December, 3rd, 2013

TEHERAN | 1967 | REZA ABIDINI DRESSES WORDS AND WORLDS

“The birth of “typography” arises from the spirit of “calligraphy”.” – Reza Abedini

A leading figure of the Iranian school together with the graphic designer Morteza Momayez, Abedini focuses on the Iranian (Persian) cultural identity, which strongly characterises his works of art. After having graduated from the School of Fine Art in Teheran in 1985, he teaches visual communication at the Teheran Art University, where he obtains his B.A. in painting in 1992. In 1993 he sets up the Reza Abedini Studio and takes charge of the art direction of the “Manzar” magazine. From 1997 he is a member of the Iranian Graphic Designers’ Society, for whom he is also the supervisor of the cultural committee in 1999, and from 2001, a member of AGI (Alliance Graphique Internationale). Moreover, he is a member of jury at several biennials throughout the world, and also takes part in various editions winning numerous awards: in 2004 he receives first prize and gold medal at the 8th International Biennial of the Poster in Mexico, silver prize at the 2nd International Poster Biennale in Korea and first prize at the International Islamic World Poster Biennial in Iran; in 2005, bronze medal at the China International Poster Biennial; and in 2006, silver medal at the Warsaw International Poster Biennale.

In the non-Iranian design scene, Abedini is one of the most interesting cases with a great amount of autochthonous references. What makes his work so appealing is how he displays some of the expressive codes of western modernity with a surprising amount of exoticism. Abedini proposes original and fascinating graphic solutions, giving up traditional linear writing and adding western innovations. In the 2000 Dance and Message poster, for example, he designs a strongly expressive composition, playing around with graphic signs, typography, calligraphy and images in an astonishing textual weave, by gathering, grouping and overlapping the elements. In this way he overturns the usual relationship between images and text: the latter is not found beside the image but inside it (dark typography on light images, light typography on dark images). This is why his designs serve as a unifying phenomenon: national colours and international styles of depiction, Iranian calligraphy and western typography, in a strong type-image combination, obtained with ease and spontaneity, which could not be more inextricable – a true “dancing message”.