The Third Line at Frieze NY

3 – 6 May, 2019
Booth C27

The Third Line participates in the 8th edition of Frieze New York with a group presentation featuring works by Iranian and Arab women artists, all who either reside in America or have spent time in the country. Imbued with their respective identities, works by Hayv Kahraman, Laleh Khorramian, Monir Farmanfarmaian, Pouran Jinchi and Sara Naim reflect the artists’ varied life experiences, be it through practice, medium, or subject matter.

Hayv Kahraman’s practice pulls on her personal experiences of migration to Europe (and then the United States) to create paintings, drawings, objects and performances. Her work engages the viewer, utilizing elements of calligraphy, Italian Renaissance painting and illumi- nated Arab manuscripts to reflect on the placelessness and experience of diaspora, engaging aesthetic notions and codes of beauty to depict often psychologically brutal subjects.

The work of Laleh Khorramian explores aspects of human nature and emotional states of consciousness. While she combines animation and drawing in order to capture and emphasize particular stages of the art-making process, Laleh removes cultural and historic specificity from her narratives, with the aim to highlight the essence of visual forms. In so doing, she harnesses the possibilities of chance, accidents and manipulation, with the final work’s obfuscato- ry nature allowing room for individual interpretation.

Shown for the first time, Monir Shahroudy Farmanfarmaian’s drawing reinterprets the aineh kari technique of the characteristic geometric mirrored mosaics the artist is best known for. The intricately layered coloured lines of the felt tip composition invoke the architectural forms of nomadic tents and minarets, while the addition of glitter nods to the brilliantine reflections of its inspiration.

Pouran Jinchi’s practice draws parallels between art and language as modes of communica- tion. Recently, her artistic expression extended to ways military jargon permeates our common language. She sewed Sun Tzu’s quotes in Morse code by hand onto desert hued linen cloth, and drew letters from the military phonetic alphabet on colorfix paper. Her calligraphic lines evolved into geometric grids, the linear into abstract structural form.

Through visualising micro-formations, Sara Naim’s practice dissects how proportion shapes our perception and notion of boundary. She explores the physicality of these ‘boundaries’ and its form, with questions of: If borders do not exist on a cellular scale, can we define ‘border’ on a macro scale? Can shape be considered an object in itself?

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