10th. Tehran International Poster Biennial

Organizer: The Institute for Development of Visual plans
You can visit some of the posters in “Virtual Gallery” by clicking here:The Main Section & The Thematic Section
Tehran International  Poster  Biennial by Mohammad Khazaee
Poster-shiva2In today’s world, more than any time before and despite the great distance separating them humans are in constant visual communication with each other. To express its cultural identity each nation tries to create an environment befitting the visual components, which would highlight the core of its cultural structure. In other words, the visual arrangements and profiles of each society are the manifestations of the national cultural character exposed to the spectators. In this arena, the successful cultures are those who have opted for serious measures to boost their visual and media aspects.
For a country like Iran, which has a deeply rooted history, the recognition of the ancient models as a criterion for self identity is an unavoidable issue, because the awareness of the principles and methods of applying the visual components allows the artists to produce works that, in addition to creating a new and innovative space, uphold their visual traditions. Throughout history, the Iranian artists have shown how to act intelligently to maintain the visual arrangement and structure of their culture next to the customary modern processes, through a sociological understanding, an aesthetical vision, and by relying on the modern science. In this context the artist arranges the visual space in such a manner as to eliminate all tensions and temptations, substituting them instead with an order that expresses balance, calm and serenity.
As mentioned, the modern man has a greater direct visual contact with other cultures. This is realized at the shortest possible time, and it may be for this very reason that the modern era has been named as the “age of communication”. In this close relation, nations, traditional languages and even the specialized languages are no longer the main actors. Under such conditions, the visual components may have a greater impact than before.
Today, the art of image (graphic) is in charge of visual communication in its vast sphere of influence. By designing or selecting images and scripts and by combining them, the graphic artists try to create works, which in addition to preserving the fundamental principles and visual quality, convey their message to the audience in a clear and plain manner. In general those groups of publishable visual works, including logos, typography, poster, illustration, etc, which, through application, convey a special message and information to their audiences, are called the “graphic arts”. Therefore, the field of visual communication of graphic art enjoys a special status in transmitting a special message, information or instruction in a visual form. Poster is the most important field of graphic art. The design of poster, generally on one side of the paper, is carried out in such a manner that the form (visual element) and the script combine to act in unity for enticing the audience with their particular aesthetic attractions and for conveying or promoting a message. Posters are published in large numbers and installed and displayed in public places to announce the intended message.
The comparison and review of the Iranian posters reveal the dominant presence of ancient (traditional) elements and models in the modern works. On the other hand, despite preserving their special artistic character, the artists have not ignored the modern art, which has infiltrated the contemporary culture. Aware of their artistic heritage, the Iranian artists look to the western art through the window of their own culture and tradition. By this choice, they try to reconstruct and upgrade their ancient heritage. In other words, the artist balances his/her artistic experiences according to his/her national values and traditions. Considerations such as simplicity and abstraction, aesthetics, altering the nature of forms and symbolism, are characteristics that Iranian artists have accomplished throughout ages through their artistic knowledge and skill. These principles and values can create a complete harmony with the characteristics of the contemporary art and stimulate the capacity of proper use.
Therefore, an awareness of the language and expression of the “new art”, which has an undeniable presence in the contemporary world, is a must. History teaches us that infatuations and excessive obsessions with past heritage or a fanatic opposition to the modern art are in vain. It is only through awareness and a selective process that we would be able to create the proper conditions to revive and upgrade our artistic heritage.
It is in this context that one must seek the rationale for organizing the Tehran International Poster Biennial. The least outcome of this display would be to introduce the modern world experiences in poster to the Iranian artists. These works have been collected from a vast domain of eastern and western countries, which is a feat that can only be accomplished by a few. In addition to boosting their visual knowledge, viewing these works would be a serious test for the graphic artist to understand their own status.

The Name of Artists Selected For10th Tehran International Poster Biennial

 2X Goldstein/Germany
Abolfazl Khosarvi/Iran
Agnieszka Ziemisewska/Poland
Ali Agha Hosseinpoor/Iran
Ali Bagheri/Iran
Ali Shoghi Benam/Iran
Amin Salami/Iran
Amir Hossein Rastgari/Iran
Anahita Soleimani/Iran
Anil Aykan/Turkey
Anna Skowronek/Poland
Arsalan Aghakhani/Iran
Ataollah Omidvar/Iran
Azadeh Shahabi/Iran
Bangqian Zheng/China
Bartosz Lukaszonek/Poland
Chia Lung Li/China
Chieh-Li Lin/Taiwan
Cho Chan-Woo/South Korea
Chong Ip Hong/China
Chun Young/Hong kong
Cyburichli Fabienneburri/Switzerland
Daisuke Sasaki/Japan
Darko Vuković/Serbia
Dawang Sun/China
Dong-Sik Hong/South Korea
Elzbieta Chojna/Poland
Erich Berchbuhi/Switzerland
Fang Chen/USA
Fang Xie/ China
Farhang Esgandari/Iran
Gaku Ohsugi/Japan
Gow Chang Cheng/Taiwan
Guoqun Yu/China
Guowei Wu/China
Hana Sitarz/Poland
Heydar Rezaei/Iran
Hiroyuki Matsuishi/Japan
Hong Zhang/Germany
Hoon Dong Chung/South Korea
Horng-Jer Lin/Taiwan
Hossein Bayat/Iran
Hossein Derakhshani/Iran
Hossein Yoozbashi/Iran
Imboden Melchior/Switzerland
Jefferson Ku/Taiwan
Jheng-Chang Chen/Taiwan
Jouri Toreev/Belarus
Jozef Hotard/Poland
Kaja Renkas/Poland
Karang Tayari/Iran
Karel Aubrecht/Czech
Kari Piippo/Finland
Kateryna Bortsova/Ukraine
Kazem Dehghani/Iran
Keizo Matsui/Japan
Keyvan Kahrizi/Iran
Khosro Ashtari/Iran
Kuokwai  Cheong/China
Ladan Shams Javi/Iran
Lee Mi-Jung/South Korea
Leila Yektafar/Iran
Leo Lin/Taiwan
Leszek Zebrowski/Poland
Lex Drewinski/Germany
Li Xu/China
Lih Haiping/China
Like Li/China
Liuzheng fa, Yang jie/China
Mahmood Bazdar/Iran
Majid Zare/Iran
Marjan Farmani/Iran
Mark Gowing/Australia
Marko Keklshev/Estonia
Maryam Ghanbarian/Iran
Mehdi Fadavi/Iran
Mehdi Montaseri/Iran
Mehdi Rahimi/Iran
Mehdi Seifi/Iran
Men Delai /China
Michal Minor/Poland
Mina Valizadeh/Iran
Mingling Li/China
Minoo Mirshahvalad/Iran
Mitsunori Taoda/Japan
Mohammad Jamshidi/Iran
Mohammad Mehdi Razi/Iran
Mohammad Reza Khaleghian/Iran
Mohammad Saber Sheikhrezaee/Iran
Morteza Atabaki/Iran
Nafiseh Mofidi/Iran
Nous Travaillons Ensemble/France
Olena Staranchuk/Ukraine
Parzyszek Ireneusz/Poland
Pfaeffli Felix/Switzerland
Pluta Wtadystaw/Poland
Reza Adilipoor/Iran
Sara Amini/Iran
Savas Cekic/ Turkey
Sebastian Kubica/Poland
Sepideh Motavaselolhagh/Iran
Seyed Ali Mirhosseini/Iran
Seyed Mohsen Hosseini/Iran
Seyedeh Hengameh Mirbagheri/Iran
Shih-Chieh Hung/Taiwan
Skorwider Eugeniusz/Poland
Sommese Lanny/Usa
Sun Byoung-IL/South Korea
Svetlana Faldina & Alexander Faldin/Russia
Takashi Akiyama/Japan
Tomasz Kipka/Poland
Tomoko Miyagawa/Japan
Toshiyasu Nanbu/Japan
Valentina Gottardi/Italy
Vanja Cuculić/Croatia
Wang Lei/China
Xin Wu /China
Xiuli Su/China
Xuebing Chen/China
Yoshiro Kato/Japan
Younes Rajabi/Iran
Yue Se  Chen/China
Yue Se  Chen/China

Leave a Comment