Critical Analysis of Predominant Orientations in Contemporary Iranian Art Market towards Cultural Identity

Document Type : Research Article

Authors

1 Art research, Art faculty, Alzahra university, tehran, Iran

2 Associate Professor in Department of Visual Communication, Al-Zahra University.

Abstract

Problem Statement:In the global arena of contemporary art, which involves a range of interconnected events from biennales, Documenta, and international art fairs to art markets, the presence of Iranian artists in the "market" is more prominent. The contemporary Iranian art market flourished in 2006 with the collaboration of private galleries and Middle Eastern offices of major auction houses, giving rise to the most important arena to introduce the contemporary Iranian art to a global audience. The art market, which presents Iranian art as part of the regional art following its economic rules, was not a reliable source to introduce the Iranian art on its own. Works that were supplied to and traded in the market referred to signs of Iranian culture. How were these cultural elements manifested in these works?
Purpose:delineation and critique of the approach of the contemporary Iranian artists to cultural identity in the global market.
The authors aim to answer the question of what is the approach of market trends towards cultural identity in the contemporary Iranian art? It seems that the use of cultural identity components in the works of Iranian artists serves to neutralize and eventually commodify the cultural identity, rather than redefine it in a meaningful way through a critical or laudatory attitude.
Methodology:This study uses "Marxist Criticism" in a descriptive-analytical method.
Conclusion:Cultural identity of Iranian works has lost its historical meanings, turning into a commodity devoid of any real connection to the issues of contemporary life.

Keywords

References

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The Monthly Scientific Journal of Bagh-e Nazar
Volume 16, Issue 70
April 2019
Pages 31-48

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