The 6th Annual of Iranian contemporary art contest, Persbook

Annual designer and founder of Pressbook: Neda Darzi
Annual Secretary: Pamelakrimi
Advisors: Toraj Khamenezadeh, Pamela Karimi, Behnam Kamrani
Judges: Alice Stepanian, Behrang Samadzadegan, Pamela Karimi
Graphic designer: Rasul Kamali

Sixth annual theme:
From denaturalization to “natural” biology
In “Silent Spring” (1962)—the acclaimed book by American biologist Rachel Carson—the results of human abuse and manipulation of the environment were challenged for the first time. Although this attitude was unprecedented in its time, it became the foundation of a special school of studies, which today is considered one of the most important subjects of environmental research – both in the field of science and in sociological affairs. Is it possible to separate humans from nature, or can we reach more peaceful solutions regarding human interference in nature? In today’s era, the problems caused by human intervention in the environment are so important that it has even attracted the attention of artists. One of their main concerns is to fantasize about this separation (or peaceful coexistence). In recent years, the issue of human interference in the environment of the Middle East and Iran has become one of the hot topics of the day. However, the artists of the region have not addressed this issue less, and this is the fact that throughout history, nature (from flowers and plants to water, wind, soil and fire) has had a high place in poetry, literature, architecture and visual arts of the Middle East. Is. How can these views be revised and revived? And if not, from what other angles should natural resources be included in the field of art? How can today’s artist make his audience understand the importance of preserving and rehabilitating the natural resources of many areas of the Iranian plateau and the Middle East? How to challenge the encroachment of the Middle Eastern people in their environment? Can adapting the views of contemporary western environmental artists be a suitable approach for us? Or should the artist from the Middle East (or Iran) explain and revise the issue for his viewers from other positions? This year’s edition is the place to show wide and diverse views on these questions. We invite photographers, painters, sculptors, multimedia (such as video and digital art) and installation artists to depict, praise, describe and challenge the issue of the environment in Iran and the Middle East in their works of art.