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拍品專文
'Pop art is not something started by an artist nor finished by an artist. I might find myself noticing something that comes out of a collective conscious. I suppose as a rule it cannot come out of an individual... I see myself in a position where I'm picking up on popular culture.'
(The artist quoted in R. Janssen, The Third Line, Perrotin & T. Ropac (eds.), Farhad Moshiri, Brussels 2010, p. 22).
Christie's is pleased to present Toothpicker, an outstanding piece of work by internationally renowned artist Farhad Moshiri. Iranian born, Moshiri subsequently became known for his satire and depiction of hybrids between Iranian traditional form and the solid invasion of Western consumerism and popular culture into modern Iran. Moshiri's work illustrates overall the expansion of the nouveau riche society in Iran due to the rapid increase of the economy under President Khatami. His work is known for his constant use of opposites, using contrasts such as old and new, rich and poor, Toothpicker is an unsettling depiction of a man using a toothpick while wearing Swarovski covered
sunglasses. The viewer reads Farhad Moshiri Eyewear with a number of cities at the bottom of the frame, hinting to an advertising poster. There is something haunting about the man in the frame, who it appears has been purposely depicted with specific traits. The dark well-groomed eyebrows and red lips, the pale skin and long nose, as well as the sleek back hair awkwardly coloured, all lead us to believe that Moshiri's Toothpicker is in fact an allegory to The Joker. Moshiri associates the contemporary Iranian man to a psychopathic, nihilistic murderer with a clown-like appearance. Doing so, he highlights and mocks their similarities. Moshiri comments on a generation coming to terms with its identity and traditions, the rise of self-obsession, where appearances are of utmost importance as well as the hunger for glitter and shine.
Moshiri is known for playing with contrasts in his work in terms of appearance in content. For instance, he presents us a supposedly well-dressed young man, yet wearing a diamond earring and using a toothpick. In this context, the use of the toothpick along with the overall attitude of the gentleman, is a hint to the rise of the nouveau-riche community in Iran. The use of the toothpick in the west is a demonstration of poor etiquette, whereas in middle-class Iran it is a common thing to do. Doing so, Moshiri mocks and condemns the rise of masses with expensive accoutrements and insufficient substance in education; a phenomenon that is not specific to Iran.
Toothpicker is undeniably an accurate and powerful depiction of the world we live in. As a result of Moshiri's work, we are forced to rethink our social structures and boundaries. His work sheds light onto the excessive culture influenced by the west, fed down by media and adopted by the general public.
Capturing Iran's obsession with Western culture, in Toothpicker Moshiri uses irony as means to be playful without being too militant about his opinions. focusing his attention of emotions rather than intellect, Moshiri is not too serious with his artworks, rather, he skims the surface of the issues he is concerned with and moves onto another piece.
(The artist quoted in R. Janssen, The Third Line, Perrotin & T. Ropac (eds.), Farhad Moshiri, Brussels 2010, p. 22).
Christie's is pleased to present Toothpicker, an outstanding piece of work by internationally renowned artist Farhad Moshiri. Iranian born, Moshiri subsequently became known for his satire and depiction of hybrids between Iranian traditional form and the solid invasion of Western consumerism and popular culture into modern Iran. Moshiri's work illustrates overall the expansion of the nouveau riche society in Iran due to the rapid increase of the economy under President Khatami. His work is known for his constant use of opposites, using contrasts such as old and new, rich and poor, Toothpicker is an unsettling depiction of a man using a toothpick while wearing Swarovski covered
sunglasses. The viewer reads Farhad Moshiri Eyewear with a number of cities at the bottom of the frame, hinting to an advertising poster. There is something haunting about the man in the frame, who it appears has been purposely depicted with specific traits. The dark well-groomed eyebrows and red lips, the pale skin and long nose, as well as the sleek back hair awkwardly coloured, all lead us to believe that Moshiri's Toothpicker is in fact an allegory to The Joker. Moshiri associates the contemporary Iranian man to a psychopathic, nihilistic murderer with a clown-like appearance. Doing so, he highlights and mocks their similarities. Moshiri comments on a generation coming to terms with its identity and traditions, the rise of self-obsession, where appearances are of utmost importance as well as the hunger for glitter and shine.
Moshiri is known for playing with contrasts in his work in terms of appearance in content. For instance, he presents us a supposedly well-dressed young man, yet wearing a diamond earring and using a toothpick. In this context, the use of the toothpick along with the overall attitude of the gentleman, is a hint to the rise of the nouveau-riche community in Iran. The use of the toothpick in the west is a demonstration of poor etiquette, whereas in middle-class Iran it is a common thing to do. Doing so, Moshiri mocks and condemns the rise of masses with expensive accoutrements and insufficient substance in education; a phenomenon that is not specific to Iran.
Toothpicker is undeniably an accurate and powerful depiction of the world we live in. As a result of Moshiri's work, we are forced to rethink our social structures and boundaries. His work sheds light onto the excessive culture influenced by the west, fed down by media and adopted by the general public.
Capturing Iran's obsession with Western culture, in Toothpicker Moshiri uses irony as means to be playful without being too militant about his opinions. focusing his attention of emotions rather than intellect, Moshiri is not too serious with his artworks, rather, he skims the surface of the issues he is concerned with and moves onto another piece.