Rozbeh Asmani, Kinder Droplet, 2015
, C-Print on Clearfilm, 133.5 x 100 cm, Edition 3 + 1 e.a.
Kollitsch Collection

Something as universal as colour can be both instrumentalised as well as leading to an exercising and misuse of power. Regardless of how forensically a colour is or can be described, this serves as a starting point behind Asmani’s reason for creating additional works such as the seemingly harmless cloudy sky in Aral Clouds (2015), the lovingly represented Kinder Droplet (2015), the Mon Chéri Chrom (2015) and, of course, the Milka Cow (2015).

— Frank Falderbaum

Rozbeh Asmani, Shirin, 2009
, Chocolate, 4C print on aluminium, in box, 17 x 9 x 3.6cm, Edition 200
Kollitsch Collection

Rozbeh Asmani, Colourmarks - Renova - Fábrica de Papel do Almonda, SA, 2015
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Colourmarks - Deutscher Sparkassen- und Giroverband e.V., 2013
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Colourmarks - Deutsche Telekom AG, 2013
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Colourmarks - OMV Aktiengesellschaft, 2015
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Aral Clouds, 2015
, Screen printing, 57 x 80 cm, Edition 7 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Mon Chéri Chrom, 2015
, Screen printing, 32.5 x 46.5 cm, Edition 12 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Milka Cow, 2015
, Screen printing, 57 x 83 cm, Edition 7 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Crisps Bag, 2016
, Nickel silver, 25.5 x 18.5 x 13.5 cm, Edition 5 + 2 e.a.
Kollitsch Collection

Just as these trademarked colours and their social impact play a key role in the work of Rozbeh Asmani, packaging or the three-dimensional form as a brand, can also be ‘protected’ and, as in the Crisps Bag (2016) work presented here, this is expanded on in a double sense.

— Frank Falderbaum