Art
Iran's street art shows defiance, resistance and resilience – The Conversation
A recent rise in activism in Iran has added a new chapter to the country’s long-standing history of murals and other public art. But as the sentiments being expressed in those works have changed, the government’s view of them has shifted, too.
The ancient Persians, who lived in what is now Iran, adorned their palaces, temples and tombs with intricate wall paintings, showcasing scenes of royal court life, religious rituals and epic tales. Following the 1979 revolution and the Iran-Iraq war, murals in Iran took on a new significance and played a crucial role in shaping the national narrative. These murals became powerful visual representations of the ideals and values of the Islamic Republic. They were used to depict scenes of heroism, martyrdom and religious devotion, aiming to inspire national unity and pride among Iranians.
Laurens R. Krol, CC BY-SA
Over the centuries, these artworks came to adorn many public spaces, including the walls of mosques, universities and government buildings, becoming symbols of patriotism and religious devotion.
After the Islamic Revolution overthrew Shah Mohammad Reza Pahlavi in 1979, murals began to convey new political messages and ideological propaganda. They celebrated the ideals of the Islamic Revolution and showcased the leadership of Ayatollah Khomeini and other prominent figures of the revolution.
Murals frequently depicted anti-Western sentiments, condemning foreign interference and imperialism. They also highlighted the concept of martyrdom and the importance of defending the Islamic Republic against external threats, aiming to inspire national unity and pride among Iranians.
In 2022, the Iranian morality police arrested Mahsa (Jhina) Amini for allegedly failing to wear her hijab properly. After she died in police custody, public protests broke out across the country with the slogan “Woman, Life, Freedom” – and led to a new round of public art in Iran.
As a scholar of Iranian contemporary art, but more importantly as someone who studies the development of Iranian artists, I see their renewed determination to promote freedom as a cultural necessity in Iran, even in the face of a government crackdown.
Khiaban Tribune via Instagram
Street art as protest
In the months following Amini’s death, artists, activists, and, most importantly, ordinary citizens poured into the streets to claim the public spaces and call for freedom.
Khiaban Tribune via Instagram
Street art emerged as a powerful medium through which individuals could address a wide array of pressing social and political issues, including women’s rights, freedom of expression, political activism and the desire for a life free from the constraints of religious laws.
Khiaban Tribune via Instagram
Graffiti artists, in particular, played a vital role in expressing dissent and resistance. Throughout Iranian cities, evocative graffiti murals have appeared, telling stories of struggle, liberation and the indomitable spirit of the movement through the past 45 years since the 1979 revolution.
Khiaban Tribune via Instagram
Watching the progression of the Woman, Life, Freedom movement and the distribution of art created parallel to it, I noticed that artists turned public spaces into platforms for political messages, critiquing policies, advocating social change and promoting gender equality.
Sometimes even a dialogue emerged on the walls between the oppressed and the oppressor. Artists depicted pictures of the killed citizens, the activists detained, as well as iconic images of the revolution. The government erased or painted over the graffiti, but protesters came back with new images and messages.
Central to this movement is the participation of both professional artists and non-artist citizens, instigating change and fostering consciousness through powerful imagery created on the city walls. Ordinary people participate in changing the city’s visual landscape by expressing themselves through art.
The government responds
The rise of protest art in Iran has faced opposition from the government, which viewed these forms of expression as acts of defiance.
Khiaban Tribune via Instagram
Government suppression tactics in response to murals and expressions of dissent have been alarmingly severe. These tactics encompassed frequent physical removal of murals that challenged the status quo, aiming to silence the voices of those speaking out against injustice by detaining, kidnapping and threatening the lives of their creators. In addition to this visual erasure, authorities imprisoned artists and other demonstrators for their activism and imposed employment restrictions as punitive measures.
Despite governmental opposition and legal challenges, artists and activists persevered. They have used art to voice their concerns, challenge societal norms and advocate for change.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
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