Painters From Iran

"Doubt is the debut of consciousness."

"Outer beauty without inner beauty is hideous."

"Life is mind, and deeds are its effects."

"The more a lie contains truth, the more it is evil."

"Failure is the victory of experience."

"If you don't make the context, the context will make you."

"Morals make history, not mortals."

"Logic and luck will not meet without action."

"Every definition has a deviation."

"I'm not afraid of not being, because being is everlasting."

"Fear when the friend fears you."

"Art is the dealer of heart."

"One understands time when there is no time."

"There is no certainty, save for the one who says there is no certainty."

"Believe me, I am still very surprised that I managed to make that film [Close-Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience. Because the film made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film."

"From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing."

"He was one of those rare artists with a special knowledge of the world, put into words by the great Jean Renoir: ‘Reality is always magic.’ For me, that statement sums up Kiarostami’s extraordinary body of work. Some refer to his pictures as ‘minimal’ or ‘minimalist,’ but it’s actually the opposite: every scene in Taste of Cherry or Where Is the Friend’s House? is overflowing with beauty and surprise, patiently and exquisitely captured. I got to know Abbas over the last 10 or 15 years. He was a very special human being: quiet, elegant, modest, articulate, and quite observant – I don’t think he missed anything. Our paths crossed too seldom, and I was always glad when they did. He was a true gentleman, and, truly, one of our great artists."

"Kiarostami gave the Iranian cinema the international credibility that it has today. ... But his films were unfortunately not seen as much in Iran. He changed the world's cinema; he freshened it and humanised it in contrast with Hollywood's rough version."

"Kiarostami represents the highest level of artistry in the cinema."

"Film begins with DW Griffith and ends with Abbas Kiarostami."

"To be international, you have to first be local. ... When you take a tree that is rooted in the ground, and transfer it from one place to another, the tree will no longer bear fruit. And if it does, the fruit will not be as good as it was in its original place. This is a rule of nature. I think if I had left my country, I would be the same as the tree."

"The calling of art is to extract us from our daily reality, to bring us to a hidden truth that's difficult to access - to a level that's not material but spiritual."

"I feel like a tree. A tree doesn't feel a duty to start doing something about the earth from which it comes. A tree just has to bear fruit, and leaves and blossoms. It doesn't feel grateful to the earth."

"My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated. This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark. And it's something that we do - we bring out elements that we want to emphasise. I'm not claiming or denying that I have done such a thing but I do believe in [[Robert Bresson|[Robert] Bresson]]'s method of creation through omission, not through addition."

"Erasers remind us there is no faultless human."

"The 4D style, or cosmic comics and relativistic humor, is based on Einstein's theory of relativity which I came up with 20 years ago. 4D works use the idea of the fourth dimension, time, playing on such surrealistic and amazing subjects as motion relativity, space curvature and time dilation."

"Caricatures speak through visual language and are therefore understandable by all people. They trigger a laugh which is also an international language and reaction. Caricatures can decrease violence and converge cultures. They aim to promote peace, and teach us to be moderate and laugh at our problems."

"As long as copyright is breached in Iran and international works are being freely published in magazines and newspapers, no one feels any need for Iranian works."

"Politically I am neither left nor right! And this kind of political-ethical standpoint-- being in the middle-- usually brings about seclusion and isolation! But now I do not mind it anymore and, instead, I work more and more in my self-made solitude!"

"Paper is my best friend and paper seller is my worst friend!"

"The world starts with a Big Bang and finishes with a human-made atomic Big Bang!"

"We all laugh and cough with the same language and will die with the same language as well!"

"It is a strange paradox: Humans drown in the water, fish drown in the land."

"Sweetness of life depends to its bitterness."

"Our lives consist of two numbers: date of birth and date of death."

"The death of our close friends and relatives proves that how close the death is to us!"

"I finally did not understand if we are living to survive or we are living to die!"

"In my opinion, people in our society are becoming like clones. Children are not reading books , and they are not learning by doing. They're just sitting and watching each other be pretty. Like my vases."

"Performance of the violinist -- it's all in the interpretation and all the virtuosity comes out of the context of the interpretation!"

"If Marx were still alive, he would write: “Social networks are the opium of nations!"

"A hero; in our dark, indifferent and cruel universe is the one who makes life bearable and meaningful for human condition."

"It is easy to start a war, but its end is decided by will-o-the-wisp, which is so effective in deceiving travelers on this road!"

"The pronouncements by Hegel and Nietzsche, on "the End of Art" and "the Death of God" ignited the fad of Endism in the western culture in the final century of the last millennium. Daniel Bell 's "The End of Ideology" (1960), Martin Heidegger's "The End of Philosophy" (1973), Theodore J. Lowpdi's "The End of Liberalism" (1979), Arthur Danto's "the End of Art" (1984), Bill McKibben's "The End of Nature" (1989), Francis Fukuyama's "The End of History" (1992), Kenichi Ohmae's "The End of the Nation State" (1996), Jorie Graham 's "The End of Beauty" (1999), Chris Dillow's "The End of Politics” (2007) were just some of such seemingly endless stream of "endings", which made one wonders that at such high rate will there anything be left for a future ending!"

"How would you explain Manet’s '? Yes, you may say that the mirror in the back of the barmaid, like Plato’s , shows that the reflections in the mirror are as close as the viewers get to viewing reality, which is mixed up with the inner reality of the barmaid, her reflection in the mirror, and her own picture in front of the viewer and image of Manet himself as the painter and as the creator of that painting in that mirror. Yet we know that this picture cannot be real since the artist cannot simultaneously be painting the picture and be steering at the barmaid in the guise of a client in the picture. Since, if the picture shows the true reality the mirror must reflect the painter performing the act of painting! Explanations like these are, of course, stating the obvious. The truth pf this painting is all revealed at that very moment in which it connects with the subconscious of the viewers. Manet does not want to warn his viewers that “look! I am showing you the illusion of picturing reality in painting”. If he really wanted to give such a warning he would have written such a warning underneath his work, pretty much the same way that wrote '. But, even Magritte’s warning is not that clear! What is not a pipe, that illustration of a pipe? If so, then that is obvious, and what is the point of stating the obvious? Perhaps Magritte like Ferdinand de Saussure wants to say there is a difference between the pipe as a ‘signifier’ and the pipe as a ‘signified’. As I stated the grammar of painting is different from the grammar of language."

"As Amish say "There is a vast difference between putting your nose in other people's business and putting your heart in other people's problems,” and there is also a vast difference between using the ‘grammar of language’ and the ‘grammar of painting’. In a language we have subjects, adjectives, verbs, and so on, and in painting we have light, composition, geometric planes, and lines. It is by using this grammar that one can understand a work of art. This is very similar to Ferdinand Saussure’s, distinction between “la langue” and “la parole” for interpretation of written words."

"It must be said that an authentic work of art needs no philosophical justification. In principle, if Philosophical Treatises could explain a work of art then there would be no justification for the existence of that work art. Put it differently, a work of art precisely enters into the scene when philosophy and other experimental sciences are inept of representing or elucidating an artistic vision."

"I believe any philosophizing about art is absurd and empty. Unfortunately, in the last century a phenomenon has emerged in which the status of “work of art” were granted to many foolish, tacky, and distasteful works as long as they were accompanied by ten or twelve pages of philosophizing justification."

"I love to experiment with all styles, and do not have any particular prejudice or bias towards any specific style. These works appear, and they turn out, the way they should. I do not decide in what style I want to paint. I am only experimenting. Even Picasso, when he arrived at Cubism, had already experimented with a lot of other styles."

"In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new."

"I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture."