Iran's Vast Collection of Western Art, Much Long Hidden, Re-Emerges Despite High Tensions With US

A woman walks past a portrait of the leader of the American Indian Movement Russell Means, right, by American artist Andy Warhol, as she visits an exhibition titled Eye to Eye which showcases over 120 works by modern world artists as well as Iranian painters at Tehran Museum of Contemporary Art, in Tehran, Thursday, Nov. 21, 2024. (AP Photo/Vahid Salemi)
A woman walks past a portrait of the leader of the American Indian Movement Russell Means, right, by American artist Andy Warhol, as she visits an exhibition titled Eye to Eye which showcases over 120 works by modern world artists as well as Iranian painters at Tehran Museum of Contemporary Art, in Tehran, Thursday, Nov. 21, 2024. (AP Photo/Vahid Salemi)
TT

Iran's Vast Collection of Western Art, Much Long Hidden, Re-Emerges Despite High Tensions With US

A woman walks past a portrait of the leader of the American Indian Movement Russell Means, right, by American artist Andy Warhol, as she visits an exhibition titled Eye to Eye which showcases over 120 works by modern world artists as well as Iranian painters at Tehran Museum of Contemporary Art, in Tehran, Thursday, Nov. 21, 2024. (AP Photo/Vahid Salemi)
A woman walks past a portrait of the leader of the American Indian Movement Russell Means, right, by American artist Andy Warhol, as she visits an exhibition titled Eye to Eye which showcases over 120 works by modern world artists as well as Iranian painters at Tehran Museum of Contemporary Art, in Tehran, Thursday, Nov. 21, 2024. (AP Photo/Vahid Salemi)

As Iran faces increasing tensions with the West and turmoil at home, a new exhibition at the Tehran Museum of Contemporary Art is displaying Western artwork including pieces not seen by the public in at least a decade.
The unveiling of the exhibition “Eye to Eye” has drawn numerous women, their hair uncovered, to the underground galleries of the museum in Tehran's Laleh Park. Their presence, while unacknowledged by authorities, shows the way life has changed inside Iran just in the last few years even as the country's theocracy presses forward with enriching uranium to near-weapons grade levels and launching attacks on Israel during the ongoing Mideast wars, The Associated Press said.
“The first feeling that came to me, and I told my parents, was that I can’t believe I’m seeing these works, which have always been kept far from our eyes,” said Aida Zarrin, a young woman at the museum.
“If such events are held here and we can see artworks like the rest of the world, it’s enough. They are really precious.”
The government of Iran’s Western-backed shah, Mohammad Reza Pahlavi, and his wife, the former Empress Farah Pahlavi, built the museum and acquired the vast collection in the late 1970s, when oil boomed and Western economies stagnated. Upon opening, it showed sensational works by Pablo Picasso, Mark Rothko, Claude Monet, Jackson Pollock and other heavyweights, enhancing Iran’s cultural standing on the world stage.
But just two years later, in 1979, Shiite clerics ousted the shah and packed away the art in the museum’s vault. Some paintings — cubist, surrealist, impressionist and even pop art — sat untouched for decades to avoid offending Islamic values and the appearance of catering to Western sensibilities. Nearly everything is believed still to be there, though an Andy Warhol print of the empress was slashed during the revolution.
Today, the collection is likely worth billions of dollars. Even with Iran now cash-strapped under Western sanctions, officials with the museum have been able to advocate for keeping the collection, though there have been occasional trades in the past for items from Persian history. Those sanctions may increase under the next administration of US President-elect Donald Trump.
As Iranian politics have thawed, re-frozen and thawed again, the collection resurfaces along with those changes.
Among the over 120 works being shown are ones from Picasso, Andy Warhol and Francis Bacon, along with celebrated Iranian artists. One of the Warhols, “Jacqueline Kennedy II,” is a silkscreen double image of the former US first lady in mourning after the 1963 assassination of her husband, President John Kennedy. Another Warhol portrait of Rolling Stones frontman Mick Jagger also garnered attention from the cellphone photo snappers.
“A lot of these works are important works in the history of art, and that’s why this show distinguishes itself from others,” said Jamal Arabzadeh, the exhibition's curator. ”A lot of people with less exposure to art have discovered the museum for the first time. ... We are seeing a part of the community that are discovering art and the museum and see the potential of this place, and this is something to be proud of.”
The presence of Western art comes as Iran's government has long fought against items like Barbie dolls and depictions of cartoon characters from “The Simpsons.” Such Western influences have been deemed un-Islamic in the past and have been seen as part of a “soft” cultural war against Iran.
With a ticket costing the equivalent of 14 US cents, the exhibition offers a rare government-sanctioned event not involving the country's politics or Shiite religion.
Among the visitors were many women defying the country's mandatory headscarf, or hijab, law. Crackdowns over the hijab have slowed down after Iran's presidential election in July that elected reformist President Masoud Pezeshkian, though individual cases of arrest continue to draw anger.
And for many, the cost of tickets to travel abroad given Iran's collapsing rial currency keep foreign museums out of reach.
“This is very attractive for art enthusiasts because not everyone can go and see museums abroad. It’s extremely exciting to see the works here,” said a woman who only gave her last name, Dolatshahi. “I had no idea I could see works by van Gogh and Picasso here.”



Italy’s Lecce… Florence of the South

The city has an ancient history that stretches back more than 2,000 years (Getty Images) 
The city has an ancient history that stretches back more than 2,000 years (Getty Images) 
TT

Italy’s Lecce… Florence of the South

The city has an ancient history that stretches back more than 2,000 years (Getty Images) 
The city has an ancient history that stretches back more than 2,000 years (Getty Images) 

‘The best way to experience Lecce is to walk around looking up.’

That is what a tourist is told shortly after arriving in the second-largest city in Italy’s Puglia region, often described as the “Florence of the South.”

And not because it is a place filled with skyscrapers like New York. Rather, because so much of its beauty is built into its exquisite architecture, according to London’s Metro newspaper.

The cobbled streets are steeped in history, and every Baroque-era building tells a story, much like its northern sister.

Florence attracts millions of tourists each year, many of them drawn by world-famous masterpieces.

There are frescoes by Giotto, canvases by Botticelli, and sculptures by Michelangelo — it is the cradle of the Renaissance, after all.

As for Lecce, the city sits in the Salento peninsula of Puglia, and its honey-drenched limestone is its dominant feature.

Much like Florence, you are never far from a church. Again and again, you see an unassuming facade and find an incredible duomo inside.

Nothing compares to Lecce Cathedral, built in the 12th century in the heart of the historic center, the Piazza del Duomo.

You could spend hours taking in the intricacies of the artwork: pillars romanticized with tiny cherubs, altars carved in gold and huge stone fonts.

Remembering the advice, tourists should look up at the ceiling and find a version of The Last Supper, painted by Giuseppe da Brindisi.

By night, the streets of Lecce are a gorgeous setting for walking off hearty meals, shopping and finding hidden gems like secret gardens in courtyards.

Lecce is smaller than Florence and less crowded, but is just as impressive. This city might be big on siestas, but it’s certainly not one to be slept on.

 

 


‘The Eye of Goliath’, A Novel That Recalls Jekyll and Hyde

Cover of “The Eye of Goliath” book
Cover of “The Eye of Goliath” book
TT

‘The Eye of Goliath’, A Novel That Recalls Jekyll and Hyde

Cover of “The Eye of Goliath” book
Cover of “The Eye of Goliath” book

By Dexter Palmer* 

“The Eye of Goliath”, the Argentine writer Diego Muzzio’s dark-humored, macabre puzzle box of a novel, is set just after World War I, in an Edinburgh sanitarium that “harbored a select group of the many mentally ill people who had come back from the war.”

The institution’s psychiatrist, Edward Pierce, conducts controversial research into hypnosis as a means of treating mental illness. His peers think his experiments are “destined to fail before too long,” while Pierce finds their “methods, based on pharmacology and electricity, to be ineffective and obsolete.”

A new patient, an engineer named David Bradley, arrives at the sanitarium after being stranded on an island with an abandoned lighthouse, which he was sent to assess by his employers.

Pierce sees a chance to prove the viability of his innovative psychiatric procedures.

Traumatized and unable to speak, Bradley is possessed by a need to swim at all times. He has documented his time on the island in a diary, which makes up the second part of the book and details his descent into madness and persistent terror. Muzzio then returns to Pierce and the treatment of his perplexing patient.

This complexly plotted novel is deeply intertextual, and Muzzio uses other writers’ themes as a hip-hop producer might use samples, crafting new tunes by borrowing fragments of familiar melodies and arranging them in new ways.

Allusions abound to Lewis Carroll’s “Alice’s Adventures in Wonderland,” Dante’s “Inferno,” the first Book of Samuel, the work of the writer and naturalist William Henry Hudson and Coleridge’s “The Rime of the Ancient Mariner.”

The most significant influence, however, is Robert Louis Stevenson’s Gothic novella “Strange Case of Dr Jekyll and Mr Hyde.”

A few mentions function as blinking neon signposts (Pierce has a copy of the book in his bedroom; the lighthouse engineer David Alan Stevenson, Robert’s real-life cousin, makes an appearance), but subtler engagements with the novella also come into view.

Pierce’s neuralgia, a condition of crippling headaches caused by shrapnel lodged in his head, is kept in check by increasingly frequent doses of morphine.

His habit echoes Dr Jekyll’s dependence on his secret elixir, which he first imbibes to deliver his evil alter ego, Hyde, to the world (and then takes to restrain Hyde from appearing on his own).

An act carried out on a pair of corpses is viewed from two perspectives, one that regards it as a desecration and the other as a performance of remorse; where one person might see a Hyde, another might see a Jekyll. Twins and duplicates appear throughout, including one clever moment when the book itself becomes doubled. In its elegant, sometimes playfully quaint prose (ably translated from the Spanish by Rahul Bery) and in its structure, particularly the documents that make up Bradley’s section, the novel gestures toward the Gothic without wholly turning into pastiche.

Behind Pierce’s and Bradley’s plotlines are memories of the recently ended war, which both men would prefer to forget.

Flashbacks to the phantasmagoria of trench warfare, a “fabulous catalyst for insanity,” are the novel’s most unsettling passages.

Pierce views the personification of war as a grotesque distortion of Carroll’s Alice, a girl with “glimmering eyes who went about with a jingling bunch of keys, opening all the chambers of the mind where legions of babbling demons had been shut away.”

The trenches are where every man is forced by circumstance to bring forth a Hyde, not for the pleasure that Stevenson’s Hyde takes in violence, but for mere survival. In this compelling novel, the fates of both Pierce and Bradley suggest that no matter how justified one may be for letting Hyde run riot the first time, it is extremely difficult to contain him again.

 

*The New York Times


On World Architecture Day, Madinah Reflects Its Identity Through Its Urban Landscape

Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage. (SPA)
Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage. (SPA)
TT

On World Architecture Day, Madinah Reflects Its Identity Through Its Urban Landscape

Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage. (SPA)
Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage. (SPA)

The first Monday of October marks World Architecture Day, an occasion that highlights the role of architecture in shaping cities and enhancing the quality of the urban environment. Madinah stands out for its architectural character, which draws on the city’s cultural identity and architectural heritage while preserving the authenticity and distinctiveness of the place, the Saudi Press Agency reported Tuesday.

Madinah’s architectural style embodies an approach that derives its identity from the city’s architectural features and cultural elements, incorporating them into contemporary designs. This strengthens the connection between the urban landscape and the city’s history and local environment, giving its projects a distinctive character.

Local architecture showcases details historically associated with the city, such as rawasheen (traditional projecting wooden windows), courtyards, basalt stone, and other heritage-inspired elements. Reinterpreting these features through contemporary methods helps strike a balance between authenticity and the demands of modern life, creating urban environments that respond to human needs while ensuring comfort and privacy.

Architectural features and design identities rooted in the local environment enhance the distinctiveness of the urban landscape and elevate design quality, aligning with future aspirations while simultaneously preserving the memory and identity of the place. The focus on Madinah’s architectural identity aligns with the objectives of Saudi Architecture, which aim to enhance urban identity, improve the urban landscape, and develop sustainable, human-centric urban environments in harmony with the objectives of Saudi Vision 2030.