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Lot Essay
"As an iconic work of Charles-Hossein Zenderoudi's artistic production, "HATCHIN VA TCHIN" therefore requires to be placed within its historical context. Zenderoudi was sensitive to the 'Fluxus' theories, which led him to adopt a personal artistic attitude between 1958 and 1960, known as "Saqqha Khaneh". He had used this name in his works to refer to the common fountains of the streets of Tehran. By tearing down formal artistic codes, the artist started by multiplying the conceptual dimensions, linking the ordinary to wisdom, the minimalist tendency to the sophisticated statement, and the conditional world to the spiritual sphere. This innovative approach of Zenderoudi influenced several generations of artists from India to Maghreb, and his revolutionary impact is still felt today.
Despite becoming rapidly a notorious artist in Iran, Zenderoudi settled his studio in France in 1961. In just three years, he was the laureate of the Sao Paolo, Venice and Paris biennials. Already back then, the MoMa of New York, as well as prominent public and private collections in France and across the globe, started acquiring his works. At only age 20, Zenderoudi was confirmed as an established and famous international artist. During those years, he made the acquaintance of the renowned writer and thinker Zayn al Abedin Rahnema in Paris. The latter was naturally intrigued by Zenderoudi's literary and textual creation, as well as by the originality of his painterly oeuvre, that coexist in parity within the space of his medium used.
Zenderoudi's text is iconoclast in that it fuses, with an unparalleled dynamism, a displaced sense of humor, onomatopoeia, caustic remarks, borrowing from a vulgar reality and flight of lyricism. Through its 'scriptural' form, Zenderoudi's poetry embraces his drawing, that the artist himself transforms into a painterly space, without it being sensitive. The anthropomorphic shapes, the cosmological allusions, the numerical tables and the references to the measure of time, all equally hint to Zenderoudi's determination to detach himself from any tradition, apart from human universalism. Zenderoudi's signature is particularly interesting, as can also be seen in the present lot. He signed 'done by the very humble Hossein Zenderoudi', deliberately identifying himself with the humility of great masters, who, wherever they may be in the world and the time, always keep a distance from their production.
From an artistic point of view, it is impossible to define a genre for Zenderoudi's art production. The avant-garde aspect of Zenderoudi's thought employs all media, excluding any hierarchy, in order to clarify the concepts that keeps it alive. International criticism was not wrong when it discovered this phenomenal artist and praised Zenderoudi many times from the early 1960s onwards. Nor was Zayn al Abedin Rahnema, by acquiring this remarkable work "HATCHIN VA TCHIN"".
Marie ZENDEROUDI
Despite becoming rapidly a notorious artist in Iran, Zenderoudi settled his studio in France in 1961. In just three years, he was the laureate of the Sao Paolo, Venice and Paris biennials. Already back then, the MoMa of New York, as well as prominent public and private collections in France and across the globe, started acquiring his works. At only age 20, Zenderoudi was confirmed as an established and famous international artist. During those years, he made the acquaintance of the renowned writer and thinker Zayn al Abedin Rahnema in Paris. The latter was naturally intrigued by Zenderoudi's literary and textual creation, as well as by the originality of his painterly oeuvre, that coexist in parity within the space of his medium used.
Zenderoudi's text is iconoclast in that it fuses, with an unparalleled dynamism, a displaced sense of humor, onomatopoeia, caustic remarks, borrowing from a vulgar reality and flight of lyricism. Through its 'scriptural' form, Zenderoudi's poetry embraces his drawing, that the artist himself transforms into a painterly space, without it being sensitive. The anthropomorphic shapes, the cosmological allusions, the numerical tables and the references to the measure of time, all equally hint to Zenderoudi's determination to detach himself from any tradition, apart from human universalism. Zenderoudi's signature is particularly interesting, as can also be seen in the present lot. He signed 'done by the very humble Hossein Zenderoudi', deliberately identifying himself with the humility of great masters, who, wherever they may be in the world and the time, always keep a distance from their production.
From an artistic point of view, it is impossible to define a genre for Zenderoudi's art production. The avant-garde aspect of Zenderoudi's thought employs all media, excluding any hierarchy, in order to clarify the concepts that keeps it alive. International criticism was not wrong when it discovered this phenomenal artist and praised Zenderoudi many times from the early 1960s onwards. Nor was Zayn al Abedin Rahnema, by acquiring this remarkable work "HATCHIN VA TCHIN"".
Marie ZENDEROUDI