmanships, from light to hues, is first in ventures on the divider, and after that into the light room, and out of the room into nature,” he clarified.

Jaeger later included, “Piene was working with his tubes for ‘sky craftsmanship’. On the off chance that you explode it you get a bow. That was one component of the rainbow. It was a connection for the welcome for the Olympic Games.”

For the end function of the 1972 Munich Olympics Piene delivered the “Olympic Rainbow”, which was made out of five distinctively hued helium-filled polythene tubes, every one 600 meters in length.

Jaeger said, “around then the rainbow was an image for open society. During a period when all specialists were all that much mindful of changes in the public eye, the rainbow was an intention in entering a serene society. It was an image of peace.”

Piene has a wonderful arrangement of painted creations with the image of peace called ‘pax’, the Latin word for peace, “For me a rainbow means be as brilliant as could be allowed and be as happy as would be prudent,” Jaeger included.

On the idea of the light figure enlivened by tile works of Imam Mosque, Jaeger clarified, “He was taking a shot at light protests and making models out of glass on shaded glass when he had the thought to deliver one of the light figures in the blue green shades of the mosque in Isfahan.”

Like the craft of Zero, Piene’s works separate outskirts, philosophies and nationalities, Guenter Thorn noted.

The show will be running until April 17 at the historical center placed on North Kargar St., beside Laleh Park.

“Rainbow” of Otto Piene

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