DE

Exhibitions

SCHAU....6
04.10.2019 - 10.07.2020

BAUM....SCHAU
04.10.2019 - 10.07.2020

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  • Thomas Arnolds
  • Rozbeh Asmani
  • Cornelia Baltes
  • Hubert Becker
  • Hans Bischoffshausen
  • Brandy Brandstätter
  • Brandy Brandstätter / Kollitsch
  • Karl Brandstätter
  • Julius Brauckmann
  • Ulu Braun
  • Edward Burtynsky
  • Sandi Červek
  • Caroline Wells Chandler
  • Sandro Chia
  • Violet Dennison
  • Lutz Driessen
  • Irena Eden & Stijn Lernout
  • Simon Edmondson
  • Cédric Eisenring
  • Jan Paul Evers
  • Lino Fiorito
  • Christian Flora
  • Dietmar Franz
  • Christian Freudenberger
  • Jakob Gasteiger
  • Michela Ghisetti
  • Antonio Girbés
  • Bruno Gironcoli
  • Gernot Gleiss
  • Dorothee Golz
  • Franz Grabmayr
  • Ernst Gradischnig
  • Wolfgang Grinschgl
  • Jochem Hendricks
  • Giselbert Hoke
  • Andy Holtin
  • Pedro Jardim de Mattos
  • Eva Jospin
  • Soli Kiani
  • Peter Klare
  • Cornelius Kolig
  • Arnulf Komposch
  • Robert Kunec
  • Alina Kunitsyna
  • Hans Kupelwieser
  • Ulrich Lamsfuß
  • Tina Lechner
  • Jens Liebchen
  • Mevlana Lipp
  • Peter Lohmeyer
  • Gerhard Lojen
  • Constantin Luser
  • Klaus Merkel
  • Joel Meyerowitz
  • Sissa Micheli
  • Ferdinand Neumüller
  • Markus Orsini-Rosenberg
  • Olga Pedan
  • Max Peintner & Klaus Littmann
  • Ulrich Pester
  • Peter Pongratz
  • Arnold Pöschl
  • Arnold Pöschl
  • Hannes Rader
  • Damir Radović
  • Thomas Rentmeister
  • Markus Riebe
  • Megan Rooney
  • Evan Roth
  • Issa Salliander
  • Robert Schad
  • Eva Schlegel
  • Ralph Schuster
  • Jon Shelton
  • Hayley Aviva Silverman
  • Tracey Snelling
  • Nina Rike Springer
  • Laura Stadtegger
  • Martin Steinthaler
  • Pier Stockholm
  • Howard Tangye
  • Vincent Tavenne
  • Oman Valentin
  • Anna Virnich
  • Ina Weber
Nasrin Nasrin Soli Kiani, Nasrin, 2018
, Fabric, acrylic and clay, 15 x 100 x 50 cm
Kollitsch Collection

Soli Kiani’s Sculptural Paintings are closely connected with her work on canvas in which she painstakingly depicts draped pieces of fabric to highlight the role of women in Iran and to draw attention to the country’s social and cultural structures. Soli Kiani’s Cloth Sculptures consist of dyed pieces of linen dipped in paste to hold their shape. The way the cloth is draped is a synonym for concealment and identity, and its dignity indicates certain analogies with heights and depths, the visible and the invisible, the dignified and the suppressed as well as light and darkness.

Untitled (1) from the series “2=1” Untitled (1) from the series “2=1” Soli Kiani, Untitled (1) from the series “2=1”, 2018
, Silver gelatin print on baryta paper, mounted onto aluminium, 102 x 72 cm (gerahmt)
Courtesy of the artist

The three photographic works from Soli Kiani’s series 2=1 show dancing feet under a long black skirt, yet women’s feet can only be seen on two photographs. The third photo shows the vigorously dancing bare feet of a man. In this telling depiction the artist comments on gender relations under Iranian Islamic law: “A woman is worth half as much as a man, a woman’s statement in court has half the value of a man’s, and the woman inherits half as much as a man.” For Soli Kiani, dancing exemplifies only one of many prohibitions that people in Iran face day in day out.

Untitled (2) from the series “2=1” Untitled (2) from the series “2=1” Soli Kiani, Untitled (2) from the series “2=1”, 2018
, Silver gelatin print on baryta paper, mounted onto aluminium, 102 x 72 cm (gerahmt)
Courtesy of the artist
Untitled (3) from the series “2=1” Untitled (3) from the series “2=1” Soli Kiani, Untitled (3) from the series “2=1”, 2018
, Silver gelatin print on baryta paper, mounted onto aluminium, 102 x 72 cm (gerahmt)
Courtesy of the artist
Farhad Farhad Soli Kiani, Farhad, 2018
, Oil pastels and acrylic on canvas, 120 x 90 cm
Private collection, Klagenfurt

Soli Kiani, who grew up in Iran, has lived in Vienna since 2000. In her art she depicts a critical retrospective view of her childhood and youth in her native Iran and discusses the position of women in the Muslim tradition. “Clothing, fabrics and fashion have played quite a dominant role in my life. The fabric that surrounded me didn’t just clothe me. It also provided a protective shell, while at the same time imprisoning my identity,” says Kiani. Political and social issues are expressed in Soli Kiani’s paintings and Cloth Sculptures through meticulous depictions of the fabric and its folds. Their starting point is her study of chador (tent) as a depersonalised piece of clothing that has simply been placed on the floor and which seems to deprive a person of their identity, yet also provides identity.

Crease (3) Crease (3) Soli Kiani, Crease (3), 2019
, Oil pastels and acrylic on canvas, 120 x 90
Private collection, Klagenfurt
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