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This book studies the production of urban culture in Tehran after 1979. It analyzes urban resistance and urban processes in underground cultural spaces: bookshops, cafes and art galleries. The intended audience is architects and urban planners interested in socio-political aspects of bottom-up space formation, but also those in humanities and particularly cultural studies. The idea of the book reflects architectural criticism and bottom-up processes of space formation. It analyzes alternative, non-official ways of forming cultural spaces in Tehran and the way they resist formally endorsed culture. Cafés, bookshops and galleries, each take various and different sets of strategies to constitute their territory and their communities within the city. From temporarily occupying street corners (booksellers) to constitution of an underground network of unfixed meeting points, to using the modern paradigms of ownership and the idea of private property, primarily as a political tool for management, to claim a safe alternative sphere of art, and finally to semiotic spatial codifications of spaces to make them as a safe gathering places taking food as a means. All these three cultural spaces deal with various conditions to form specific forms of resistance practices, throughout processes that leave their spatial traces on the city.
The Iranian city experienced a major transformation when the Pahlavi Dynasty initiated a project of modernization in the 1920s. The Rite of Urban Passage investigates this process by focusing on the spatial dynamics of Muharram processions, a ritual that commemorates the tragic massacre of Hussein and his companions in 680 CE. In doing so, this volume offers not only an alternative approach to understanding the process of urban transformation, but also a spatial genealogy of Muharram rituals that provides a platform for developing a fresh spatial approach to ritual studies.
This volume examines the major cultural, religious, political, and urban changes that took place in the Iranian world of Inner and Central Asia in the transition from the pre-Islamic to the Islamic periods. One of the major civilizations of the first millennium was that of the Iranian linguistic and cultural world, which stretched from today’s Iraq to what is now the Xinjiang Autonomous Region of China. No other region of the world underwent such radical transformation, which fundamentally altered the course of world history, as this area did during the centuries of transition from the pre-Islamic to the Islamic period. This transformation included the religious victory of Islam over Buddhism, Nestorian Christianity, and the other religions of the area; the military and political wresting of Inner Asia from the Chinese to the Islamic sphere of primary cultural influence; and the shifting of Central Asia from a culturally and demographically Iranian civilization to a Turkic one. This book contains essays by many of the preeminent scholars working in the fields of archeology, history, linguistics, and literature of both the pre-Islamic and the Islamic-era Iranian world, shedding light on some of the most significant aspects of the major changes that this important portion of the Asian continent underwent during this tumultuous era in its history. This collection of cutting-edge research will be read by scholars of Middle Eastern, Central Asian, Iranian, and Islamic studies and archaeology. Contributors: D. G. Tor, Frantz Grenet, Nicholas Sims-Williams, Etsuko Kageyama, Yutaka Yoshida, Michael Shenkar, Minoru Inaba, Rocco Rante, Arezou Azad, Sören Stark, Louise Marlow, Gabrielle van den Berg, and Dilnoza Duturaeva.
A city of stories – short, fragmented, amorphous, and at times contradictory – Tehran is an impossible tale to tell. For the capital city of one of the most powerful nations in the Middle East, its literary output is rarely acknowledged in the West. This unique celebration of its writing brings together ten stories exploring the tensions and pressures that make the city what it is: tensions between the public and the private, pressures from without – judgemental neighbours, the expectations of religion and society – and from within – family feuds, thwarted ambitions, destructive relationships. The psychological impact of these pressures manifests in different ways: a man wakes up to find a stranger relaxing in his living room and starts to wonder if this is his house at all; a struggling writer decides only when his girlfriend breaks his heart will his work have depth... In all cases, coping with these pressures leads us, the readers, into an unexpected trove of cultural treasures – like the burglar, in one story, descending into the basement of a mysterious antique collector’s house – treasures of which we, in the West, are almost wholly ignorant. Translated by: Sara Khalili, Sholeh Wolpé, Alireza Abiz, Caroline Croskery, Farzaneh Doosti, Shahab Vaezzadeh, Niloufar Talebi, Lida Nosrati, Susan Niazi and Poupeh Missaghi. Foreword by Orkideh Behrouzan. Developed in partnership with Visiting Arts. 'The aesthetic sensibility of Iranian culture appears, to the West, as mainly pre-modern, if not actually anti-modern... The fiction showcased in The Book of Tehran is a welcome corrective to this tendency... These stories feel decidedly contemporary in style and subject matter alike, with their protagonists' inner lives and interpersonal relationships at the fore.' - The Times Literary Supplement 'Fiction exploring the interior life of contemporary Iranians is not well represented in translations readily available in the West. The Book of Tehran aims to begin to redress the shortage...' - Asian Review of Books
This book presents a cultural history of modern Iran through the perspective of the city. Addressing the relationship between history, poetry and politics in Iran, the author demonstrates that the question of knowledge is crucial to an understanding of the political and existential dimensions of life in Iran today.
In Urban and Visual Culture in Contemporary Iran, Pedram Dibazar argues that everyday life in Iran is a rich domain of social existence and cultural production. Regular patterns of day-to-day practice in Iran are imbued with forms of expressivity that are unmarked and inconspicuous, but have remarkable critical value for a cultural study of contemporary society. Blended into the rhythms of everyday life are nonconformist modes of presence, subtle in their visibility and non-confrontational in their resistance to the established societal norms and structures. This volume is about such everyday tactics and creativity as lived in space, visualised in cultural forms and communicated through media. Through its analysis of familiar everyday experiences, Urban and Visual Culture in Contemporary Iran covers a wide range of ordinary practices-such as walking, driving, shopping and doing or watching sports-and spatial conditions-such as streets, cars, rooftops, shopping centres and stadiums. It also explores a variety of cultural formations, including film, photography, architecture, literature, visual arts, television and digital media. This book offers new ways of thinking about visual and urban cultures by highlighting a politics of everyday life that is conditioned on concerns over visibility and presence.
This book presents an in-depth critical analysis of the internationally recognized, place-specific works of three Iranian architects (Nader Ardalan, Kamran Diba and Hossein Amanat) during the 60s and 70s, and their significant contribution to the emerging anti-modernist discourse.It argues that from the mid-19th century onwards architecture and urban design in Iran has been oscillated between two extremes of modernity and tradition. Drawing on the theory of ‘critical regionalism’ (Kenneth Frampton), the book critically analyses writings and works of the above-mentioned architects and contends that they created a ‘space-in-between’ which unified two extremes of tradition and modernity in a creative way (Khalq-i Jadid: New Creation). The book also contains three in-depth interviews with architects to discuss their singular narrative of the creation of ‘in-between’. A concluding chapter addresses the promises of critical regionalist architecture and urban design in post-Revolutionary Iran as well as the Middle East, where the dichotomy of tradition and modernity is yet a valid account.
Lying between deserts, mountain chains and seas, Iran developed a fascinating cultural landscape. 360 objects from the time of the first advanced civilisations during the 3rd millennium BC until the end of the Safavid Empire in the early 18th century illustrate the outstanding significance of Iran as the initiator and centre of intercultural exchange. Exquisite artworks from the Sarikhani Collection in London and the Staatliche Museen zu Berlin invite visitors to embark on a journey in time through the cultural heritage of Iran. The highlights include the great pre-Islamic empires of the Achaemenids and the Sassanids, the establishment of a Persian-Islamic culture, the masterly artistic achievements of the 9th to the 13th centuries and the Golden Age of the Safavids. They are brought together as in a multifaceted kaleidoscope in the copious illustrations and provide insight into the art of the courts and the urban elites.
Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. While many of these venues operate independently, others are fully sanctioned by the state. Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief the extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi discloses the push-and-pull between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, this book provides entry into unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture.
"Cities of Medieval Iran brings together studies in urban geography, archaeology, and history of medieval Iranian cities, spanning the Islamic period until ca. 1500, but also the pre-Islamic situation. The cities and their inhabitants take centre stage, they are not just the places where something else happened. Urban actors are given priority over external factors. The contributions take a long-term perspective and thus take the interaction between urban centres and their hinterland into account. Many contributions come from history or archaeology, but new disciplines are also methodologically integrated into the study of medieval cities, such as the arts of the book, lexicography, geomorphology, and digital instruments"--