Barbad Golshiri Reinterprets European Art History Through Iranian Lens

Barbad Golshiri's transdisciplinary practice reinterprets European art history from his Iranian perspective, engaging with works by Jan van Eyck, Jacques-Louis David, and Kazimir Malevich. His approach involves inserting his own body into these historical contexts to activate the present by transferring the past into the future, aiming to differentiate historical narratives. A Deleuzian concept of repetition as differencing underpins his interrogation, particularly evident in his Malevich cycle. This cycle includes Quod (2010), referencing Malevich's Black Square (1915), and Cura; the Rise and Fall of Aplasticism (2013), which restaged the Last Futurist Exhibition of Paintings 0.10 from Petrograd in 1915 in Moscow and Tehran. The cycle also comprises the post-performance object "." (2013) and a series of QR code actions that continue dematerializing Black Square through social mediation. These works use coded language to speak truth to power. The analysis was published by Sandra Skurvida on March 15, 2023, in ARTMargins Online, Volume 12, Issue 1, pages 73-91, with a DOI of 10.1162/artm_a_00338, and is available via subscription through MIT Press.