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Farhad Moshiri (b. 1963)
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Farhad Moshiri (b. 1963)

Choc Line

Details
Farhad Moshiri (b. 1963)
Choc Line
oil, acrylic and glitter on canvas mounted on board
86 5/8 x 70 5/8in. (220 x 179.4cm.)
Executed in 2008, this work is a unique variation from a series of three
Provenance
Daneyal Mahmood Gallery, New York.
Acquired from the above by the present owner in 2008.
Literature
R. Janssen, The Third Line, Perrotin & T. Ropac (eds.), Farhad Moshiri, Brussels 2010 (another from the smaller edition illustrated in colour, pp. 62-63).
Special Notice

VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Beatriz Ordovas
Beatriz Ordovas

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Lot Essay

Presenting a subversive socio-political commentary on Iranian culture and politics, Farhad Moshiri's Choc Line from the Sweet Dream series offers an appetising and visually arresting combination of enticing fancy cakes arranged in a single line recreating a featureless figure. Referencing the lavish culinary excesses of high society as well as the elaborately ornamented plaster buildings of Moshiri's native Tehran, each of the impasto peaks, painstakingly squeezed through a piping bag like confectionery, provide a particularly sculptural tactility. The revelation that these 'cakes' are inedible and tasteless highlights the superficiality of love and materialism, bringing about a sense of emptiness.

The figure, the outline of which also conjures up this notion of emptiness, provides a social remark on the censorship practices, particularly of figures in magazines and advertisements, enforced by the Iranian government. Moshiri further provides a witty commentary with the title Choc Line, a play on the phrase "chalk line" used by police to outline bodies in a crime scene. Perhaps referencing the 'death' so to speak of liberalism and personality in Iran, the work thus becomes more morbid in tone, the juxtaposition of luscious 'pastries' against a sophisticating thematic undercurrent instantly makes the work both captivatingly seductive and sinister.

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