© Nader Ahriman

Platon explains the sidereal eschatology of the Milky Way, 2004
Oil on canvas, 220 x 270 cm

Nader Ahriman
Platon explains the sidereal eschatology
of the Milky Way

Gallery Klosterfelde is very happy to present a new exhibition with Nader Ahriman (born 1964 in Shiraz / Iran), who lives and works in Berlin since 1990. For the show, the artist has put together a selection of new works as well as paintings from an early period in the beginning 1990s. Also a couple of older canvases were overpainted, so that a complex system of thematic references and formal citations has been developed.

"Platon explains the sidereal eschatology of the Milky Way" (2004) is the painting giving the title to the exhibition. On a stage-like plateau a roughly constructed mechanic figure depicting the Milky Way stands opposite to Platon, the teacher of ideas. Its chaotic metal bars and spheres are enclosed by a gentle climbing plant and it appears as if descending down the picture surface, while Platon's ordering, analytical principle is reflected in his geometric, stony stature. A board with vertical black and white stripes reminiscent of Barnett Newman is at the center of the composition and epitomizes the idea of the infinity of the cosmos which is to be explained by Platon.

The painting is an overpainted canvas from 1994 which already contained the dominating composition of the descending nude and the figure of Platon. But like in a palimpsest, Ahriman has partially removed the old coats of paint and elaborated on a new version of the subject. This process however does not aim at a destruction of the own work but instead at an accumulation of meanings piled up by the manifold of layers.

Central in Ahrimans practice is the search for the possible painterly meating point of the opposites of idea and matter, of Platonic ratio and the unreasonable materiality. This is also visible in the painting "Prestabilized Harmoniy: Icepiece" (2004). On a metal structure reaching out of the polar sea, the geometric form of the cube meets the formless pile of the iceberg. This scene is pushed to the upper side of the canvas, while the dark sea takes on two-third of the picture plane. Ahriman is here for the first time dealing with the genre of the landscape painting, however instead of all its figurativeness the depiction of the landscape stays far away of any realistic mimesis, floating in between those two categories. The dark surface with its horizontality created by an endless number of thin lines is more the painterly work on the "idea" of the sea, thus working towards the "Prestabilized Harmony".

Exhibition: May 4 - July 17, 2004
Gallery hours: Tue-Sat 11 am - 6 pm

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