https://babakgolkar.ca/events daily 0.75 2013-04-01 https://babakgolkar.ca/events/2013/4/15/event-one monthly 0.5 2013-04-01 https://babakgolkar.ca/parergon daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532140960-0ZAB89P9ZMB583ODCGF8/0.+BG_Prergon.jpg Parergon / Parergon 2012 Exhibition view, Third Line Gallery, Dubai Parergon considers the frame not as a passive boundary but as an unstable threshold—at once containing and collapsing the space it delineates. These sculptural structures, fragmented and left open, expose their own internal logic, challenging the assumption that framing is a neutral act. Instead, they function as sites of negotiation, where meaning remains in flux. Extruded from the silhouettes of architectural landmarks such as Hagia Sophia and the Dome of the Rock, these forms carry the weight of history while resisting its fixity. As parerga, they inhabit the unstable terrain Jacques Derrida describes—neither fully inside nor outside, neither object nor ornament. In their incompleteness, Parergon unsettles framing as containment, shifting it into an open encounter where perception, context, and meaning remain unresolved. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532140960-0ZAB89P9ZMB583ODCGF8/0.+BG_Prergon.jpg Parergon / Parergon 2012 Exhibition view, Third Line Gallery, Dubai Parergon considers the frame not as a passive boundary but as an unstable threshold—at once containing and collapsing the space it delineates. These sculptural structures, fragmented and left open, expose their own internal logic, challenging the assumption that framing is a neutral act. Instead, they function as sites of negotiation, where meaning remains in flux. Extruded from the silhouettes of architectural landmarks such as Hagia Sophia and the Dome of the Rock, these forms carry the weight of history while resisting its fixity. As parerga, they inhabit the unstable terrain Jacques Derrida describes—neither fully inside nor outside, neither object nor ornament. In their incompleteness, Parergon unsettles framing as containment, shifting it into an open encounter where perception, context, and meaning remain unresolved. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371534882240-13FQVSCWKYEWLQ0BJBSU/Event+Images_Parergon_10Nov2011__DSC0707.JPG Parergon / - Parergon 2012 Exhibition view, Third Line Gallery, Dubai https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371534980230-8A1A7VT4DL9XPOC9ZCN0/Event+Images_Parergon_10Nov2011__DSC0714.JPG Parergon / - Parergon 2012 Exhibition view, Third Line Gallery, Dubai https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532330672-QAD1LGKLNL2G6MEVCRHM/18.+BG_Untitled+%28Green+Mosque%29_1.jpg Parergon / - Untitled (Green Mosque) 2012 79" x 24" x 6" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532788796-Q34JBYGT8Y2P8XH7D5Q1/BG_Untitled+%28Green+Mosque%29_2011_Acrylic+sheets+and+wood_60x+200x15cm+%284%29.jpg Parergon / - Untitled (Green Mosque) 2012 79" x 24" x 6" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532788458-PW3ZESBY2HGA07V4WVHI/BG_Untitled+%28Green+Mosque%29_2011_Acrylic+sheets+and+wood_60x+200x15cm+%282%29.jpg Parergon / - Untitled (Green Mosque) Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532178485-5LLOYNEUKG9MJ1KPMUO5/8.+BG_Untitled+%28Azadi+Tower%29_1.jpg Parergon / - Untitled (Azadi Square) 2012 58" x 54" x 5" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532214086-XN13WZ6GE8NQYRPBKIT1/9.+BG_Untitled+%28Azadi+Tower%29_2.jpg Parergon / - Untitled (Azadi Square) Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532143021-M5GO9WCVKCS1S9ZN7BMT/1.+BG_Untitled_%28Hagia+Sophia%29_1.jpg Parergon / - Untitled (Hagia Sophia) 2012 72" x 60" x 4.5" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371533119531-0YRPKWEASQ9RA7U6VMG3/Hagia+Sophia-2.jpg Parergon / - Untitled (Hagia Sophia) Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532301668-YA34B1NF2NSDE9CAOTV5/13.+BG_Untitled+%28Dome+of+the+Rock%29_1.jpg Parergon / - Untitled (Dome of the Rock) 2012 40" x 68" x 21" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371534374983-1FVHSQKEQ9GZW17Z3TS4/BG_Untitled+%28Dome+of+the+Rock%29_2011_Acrylic+sheets+and+expandable+poly+foam_172x100x54cm+%2818%29.JPG Parergon / - Untitled (Dome of the Rock) Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532178078-S37J1MDC4VGRD2GKPY8M/5.+BG_Untitled+%28Taj+Mahal%29_1.jpg Parergon / - Untitled (Taj Mahal) 2012 44" x 70" x 6" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371534224909-E7ITROM6WU5693GFI5QB/Golkar_19_Taj+Mahal-2.jpg Parergon / - Untitled (Taj Mahal) Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371534224318-PGBHUUBUS5PYKYVCWCSC/Golkar_20_Taj+Mahal-3.jpg Parergon / - Untitled (Taj Mahal) Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532215838-ZSNBV5QAGK9XIZPHJB8D/10.+BG_Untitled+%28Ummayyad+Mosque%29_1.jpg Parergon / - Untitled (Umayyad Mosque) 2012 80" x 64" x 3" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532268566-11OR8523EOWPJT0MQLU2/11.+BG_Untitled+%28Ummayyad+Mosque%29_2.jpg Parergon / - Untitled (Umayyad Mosque) 2012 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371532327026-0E6U3O62BXB6IEXM4DV3/16.+BG_Untitled+%28The+Great+Mosque+of+Samarah%29_1.jpg Parergon / - Untitled (The Great Mosque of Samarra) 2012 112" x 54" x 4" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371534443973-4XPTY2IZ2G1BNBNE8UDK/BG_Untitled+%28The+Great+Mosque+of+Samarah%29_2011_Acrylic+sheets+and+wood_285x137x10cm+%2812%29.JPG Parergon / - Untitled (The Great Mosque of Samarra) Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371534129300-4WH20SXSYT688JE42YJ5/BG_Untitled+%28Blue+Mosque%29_2011_Acrylic+sheets+and+wood_145x+190x11.5cm+%288%29.jpg Parergon / - Untitled (Blue Mosque) 2012 57" x 75" x 4.5" Acrylic sheets, wood, lacquer https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371534131677-2J390S6QCVIDXTXHBVB8/BG_Untitled+%28Blue+Mosque%29_2011_Acrylic+sheets+and+expandable+poly+foam_145x+190x11.5+cm+%2814%29.jpg Parergon / - Untitled (Blue Mosque) Detail https://babakgolkar.ca/content-exploration daily 0.75 2016-06-28 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370499758088-YTURS3WWKIPDXS8NXJ74/BG_Negotiating+Space+%236-1.jpg Negotiating Space... No. 8 / - Negotiating the Space for Possible Coexistences No. 8   Persian carpet, wood, plexiglas, lacquer paint. Dimensions: 22" (L) x 20" (W) x 40" (H) Courtesy of Studio Babak Golkar https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370499758088-YTURS3WWKIPDXS8NXJ74/BG_Negotiating+Space+%236-1.jpg Negotiating Space... No. 8 / - Negotiating the Space for Possible Coexistences No. 8   Persian carpet, wood, plexiglas, lacquer paint. Dimensions: 22" (L) x 20" (W) x 40" (H) Courtesy of Studio Babak Golkar https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370499794344-K5JT7S12E49DIO2K5C9D/BG_Negotiating+Space+%236-3.JPG Negotiating Space... No. 8 / - Negotiating the Space for Possible Coexistences No. 8   Persian carpet, wood, plexiglas, lacquer paint. Dimensions: 22" (L) x 20" (W) x 40" (H) Courtesy of Studio Babak Golkar https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370499823691-KVAFW2FVETDAQYOB233N/BG_Negotiating+Space+%236-4.JPG Negotiating Space... No. 8 / - Negotiating the Space for Possible Coexistences No. 8   Persian carpet, wood, plexiglas, lacquer paint. Dimensions: 22" (L) x 20" (W) x 40" (H) Courtesy of Studio Babak Golkar https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370499839759-SQLYVWAJW1UG0XVYJ4PQ/BG_Negotiating+Space+%236-5.JPG Negotiating Space... No. 8 / - Negotiating the Space for Possible Coexistences No. 8   Persian carpet, wood, plexiglas, lacquer paint. Dimensions: 22" (L) x 20" (W) x 40" (H) Courtesy of Studio Babak Golkar https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370499865296-R0JCWLDS0QL1GAJ4GXJF/BG_Negotiating+Space+%236-6.JPG Negotiating Space... No. 8 / - Negotiating the Space for Possible Coexistences No. 8   Persian carpet, wood, plexiglas, lacquer paint. Dimensions: 22" (L) x 20" (W) x 40" (H) Courtesy of Studio Babak Golkar https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370499874868-ACYUOBSCC35O1GPPIU26/BG_Negotiating+Space+%236-7.JPG Negotiating Space... No. 8 / - Negotiating the Space for Possible Coexistences No. 8   Persian carpet, wood, plexiglas, lacquer paint. Dimensions: 22" (L) x 20" (W) x 40" (H) Courtesy of Studio Babak Golkar https://babakgolkar.ca/neue-berlin daily 0.75 2016-07-06 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370500917303-CNAZAH6TR9ZBM9KJ2A2O/Golkar_black-red.jpg Black Squared Red Square, And Again [ed.] / - Black Squared Red Square, And Again, 2013 Lenticular print Dimensions: 23 cm (w) x 38 cm (h) Printed by RWC, Texas Edition size of 20 + 3 APs Courtesy of Studio Babak Golkar and WAAP   In Black Squared Red Square, And Again (2013) new meaning has been imbued into another well-known Malevich composition. Through the use of a lenticular lens a movement from left to right of the viewer results in a repetitive movement of the black square dropping down onto the red square. While in the past red, white and black signified certain associations with emotions (via Malevich) and subsequently political connotations (via Russian Constructivists), in this work black square reveals an aggressive destructive force, a defeating and defeatist aspect of Capitalism as it tries to constantly define and overcome an oppositional force. The red static square, originally assumed as a Communist colour, can now be easily replaced by the new colour(s) of political Islam.   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370500917303-CNAZAH6TR9ZBM9KJ2A2O/Golkar_black-red.jpg Black Squared Red Square, And Again [ed.] / - Black Squared Red Square, And Again, 2013 Lenticular print Dimensions: 23 cm (w) x 38 cm (h) Printed by RWC, Texas Edition size of 20 + 3 APs Courtesy of Studio Babak Golkar and WAAP   In Black Squared Red Square, And Again (2013) new meaning has been imbued into another well-known Malevich composition. Through the use of a lenticular lens a movement from left to right of the viewer results in a repetitive movement of the black square dropping down onto the red square. While in the past red, white and black signified certain associations with emotions (via Malevich) and subsequently political connotations (via Russian Constructivists), in this work black square reveals an aggressive destructive force, a defeating and defeatist aspect of Capitalism as it tries to constantly define and overcome an oppositional force. The red static square, originally assumed as a Communist colour, can now be easily replaced by the new colour(s) of political Islam.   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370736735336-4TUQ1R07I79T1GUSQYX9/image-asset.jpeg Black Squared Red Square, And Again [ed.] / - Black Squared Red Square https://babakgolkar.ca/mechanisms-of-disorientation daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376176710315-0ICWO584VTHN4F7V7O8O/Christa-Holka-Delfina-V%26A-30Mar12-0118.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding 2012 Installation view, Victoria and Albert Museum, London Mirror mosaics, foam, rotary motor, light projectors Mechanisms of Disorientation: Towards a Fragmented Understanding was installed in the Medieval and Renaissance Gallery of the Victoria and Albert Museum, a setting filled with statues and architectural fragments displaced from their original contexts. In the evenings, with the gallery lights turned off, only fragments of the surrounding objects and space became visible—scattered reflections from a rotating half-disco ball casting intermittent, fractured light across the room. This interplay of light and shadow heightened the installation’s critique of the museum’s role in framing and fragmenting cultural history. By illuminating portions of statues and architectural elements in fleeting, fractured glimpses, the work emphasized the partial and decontextualized way history is often presented within institutional spaces. Mechanisms of Disorientation interrogates the museum as a site of mediation, where cultural heritage is reframed, reinterpreted, and inevitably distorted—challenging viewers to reconsider the coherence and authority of historical narratives. Photo: Christa Holka https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376176710315-0ICWO584VTHN4F7V7O8O/Christa-Holka-Delfina-V%26A-30Mar12-0118.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding 2012 Installation view, Victoria and Albert Museum, London Mirror mosaics, foam, rotary motor, light projectors Mechanisms of Disorientation: Towards a Fragmented Understanding was installed in the Medieval and Renaissance Gallery of the Victoria and Albert Museum, a setting filled with statues and architectural fragments displaced from their original contexts. In the evenings, with the gallery lights turned off, only fragments of the surrounding objects and space became visible—scattered reflections from a rotating half-disco ball casting intermittent, fractured light across the room. This interplay of light and shadow heightened the installation’s critique of the museum’s role in framing and fragmenting cultural history. By illuminating portions of statues and architectural elements in fleeting, fractured glimpses, the work emphasized the partial and decontextualized way history is often presented within institutional spaces. Mechanisms of Disorientation interrogates the museum as a site of mediation, where cultural heritage is reframed, reinterpreted, and inevitably distorted—challenging viewers to reconsider the coherence and authority of historical narratives. Photo: Christa Holka https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376197712988-7EJ5G0FU8SW768MNWLGN/IMG_1949.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding Detail 2012 Mirror mosaics, foam, rotary motor, light projectors https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370739732156-4WZWLHZYH83G7WYZRNRA/Christa-Holka-Delfina-V%26A-30Mar12-0091.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding Installation view, Victoria and Albert Museum, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376174698260-RUIE1G0Y3ZEB5F5QPCT3/Christa-Holka-Delfina-V%26A-30Mar12-0092.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding Installation view, Victoria and Albert Museum, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376174943350-0LIQHYK006DR1LSVN3H7/Christa-Holka-Delfina-V%26A-30Mar12-0113.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding Installation view, Victoria and Albert Museum, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376174868597-B79RK9LLS0892R6X0JZI/Christa-Holka-Delfina-V%26A-30Mar12-0101.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding Installation view, Victoria and Albert Museum, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376174585773-0AJLXSEQHGOR2ZLXJ8XT/IMG_1956.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding Installation view, Victoria and Albert Museum, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370740393026-9FOWEH6PNT16CRO5TRM7/Christa-Holka-Delfina-V%26A-30Mar12-0110.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding Installation view, Victoria and Albert Museum, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376174766776-66NCAFET3N2KSROS7UNQ/Christa-Holka-Delfina-V%26A-30Mar12-0083.jpg Mechanisms of Disorientation / - Mechanisms of Disorientation: Towards a Fragmented Understanding Installation view, Victoria and Albert Museum, London https://babakgolkar.ca/negotiating-the-space-for-possible-coexistences-no-5 daily 0.75 2016-06-28 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535346301-HMHQEIGO79Q57VQGHLBV/BG_Negotiating+Space+No.+5_1.jpg Negotiating Space... No. 5 and No. 6 / - Negotiating the Space for Possible Coexistences No. 5 and No. 6, 2011 A variation on the Negotiating Space series, these two single sculptures were commitioned by the Victoria and Albert Museum, London for the occasion of the Jameel Prize shortlist exhibition in 2011. Persian carpet, wood, plexiglas, lacquer paint.   No. 5 Courtesy of Sheikh Zayed Collection, U.A.E. Dimensions: 50 x 50 x 100 cm   No. 6 Courtesy of Mohammed Hafiz Collection, Saudi Arabia Dimensions: 50 x 50 x 115 cm https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535346301-HMHQEIGO79Q57VQGHLBV/BG_Negotiating+Space+No.+5_1.jpg Negotiating Space... No. 5 and No. 6 / - Negotiating the Space for Possible Coexistences No. 5 and No. 6, 2011 A variation on the Negotiating Space series, these two single sculptures were commitioned by the Victoria and Albert Museum, London for the occasion of the Jameel Prize shortlist exhibition in 2011. Persian carpet, wood, plexiglas, lacquer paint.   No. 5 Courtesy of Sheikh Zayed Collection, U.A.E. Dimensions: 50 x 50 x 100 cm   No. 6 Courtesy of Mohammed Hafiz Collection, Saudi Arabia Dimensions: 50 x 50 x 115 cm https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535342836-9LIC1MAFFR21OV2275MK/BG_Negotiating+Space+No.+5_2.jpg Negotiating Space... No. 5 and No. 6 / - Negotiating the Space for Possible Coexistences No. 5 and No. 6, 2011 Persian carpet, wood, plexiglas, lacquer paint.   No. 5 Courtesy of Sheikh Zayed Collection, U.A.E. Dimensions: 50 x 50 x 100 cm   No. 6 Courtesy of Mohammed Hafiz Collection, Saudi Arabia Dimensions: 50 x 50 x 115 cm https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535350498-IV3E9TGTO25PC1K39DF5/BG_Negotiating+Space+No.+5_3.jpg Negotiating Space... No. 5 and No. 6 / - Negotiating the Space for Possible Coexistences No. 5 and No. 6, 2011 Persian carpet, wood, plexiglas, lacquer paint.   No. 5 Courtesy of Sheikh Zayed Collection, U.A.E. Dimensions: 50 x 50 x 100 cm   No. 6 Courtesy of Mohammed Hafiz Collection, Saudi Arabia Dimensions: 50 x 50 x 115 cm https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535353861-RDP8J1H3SML8S7BDGGV2/BG_Negotiating+Space+No.+5_4.jpg Negotiating Space... No. 5 and No. 6 / - Negotiating the Space for Possible Coexistences No. 5 and No. 6, 2011 Persian carpet, wood, plexiglas, lacquer paint.   No. 5 Courtesy of Sheikh Zayed Collection, U.A.E. Dimensions: 50 x 50 x 100 cm   No. 6 Courtesy of Mohammed Hafiz Collection, Saudi Arabia Dimensions: 50 x 50 x 115 cm https://babakgolkar.ca/negotiating-space-no-1 daily 0.75 2016-06-28 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536359131-00I005HNLDB5TKYB1NQ8/BG_Negotiating+Space_1_1.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536359131-00I005HNLDB5TKYB1NQ8/BG_Negotiating+Space_1_1.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536445839-K94POTEXP7MXRNUTLJ99/BG_Negotiating+Space_1_6.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536355053-KPDTKL4FMO49KLNFJ7Z4/BG_Negotiating+Space_1_3.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536306290-6GM3ZGNATXUCRQRMIAB3/BG_Negotiating+Space_1_2.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536397550-0Q6325FL7RU83LI6VYL9/BG_Negotiating+Space_1_5.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536520400-5PNQCUJ8Q6LFD37EPQCF/BG_Negotiating+Space_1_10.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536485132-GEP8QTYUY55QHXSHLJCR/BG_Negotiating+Space_1_9.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536440724-GMSN194VA9F6YS4YMZ29/BG_Negotiating+Space_1_8.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536493160-1P2L6T7PET4GQOT2IK2L/BG_Negotiating+Space_1_7.jpg Negotiating Space... No. 1 / - Negotiating the Space for Possible Coexistences No. 1, 2010   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy ARTER, Istanbul https://babakgolkar.ca/black-cube-moving-towards-the-abstract-light daily 0.75 2013-08-12 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535685930-2S2NLMCF7VKLWFFB443C/01.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 Read YOURDAYSOFFREEDOMARENUMBERED by Erdem Taşdelen https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535685930-2S2NLMCF7VKLWFFB443C/01.jpg Black Cube: Moving Towards the Abstract Light / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535684085-UAUVYV6SFNZCXRNSL42Z/02.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 Sanatorium Project, Istanbul https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535689663-W2BJITHYNAHAZTBWTMY8/03.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535690216-5AWP30GM5J3USBQI6LRR/04.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535697907-W790GXT1DAZGY7E6SGHO/05.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535699129-D6E48BF47DBV6HIQ31M5/06.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535710322-A4A3WDK4B0LBLVZD3G9P/07.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535710539-XXD3VSEXHO2Q4VGKXIF1/08.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535717961-1176020CM6AMWZLRKMIN/09.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535716887-PYLZPH2YWOFGDYG7SQ2Z/10.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535728194-L1O0V999CNCK54S00DAQ/12.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535728388-J0N9P6USM57AMQ9G9K8W/13.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535738844-49A6FMQGKK3FQ66SAZOF/14.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535738886-BLFF3QMMY154FQMXZEE8/15.jpg Black Cube: Moving Towards the Abstract Light / - Black Cube: Moving Towards the Abstract Light, 2011 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535744049-UL2RMRSACIJR43Z95401/16.jpg Black Cube: Moving Towards the Abstract Light / - YOURDAYSOFFREEDOMARENUMBERED, 2011 Dimensions: 8" (L) x 144" (L) Neon light Sanatorium Project, Istanbul   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535743396-W4YEWDJ3K5LVGXAGS7YA/17.jpg Black Cube: Moving Towards the Abstract Light / - YOURDAYSOFFREEDOMARENUMBERED, 2011 Dimensions: 8" (L) x 144" (L) Neon light Sanatorium Project, Istanbul https://babakgolkar.ca/negotiating-space-no-4 daily 0.75 2016-06-28 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535833071-BEA9W1VX0FHCZJUAU2YB/Negotiating+Space+No.+4-1.jpg Negotiating Space... No. 4 / - Negotiating the Space for Possible Coexistences No. 4 , 2012   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy Private Collection, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535833071-BEA9W1VX0FHCZJUAU2YB/Negotiating+Space+No.+4-1.jpg Negotiating Space... No. 4 / - Negotiating the Space for Possible Coexistences No. 4 , 2012   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy Private Collection, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535906627-6I2YJIMYFU4FFH5UIBAE/Negotiating+Space+No.+4-5.jpg Negotiating Space... No. 4 / - Negotiating the Space for Possible Coexistences No. 4 , 2012   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy Private Collection, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535909480-019RJR5HCNT0INYXPCPW/Negotiating+Space+No.+4-6.jpg Negotiating Space... No. 4 / - Negotiating the Space for Possible Coexistences No. 4 , 2012   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy Private Collection, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535878076-BGH618AB7H284FY1EJYM/Negotiating+Space+No.+4-3.jpg Negotiating Space... No. 4 / - Negotiating the Space for Possible Coexistences No. 4 , 2012   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy Private Collection, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535869569-555CTTA4E1HZ71WO4P6M/Negotiating+Space+No.+4-4.jpg Negotiating Space... No. 4 / - Negotiating the Space for Possible Coexistences No. 4 , 2012   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy Private Collection, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535957895-X8MYE3JC5SPIQ4MVDS38/Negotiating+Space+No.+4-7.jpg Negotiating Space... No. 4 / - Negotiating the Space for Possible Coexistences No. 4 , 2012   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy Private Collection, London https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371535950591-UHKLVH2ZV2BJ9H94WNPJ/Negotiating+Space+No.+4-8.jpg Negotiating Space... No. 4 / - Negotiating the Space for Possible Coexistences No. 4 , 2012   Materials: Persian carpet, wood, plexiglas, lacquer paint Dimensions: 95 x 155 x 116 cm Courtesy Private Collection, London https://babakgolkar.ca/black-squared daily 0.75 2013-08-12 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370502315543-Y76BUZT6F5AKPABJ01U0/golkar_blacksquared.jpg Black Squared [ed.] / - Black Squared, 2013 Dimensions: 12″ (W) x 12″ (L) x 2" (D) Lenticular print Printed by RWC, Texas Edition size of 20 + 3 APs Courtesy of Studio Babak Golkar and WAAP In Black Squared (2013) a lenticular lens has been mounted over multiple prints of black polygons. The spectator standing in front of the work experiences the illusion of a cube rotating in a two-dimensional space. If the spectator moves from left to right, they will experience a 360 degree move around the black cube. Circling the black cube recalls the ritual of circumnavigating the Ka'ba, the most minimalist architectural space in Islamic culture, located in the middle of Mecca. In the museum context the work's "flat" surface also conjures Vladimir Malevich's "Black Square".   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370502315543-Y76BUZT6F5AKPABJ01U0/golkar_blacksquared.jpg Black Squared [ed.] / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370737014286-ZXAF47QUSEFU9DOE04O9/image-asset.jpeg Black Squared [ed.] / - Black Squared https://babakgolkar.ca/imposition-no-3 daily 0.75 2016-07-07 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371538680044-WJZJ1UJYS1HYGG77REDA/4.+Imposition+%232-1_Small.jpg Imposition No. 2 / - Imposition No. 2, 2008   Acrylic on Persian carpet (framed) Dimensions: 102 cm (w) x 70 cm (h)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371538680044-WJZJ1UJYS1HYGG77REDA/4.+Imposition+%232-1_Small.jpg Imposition No. 2 / - Imposition No. 2, 2008   Acrylic on Persian carpet (framed) Dimensions: 102 cm (w) x 70 cm (h)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371538729929-D8RXQZEX1DM2FKY0U1TF/2.+Imposition+%233+%28Detail%29.jpg Imposition No. 2 / - Imposition No. 2, 2008 (detail)   Acrylic on Persian carpet Dimensions: 102 cm (w) x 70 cm (h) https://babakgolkar.ca/black-gold daily 0.75 2016-07-07 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371538785204-6JLVTSOX2KEAV4TOK3VY/15.+Imposition+%235+%28Black+Gold%29.jpg Imposition No. 5 (Black Gold) / - Imposition No. 5 (Black Gold), 2010   Acrylic on Persian carpet (framed) Dimensions: 94 cm (w) x 66 cm (h)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371538785204-6JLVTSOX2KEAV4TOK3VY/15.+Imposition+%235+%28Black+Gold%29.jpg Imposition No. 5 (Black Gold) / - Imposition No. 5 (Black Gold), 2010   Acrylic on Persian carpet (framed) Dimensions: 94 cm (w) x 66 cm (h)   https://babakgolkar.ca/blocked-square daily 0.75 2016-07-07 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370737294867-ET3R4MTPNE93Z926EBS5/Masked+Square-Small.jpg Imposition No. 6 (Blocked Square) / - Imposition No. 6 (Blocked Square), 2010   Acrylic on Persian carpet (framed) Dimensions: 107.5 cm (w) x 107.5 cm (h)   Created for Never Underestimate the Monochrome, Blocked Square (2012) is a partially painted Persian carpet. With the exception of the center, which is masked out in the shape of a square, the rest of the carpet is covered in layers of white paint. This masking creates a white border around the carpet and opens up a window to the colorful geometric and abstract patterns already existing in the carpet. The configuration of the squares intentionally recalls one of Kazimir Malevich's geometric abstract paintings, Black Square. Done in 1913, Black Square symbolically moves away from representation towards the language of modern abstraction. What Malevich called Suprematism was meant to be supreme over other forms of art prior to it, but what is also significant is his term Zero of Form, which he associated with Black Square. Zero of Form suggests both a point of departure but also a void in terms of form, empty and at the same time saturated. The experimentation with form and color, simultaneous void and fullness, emptiness and richness are the basis of my Blocked Square. This work is a continuation of the series titled Impositions, which began in 2007 by covering Persian carpets with a single color. Blocked Square highlights the often ignored carpet by an act of defacement while opening a window that invites viewers to contemplate the cultural aspects of abstract patterns.   For more information please visit: http://neverunderestimateamonochrome.org/ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370737294867-ET3R4MTPNE93Z926EBS5/Masked+Square-Small.jpg Imposition No. 6 (Blocked Square) / - Imposition No. 6 (Blocked Square), 2010   Acrylic on Persian carpet (framed) Dimensions: 107.5 cm (w) x 107.5 cm (h)   Created for Never Underestimate the Monochrome, Blocked Square (2012) is a partially painted Persian carpet. With the exception of the center, which is masked out in the shape of a square, the rest of the carpet is covered in layers of white paint. This masking creates a white border around the carpet and opens up a window to the colorful geometric and abstract patterns already existing in the carpet. The configuration of the squares intentionally recalls one of Kazimir Malevich's geometric abstract paintings, Black Square. Done in 1913, Black Square symbolically moves away from representation towards the language of modern abstraction. What Malevich called Suprematism was meant to be supreme over other forms of art prior to it, but what is also significant is his term Zero of Form, which he associated with Black Square. Zero of Form suggests both a point of departure but also a void in terms of form, empty and at the same time saturated. The experimentation with form and color, simultaneous void and fullness, emptiness and richness are the basis of my Blocked Square. This work is a continuation of the series titled Impositions, which began in 2007 by covering Persian carpets with a single color. Blocked Square highlights the often ignored carpet by an act of defacement while opening a window that invites viewers to contemplate the cultural aspects of abstract patterns.   For more information please visit: http://neverunderestimateamonochrome.org/ https://babakgolkar.ca/negotiating-space-no-2 daily 0.75 2013-06-18 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537414617-M5QU2IS780YFDNLLW9WS/DSC01000.jpg Negotiating Space... No. 2 / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537414617-M5QU2IS780YFDNLLW9WS/DSC01000.jpg Negotiating Space... No. 2 / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537417761-MHIC96UXOMFYJW9WMXUK/DSC01002.jpg Negotiating Space... No. 2 / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537425822-LUWC650WY1AG7EEMHLMI/DSC01003.jpg Negotiating Space... No. 2 / https://babakgolkar.ca/new-gallery daily 0.75 2020-06-08 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537604884-5DPXSRTPS6626ITHCK5D/2_From+God+to+Malevich.jpg From God to Malevich... / - From God to Malevich, 180 View, Left to Right, Then Reversed, To Be Viewed at an Arm’s-Length, 2009   Lenticular Print (framed) Dimensions: 40" (L) x 40" (W) (Each)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537604884-5DPXSRTPS6626ITHCK5D/2_From+God+to+Malevich.jpg From God to Malevich... / - From God to Malevich, 180 View, Left to Right, Then Reversed, To Be Viewed at an Arm’s-Length, 2009   Lenticular Print (framed) Dimensions: 40" (L) x 40" (W) (Each)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537604524-Z92L5MW135M1LSFP8NDZ/1_From+God+to+Malevich.jpg From God to Malevich... / - From God to Malevich, 180 View, Left to Right, Then Reversed, To Be Viewed at an Arm’s-Length, 2009   Lenticular Print (framed) Dimensions: 40" (L) x 40" (W) (Each)   This diptych is made of multiple prints of black polygons mounted under a set of lenticular lens. Through the use of a lenticular lens the spectator is confronted by the illusion that a “cube” is rotating on the two dimensional surface. One linear move from the left to the right, in “reality” or three-dimensional space, constitutes a 180 degrees trip around the cube in the two-dimensional space of the picture plane. This work collapses and contradicts physical and perceived spaces. Juxtaposing the two references (Ka’aba in Mecca and Malevich’s Black Square) provides a tension between the two proposals; one divorced from any external meaning and the other one the ultimate meaning. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537615957-GK9E85MIP2RQOHLCOSBM/3_From+God+to+Malevich.jpg From God to Malevich... / - From God to Malevich, 180 View, Left to Right, Then Reversed, To Be Viewed at an Arm’s-Length, 2009   Lenticular Print (framed) Dimensions: 40" (L) x 40" (W) (Each)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371537615004-VPJMAHMWBJT7R5KNJ2WD/4_From+God+to+Malevich.jpg From God to Malevich... / - From God to Malevich, 180 View, Left to Right, Then Reversed, To Be Viewed at an Arm’s-Length, 2009   Lenticular Print (framed) Dimensions: 40" (L) x 40" (W) (Each) https://babakgolkar.ca/imposition-no-2 daily 0.75 2016-07-07 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371538639127-RG5EADEX4N10K1Q4X5YQ/3.+Imposition+%233.jpg Imposition No. 3 / - Imposition No. 3, 2009   Acrylic on Persian carpet (framed) Dimensions: 70cm (w) x 104 cm (h)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371538639127-RG5EADEX4N10K1Q4X5YQ/3.+Imposition+%233.jpg Imposition No. 3 / - Imposition No. 3, 2009   Acrylic on Persian carpet (framed) Dimensions: 70cm (w) x 104 cm (h)   https://babakgolkar.ca/blue-gold daily 0.75 2016-07-07 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467072021705-2JVPHSBYWPDU10RY4NHK/Blue_Gold.jpg Imposition No. 7 (Blue Gold) / - Imposition No. 7 (Blue Gold), 2011   Acrylic on Persian carpet (framed) Dimensions: 185.5 cm (w) x 96.5 (h)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467072021705-2JVPHSBYWPDU10RY4NHK/Blue_Gold.jpg Imposition No. 7 (Blue Gold) / - Imposition No. 7 (Blue Gold), 2011   Acrylic on Persian carpet (framed) Dimensions: 185.5 cm (w) x 96.5 (h)   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467136325909-8C9RPNRIO8BZWPPPCL6J/Babak-Golkar_Blue+Gold-detail.jpg Imposition No. 7 (Blue Gold) / - Imposition No. 7 (Blue Gold), 2011 (detail)   Acrylic on Persian carpet Dimensions: 185.5 cm (w) x 96.5 (h)   https://babakgolkar.ca/time-to-let-go daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730995311336-OMCX9LOZC11UBN7CQGZV/offsite_Golkar_2.jpg TIME TO LET GO... / - TIME TO LET GO... 2014 Installation view, Vancouver Art Gallery’s commision for Offsite, Vancouver Terracotta, burlap, sand, bricks, foam, steel, vinyl Commissioned by the Vancouver Art Gallery for its Offsite location, TIME TO LET GO... examines the act of screaming as both a cathartic release and a mode of contestation, probing the tension between private vulnerability and public expression. Participants are invited to scream into terracotta vessels—objects that embody both fragility and resilience, their material history stretching across civilizations—challenging the boundaries between personal exposure and collective experience. Situated in downtown Vancouver amid luxury residences and commercial spaces, the installation reconfigures an urban environment shaped by privatization into a temporary site for communal vulnerability and reflection. In a landscape where structures once designed to support human agency now operate autonomously—often muting individual expression—TIME TO LET GO... interrogates whether spaces remain within these entrenched systems for critique, disruption, and the reclamation of genuine public voice. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730995311336-OMCX9LOZC11UBN7CQGZV/offsite_Golkar_2.jpg TIME TO LET GO... / - TIME TO LET GO... 2014 Installation view, Vancouver Art Gallery’s commision for Offsite, Vancouver Terracotta, burlap, sand, bricks, foam, steel, vinyl Commissioned by the Vancouver Art Gallery for its Offsite location, TIME TO LET GO... examines the act of screaming as both a cathartic release and a mode of contestation, probing the tension between private vulnerability and public expression. Participants are invited to scream into terracotta vessels—objects that embody both fragility and resilience, their material history stretching across civilizations—challenging the boundaries between personal exposure and collective experience. Situated in downtown Vancouver amid luxury residences and commercial spaces, the installation reconfigures an urban environment shaped by privatization into a temporary site for communal vulnerability and reflection. In a landscape where structures once designed to support human agency now operate autonomously—often muting individual expression—TIME TO LET GO... interrogates whether spaces remain within these entrenched systems for critique, disruption, and the reclamation of genuine public voice. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730995311335-BD307LZ7NK8DZ5GVC14F/offsite_Golkar_1.jpg TIME TO LET GO... / - TIME TO LET GO... Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730995312623-D11S9FGR1KCV7H0ZVWAI/offsite_Golkar_4.jpg TIME TO LET GO... / - TIME TO LET GO... Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730995312765-N9O9ROV14ZES3868HD69/offsite_Golkar_5.jpg TIME TO LET GO... / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730995313696-X9TS8RFUL9W49OJXYBUC/offsite_Golkar_7.jpg TIME TO LET GO... / - TIME TO LET GO... Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1398668065059-V7EN78JPISO5XO2XTDNJ/image%289%29.jpeg TIME TO LET GO... / - TIME TO LET GO... Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1398668072203-V1HIAD5ONZYQEE3FSA7I/image%2818%29.jpeg TIME TO LET GO... / - TIME TO LET GO... TIME TO LET GO..., 2014 Installation view at the Vancouver Art Gallery's Offsite Wheel-thrown terracotta scream-vessels, bricks, sand and cement stuffed burlap sacks, vinyl.   In this installation I was interested in screaming as a release but also a gesture or a form of contestation. We tend to let go in private, not in public, and that letting go has to do with exposing our vulnerability, which here is reflected, not only by the action of participants through engaging with the works and screaming into the vessels, but also through the use of terracotta as a fragile medium. Offsite, located at the heart of downtown Vancouver surrounded by high-end residences, hotels and commercial buildings, offers a large potential for public engagement and it is this inherent gesture of offering to public that TIME TO LET GO... takes up and expands on. The site provided an opportunity to make a work that is acting as a context, a sort of a platform for public to be expressive and experience vulnerability in a public place, and be OK. We live in a time that systemic conditions are overpowering our basic human conditions. Systems that once were consciously man made now exist firmly in constative modes. In these kinds of systemic entanglements, this project would pose, is there any room for active and reflective thinking and affective criticism? Are the systems muting us in effect?   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1399249223431-7OYBDZ7VR6V8BH3EGQ8B/904517_10152371996508205_3980114617858869118_o.jpg TIME TO LET GO... / - TIME TO LET GO... Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1398668066155-AOYKW0RH9CMPBY12XESE/image%2811%29.jpeg TIME TO LET GO... / - TIME TO LET GO... Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1399249234784-CJBQA8BJQABKZ95V8ANO/10284512_10152472344375625_5484680438494464959_o.jpg TIME TO LET GO... / - TIME TO LET GO... Detail https://static1.squarespace.com/static/51affa76e4b09617805d618c/535dfad1e4b0fcd15761c31a/5366d8eee4b05b7433d43902/1730995473716/ TIME TO LET GO... / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1399249236004-8W5LBJNHLF5EBSS14CJP/10321547_10152472344410625_6671199842673464444_o.jpg TIME TO LET GO... / - TIME TO LET GO... Installation view https://babakgolkar.ca/recollections-series daily 0.75 2016-10-11 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467153787737-RZUC8IWWEDDJC1882YMI/Space%2B%23102.jpg Recollections [series] / - Space # 102, 2004 Ink on Archival Paper (framed)   Architecture acts as a tool of consciousness and memory in Recollections (begining 2004). Recollections is an ongoing drawing project, which is drawn by memorizing architectural spaces. These techniques refer back to the psychological aspects of architecture and, in turn, become the contextual framework for the drawings. Each space is drawn from a semi-aerial view and are out of perspective, at times recalling the Rorschach ink tests. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467153787737-RZUC8IWWEDDJC1882YMI/Space%2B%23102.jpg Recollections [series] / - Space # 102, 2004 Ink on Archival Paper (framed)   Architecture acts as a tool of consciousness and memory in Recollections (begining 2004). Recollections is an ongoing drawing project, which is drawn by memorizing architectural spaces. These techniques refer back to the psychological aspects of architecture and, in turn, become the contextual framework for the drawings. Each space is drawn from a semi-aerial view and are out of perspective, at times recalling the Rorschach ink tests. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467153830044-4XTDHLE3EEPF2TTOTWM7/Space%2B%23103.jpg Recollections [series] / - Space # 103, 2004 Ink on Archival Paper (framed) Dimensions: 106.50 cm (w) x 61 cm (h) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467153868123-S8J0TEE1HSTY710HRQNG/Space%2B%23104.jpg Recollections [series] / - Space # 104, 2004 Ink on Archival Paper (framed) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467153949708-JIB5ROF1PB9L0DEVZRMU/Space%2B%23105.jpg Recollections [series] / - Space # 105, 2004 Ink on Archival Paper (framed) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467153992033-VG777I3KNL5GJPK3X9TF/Space%2B%23106.jpg Recollections [series] / - Space # 106, 2004 Ink on Archival Paper (framed) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467154038251-NJUNT3B08CLEE9C4AM2G/Space%2B%23107.jpg Recollections [series] / - Space #107, 2004 Ink on Archival Paper (framed) Dimensions: 91.5 cm (w) x 56 cm (h) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467154070436-TX81ONQ5KJ63QEM75QMQ/Space%2B%23108.jpg Recollections [series] / - Space #108, 2004 Ink on Archival Paper (framed) Dimensions: 51 cm (w) x 66 cm (h) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467154281839-97G7YNJTF4B4D6OB7GHH/Space%2B%23109.jpg Recollections [series] / - Space #109, 2004 Ink on Archival Paper (framed) https://babakgolkar.ca/pongpong daily 0.75 2013-06-23 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009208956-PZVWU2C013N33MPSPQFT/5.+PONG+PONG.jpg PongPong / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009208956-PZVWU2C013N33MPSPQFT/5.+PONG+PONG.jpg PongPong / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009214678-IBFERJ357TSJWYFZ7BRC/DSC_0858.jpg PongPong / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009211148-TFQJ68JUP4MC13QK78VN/6.+PONG+PONG+%28Detail%29.jpg PongPong / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009211076-86DIVH1DM47DRRO3VVF1/7.+PONG+PONG+%28MINI%29.jpg PongPong / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009347070-NF4IEIXVUJ90SFJOBPKB/DSC_0930.jpg PongPong / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009346729-4SPE3J0UJDO90ESSNXOU/DSC_0932.jpg PongPong / https://babakgolkar.ca/with-eyes-closed-i-ii daily 0.75 2013-06-23 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009465041-JTL5GCWTM3IR10MWS21Z/1.+With+Eyes+Closed+I+%28Detail%29.jpg With Eyes Closed I, II / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009465041-JTL5GCWTM3IR10MWS21Z/1.+With+Eyes+Closed+I+%28Detail%29.jpg With Eyes Closed I, II / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009465094-1IN74S5TD8VNQHZNO886/2.+With+Eyes+Closed+I.jpg With Eyes Closed I, II / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009467007-REFODIV5V55B1OGBG9XV/3.+With+Eyes+Closed+II+%28Detail%29.jpg With Eyes Closed I, II / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372009467713-U76RB1V9GLXQU3SI6TCH/4.+With+Eyes+Closed+II.jpg With Eyes Closed I, II / https://babakgolkar.ca/dialectic-of-failure daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382233786718-WN4IBHLLG1YOK4IKB0KP/DSC03215.JPG Dialectic of Failure - Dialectic of Failure 2013 Installation view at West Vancouver Museum, West Vancouver Dialectic of Failure engages clay and the craft process to navigate the unstable terrain between opposing forces—historicism and modernity, art and craft, reason and mysticism. At the core of the work are terracotta scream pots—vessels that suggest both anatomical and functional forms—inviting viewers to release pent-up emotions into objects designed to absorb and mute sound. This act of controlled containment stands in tension with another process in the series, where clay is hurled forcefully against a wall, embodying a raw, physical rupture from suppression. By positioning clay—a material historically relegated to craft—within a space of critical reflection, Dialectic of Failure resists hierarchical distinctions between art and craft, revealing craft as an active, conceptual process rather than a static tradition. The work becomes a cathartic meditation on frustration, distress, and the limitations of reason, challenging the idea that material and gesture are neutral. In doing so, Dialectic of Failure reframes craft as a site of resistance and negotiation, an arena for confronting the contradictions of contemporary existence. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382233786718-WN4IBHLLG1YOK4IKB0KP/DSC03215.JPG Dialectic of Failure - Dialectic of Failure 2013 Installation view at West Vancouver Museum, West Vancouver Dialectic of Failure engages clay and the craft process to navigate the unstable terrain between opposing forces—historicism and modernity, art and craft, reason and mysticism. At the core of the work are terracotta scream pots—vessels that suggest both anatomical and functional forms—inviting viewers to release pent-up emotions into objects designed to absorb and mute sound. This act of controlled containment stands in tension with another process in the series, where clay is hurled forcefully against a wall, embodying a raw, physical rupture from suppression. By positioning clay—a material historically relegated to craft—within a space of critical reflection, Dialectic of Failure resists hierarchical distinctions between art and craft, revealing craft as an active, conceptual process rather than a static tradition. The work becomes a cathartic meditation on frustration, distress, and the limitations of reason, challenging the idea that material and gesture are neutral. In doing so, Dialectic of Failure reframes craft as a site of resistance and negotiation, an arena for confronting the contradictions of contemporary existence. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235706491-NGXKYSQ5LEXX8NPP4Y2B/DSC03325.JPG Dialectic of Failure - Dialectic of Failure Detail 2013 Screampots https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382233941270-VUSR5402HMRGC7BG0DND/DSC03321.JPG Dialectic of Failure - Dialectic of Failure Detail 2013 Screampots https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235721870-YX9STH5MWSW443KT8DYT/DSC03326.JPG Dialectic of Failure - Dialectic of Failure Detail 2013 Screampots https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382233892739-MV6SUYVZP02RRZG2QUZD/DSC03324.JPG Dialectic of Failure - Dialectic of Failure Detail 2013 Screampots https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382234860633-NLRPIAOLLD38TBX9A0PR/DSC03220.JPG Dialectic of Failure - Screampot #23 2013 Terracotta, wood, canvas https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382234720640-BB1Y2A7ZI4FUBXJLKLKX/DSC03240.JPG Dialectic of Failure - Screampot #23 2013 Terracotta, wood, canvas https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235778727-IC8LN60R8EK1CHWM4QMQ/DSC03227.JPG Dialectic of Failure - Screampot #6 2013 Terracotta, wood, canvas https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235082963-0HSPCNRB0WEJFHBCETEL/DSC03264.JPG Dialectic of Failure - Screampot #5 2013 Terracotta, wood, canvas https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235067010-FI2RX2FFQFUVZALXMV9F/DSC03263.JPG Dialectic of Failure - Screampot #5 2013 Terracotta, wood, canvas https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235097988-DPH8GTNU9UBO6SKOX7TO/DSC03265.JPG Dialectic of Failure - Screampot #5 2013 Terracotta, wood, canvas https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235033435-5DJW2DYB2G0RI09BZYEA/DSC03259.JPG Dialectic of Failure - Dialectic of Failure Installation view 2013 Thrown (left) Terracotta Screampot #5 (right Terracotta, wood, canvas https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235049433-M3OA3LVPABG1M5K03HG3/DSC03261.JPG Dialectic of Failure - Thrown Detail 2013 Terracotta https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382234983558-8YXA3JF4SRVIW6Q207HM/DSC03252.JPG Dialectic of Failure - Dialectic of Failure Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382234999634-BQ21Z4KUL0SPERSBSZNG/DSC03254.JPG Dialectic of Failure - Throwing 2013 Throwing (an invisible rock) (left) Light-jet print on metallic paper mounted on aluminium. 17" x 14" Throwing (an invisible pot) (right) Light-jet print on metallic paper mounted on aluminium. 14" x 17" https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382236883225-N56BLD47SH6PKUSHSS5I/Final+1%284X5%29Offcenter.jpg Dialectic of Failure - Throwing (an invisible rock) Detail 2013 Light-jet print on metallic paper mounted on aluminium. 5” x 4” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382236883742-E2UW1KT8KF9PVR6VYFKN/Final+2%284X5%29Offcenter.jpg Dialectic of Failure - Throwing (an invisible pot) Detail 2013 Light-jet print on metallic paper mounted on aluminium. 4” x 5” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382234967806-504IAPUX8561S0D9FH6U/DSC03250.JPG Dialectic of Failure - Dialectic of Failure Installation view 2013 Thrown (left) Terracotta, studio drywall Throwing (right) HD Video 3m 46s https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235594056-PLHMAEOYJL5CZFFZZWHU/DSC03277.JPG Dialectic of Failure - Thrown 2013 Terracotta clay thrown against the studio wall Terracotta, drywall https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235602334-ZS6CE2APNYF2QVVLQVPM/DSC03279.JPG Dialectic of Failure - Thrown Detail Studio drywall https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235631345-ZBAVF2GF36U3S5AVCPA4/DSC03280.JPG Dialectic of Failure - Thrown Detail Terracotta https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1382235682215-PADZL1EOA82XB8IL6APB/DSC03286.JPG Dialectic of Failure - Thrown Detail Terracotta https://babakgolkar.ca/textreviews daily 0.75 2013-08-12 https://babakgolkar.ca/of-labour-of-dirt daily 0.75 2025-02-01 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065476951-5ZBNNLME0F3YM6HM9TCG/3.exhibitionentrance.JPG Of Labour, Of Dirt - Of Labour, Of Dirt Exhibition view, 2014 Coutesey of Sazmanab - Ab/Anbar Centre for Contemporary Art, Tehran Of Labor, Of Dirt extended an inquiry into the tension between systemic structures and individual agency, confronting the compromises and emotional strain embedded in contemporary existence. In a world where man-made systems suppress fundamental human impulses, the exhibition probed the muted dynamics of this negotiation—offering no resolution, only a space to reckon with its contradictions. At the core of the exhibition were fifty wheel-thrown terracotta scream pots and three large-scale scream vessels, where clay functioned as both a material and a metaphor for labor—at once a means of catharsis and an index of constraint. The scream pots invited visitors into the precarious balance between relief and resistance, where the act of screaming into an object blurred the distinction between subject and artifact. This final cycle of a three-part series marked the first display of these works in Tehran, concluding an exploration that began with Dialectic of Failure and continued with TIME TO LET GO…—a meditation on the paradox of labor, endurance, and systemic control. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065476951-5ZBNNLME0F3YM6HM9TCG/3.exhibitionentrance.JPG Of Labour, Of Dirt - Of Labour, Of Dirt Exhibition view, 2014 Coutesey of Sazmanab - Ab/Anbar Centre for Contemporary Art, Tehran Of Labor, Of Dirt extended an inquiry into the tension between systemic structures and individual agency, confronting the compromises and emotional strain embedded in contemporary existence. In a world where man-made systems suppress fundamental human impulses, the exhibition probed the muted dynamics of this negotiation—offering no resolution, only a space to reckon with its contradictions. At the core of the exhibition were fifty wheel-thrown terracotta scream pots and three large-scale scream vessels, where clay functioned as both a material and a metaphor for labor—at once a means of catharsis and an index of constraint. The scream pots invited visitors into the precarious balance between relief and resistance, where the act of screaming into an object blurred the distinction between subject and artifact. This final cycle of a three-part series marked the first display of these works in Tehran, concluding an exploration that began with Dialectic of Failure and continued with TIME TO LET GO…—a meditation on the paradox of labor, endurance, and systemic control. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065555544-QMUNMF0GJ1879U4OA4WV/8.screampots_5.JPG Of Labour, Of Dirt - Screampots, 2014 Terracotta Installation view, Sazmanab - Ab/Anbar Centre for Contemporary Art, Tehran https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065496313-YUR8DIRP7QUJS2TNSORK/4.Screampots_1.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065518304-FBVOL6BK4V18HIG726CN/5.screampots_2.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065560839-0UJVJV8SHB0R8L31MMWS/9.screampots_6.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065532776-YHV59Q36W341DO5K2D5D/6.screampots_3.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065583450-OO4KJIHZ45V0T1L2EQJM/10.screampots_7.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065585754-JQMSPNGYFEAFVUVDGPFL/11.screamvessels_1.JPG Of Labour, Of Dirt - Screamvessels, 2014 Large terracotta vessels https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065606341-4T4WARK1DUDGPHJ9DZGO/13.screamvessels_3.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065619233-0BT3RIPDTQ4ZCSJ81J9O/14.thrown_1.JPG Of Labour, Of Dirt - Throw(n), 2014 Video projection and audience participation Installation view, Sazmanab - Ab/Anbar Centre for Contemporary Art, Tehran https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065627276-IAYYQBNCXU1IK4991RVV/15.thrown_2.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065643661-Q6TOISVZ4HS41XIMI7LK/16.thrown_3.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065653251-C170R14SP9DG7AZ70S4S/17.thrown_4.JPG Of Labour, Of Dirt - Throw(n), 2014 Audience participation https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065675160-0P0I7TRR4BVONR47U0SD/18.thrown_aftermath.JPG Of Labour, Of Dirt https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065680934-8K60PPIZFS5QHP8681Q4/19.wedged.JPG Of Labour, Of Dirt - Wedge(d) 2014 Wedged clay on canvas propped the stretched canvas https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065485969-YA2XVRXZH8MMD96YSBZI/1.oflabourofdirt_1.JPG Of Labour, Of Dirt - Of Labour, Of Dirt (کار گِل) HD Video projection 5' 47” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065848682-9FLROKPSP0HVETCGRYYE/image-asset.jpeg Of Labour, Of Dirt - Of Labour, Of Dirt (کار گِل) HD Video 5' 47" https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1415065683849-N1KAS9BMN8ISWPRCU9XG/20.book.JPG Of Labour, Of Dirt - Artist book Dialectic of Failure TIME TO LET GO... Of Labour, Of Dirt 2012-2014 The canvased hard cover is used for wedging clay https://babakgolkar.ca/the-return-project daily 0.75 2025-03-07 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013639711-4H8410QLJIG7M6PG2IWN/BG_The+Return+Project_2014_Installation+view_13.jpg The Return Project - The Return Project Installation view   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013639711-4H8410QLJIG7M6PG2IWN/BG_The+Return+Project_2014_Installation+view_13.jpg The Return Project - The Return Project Installation view   https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412015249232-L44GQ72758EDRYI1ZT25/%28re%29Arrangement.jpg The Return Project - Arranged/Rearranged, 2014 Purchased object: Glazed ceramic vase and fake flowers Returned object: Hand-made terracotta vase with less fake flowers Medium: Digital print on archival photo paper laminated and mounted Dimensions of the photograph: 60” (w) x 41” (h) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412015282798-Z6BT6QGR02POUMWK90IC/Deranged.jpg The Return Project - Deranged, 2014 Medium: Glazed ceramic vase, fake flowers, concrete, international selection of coins Dimensions of the object: 20" (L) x 9.5" (W) x 6" (H) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013641867-NNAX9MV6ZYKGM65N4OWN/BG_The+Return+Project_2014_Installation+view_15.jpg The Return Project - Arranged/Rearranged (with Deranged), 2014 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013633211-6FMWVJWSJOE96ADSEE1W/BG_The+Return+Project_2014_Installation+view_6.jpg The Return Project - But A Storm Is Blowing... (with History), 2014 160 x 101.6 cm (63 x 40 ") each print https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412015371169-ML0M6B09OFQR0YKXG5IJ/cherub_before_fs.jpg The Return Project - But A Storm Is Blowing... (Before) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412015369331-8YO63PISGF4871O9GWUB/cherub_after_fs.jpg The Return Project - But A Storm Is Blowing... (After) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013646706-RIS5I9IFLUNQHWCZ2AMC/BG_The+Return+Project_2014_Installation+view_29.jpg The Return Project Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013648261-O55UGF1SA2WBDH9YGRTX/BG_The+Return+Project_2014_Installation+view_30.jpg The Return Project - History, 2014 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013631151-Y7V6YTO8SIE4K5VUULGE/BG_The+Return+Project_2014_Installation+view_5.jpg The Return Project - Spring (with Mission Accomplished), 2014 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412015341630-ULCCR4DNM9AMFGSUXDCR/red+candle_before+after.jpg The Return Project - Spring, 2014 Purchased object: Candle Returned object: Shorter candle Medium: Inkjet on watercolour paper Dimensions: 37.5" (W) x 22.5" (H) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013643473-95T9Q6959CPP56YFN17Y/BG_The+Return+Project_2014_Installation+view_22.jpg The Return Project - Mission Accomplished, 2014 wax, cotton, wood https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013675748-EG8KJDVV85PYUO2JHHDG/BG_The+Return+Project_2014_Opening_76.jpg The Return Project - Backyard Wars, 2014 Laminated C-print on metallic paper 20” (w) x 16” (l) each https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1428893833079-BAAORD55TR8KCS0638S8/Plane1.jpg The Return Project - Backyard Wars (Before) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1428893852002-2FA0JBD8XUNVH6ZU93AE/Plane2.jpg The Return Project - Backyard Wars (After) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013633193-S63ZA45G4K811I7T63D4/BG_The+Return+Project_2014_Installation+view_7.jpg The Return Project - Backyard Wars (A Monument to the Cold War), 2014 Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412015466646-RMJJ4LAO12AE77PJIUQ9/Monument+to+the+Cold+War_3.jpg The Return Project - A Monument to the Cold War, 2014 Metal, acrylic paint, wood, plexiglass, mirror 9” (w) x 10” (l) x 11” (h) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013636377-NJM7AUCJWUY5XKVXTSEO/BG_The+Return+Project_2014_Installation+view_8.jpg The Return Project - Fair Trade (with Assisted Reconstruction), 2014 Transmounted c-print mounted on dibond, cardboard, plastic straw, plastic water bottle, watercolour https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1428893076225-WWOJP9I1E6HRFW3GV028/opium+before_s.jpg The Return Project - Fair Trade (Before) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1428893116650-GRDMQ11DDJDX0MEVQQ22/opium+after_s.jpg The Return Project - Fair Trade (After) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412015585847-5LAROX0CDA08XMTZYS0A/Flower-Straw+copy.jpg The Return Project - Assisted Reconstruction 2014 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013665070-XCOQ5V26OFLFOVRNR6YI/BG_The+Return+Project_2014_Opening_8.jpg The Return Project https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013631136-1H5GTADWVJUJT8GCI0J0/BG_The+Return+Project_2014_Installation+view_4.jpg The Return Project - In a Nutshell / Nut in a Shell 2014 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013664380-98CK9LQ3TAG1TBR25JP5/BG_The+Return+Project_2014_Opening_4.jpg The Return Project - In a Nutshell 2014 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013642723-6IHKN69KM8T4FBOUJREF/BG_The+Return+Project_2014_Installation+view_20.jpg The Return Project https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412013643055-NGRJOG56EA5KQGEZ9NT0/BG_The+Return+Project_2014_Installation+view_21.jpg The Return Project - Nut in a Shell 2014 https://babakgolkar.ca/loos-opium-den daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1426194921206-9VLJ7RFRU7ROZ1LWQF3V/2015_0210_VillaStuck_5259.jpg Loos Opium Den / Loos Opium Den 2015 Installation view, Museum Villa Stuck, Munich Repurposed shipping container, rugs, terracotta, ephemera, wood, metal, shelving, books, ambient lighting. Loos Opium Den, commissioned for Common Grounds at Museum Villa Stuck, Munich, transforms a shipping container into a reimagined opium den, where cultural memory functions as both refuge and illusion. The title merges Adolf Loos’s rejection of ornamentation with Marx’s notion of religion as the “opiate of the people,” questioning how heritage is preserved, stripped, or commodified. A bookshelf, constructed using the floor plans of Villa Müller as a blueprint, references Loos’s manifesto Ornament and Crime and his imperialist view of unadorned forms as markers of progress. This austerity contrasts with custom terracotta pots shaped as poppy buds—the botanical source of opium—symbols of ornamental craft and histories of trade, addiction, and colonial expansion. This space, both inviting and unsettling, is caught between preservation and erasure, authenticity and artifice. Within the shifting “common grounds” of global exchange, Loos Opium Den asks: does cultural preservation resist disappearance, or does it simply repackage the past as a consumable relic, numbing us to what has already been lost? https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1426194921206-9VLJ7RFRU7ROZ1LWQF3V/2015_0210_VillaStuck_5259.jpg Loos Opium Den / Loos Opium Den 2015 Installation view, Museum Villa Stuck, Munich Repurposed shipping container, rugs, terracotta, ephemera, wood, metal, shelving, books, ambient lighting. Loos Opium Den, commissioned for Common Grounds at Museum Villa Stuck, Munich, transforms a shipping container into a reimagined opium den, where cultural memory functions as both refuge and illusion. The title merges Adolf Loos’s rejection of ornamentation with Marx’s notion of religion as the “opiate of the people,” questioning how heritage is preserved, stripped, or commodified. A bookshelf, constructed using the floor plans of Villa Müller as a blueprint, references Loos’s manifesto Ornament and Crime and his imperialist view of unadorned forms as markers of progress. This austerity contrasts with custom terracotta pots shaped as poppy buds—the botanical source of opium—symbols of ornamental craft and histories of trade, addiction, and colonial expansion. This space, both inviting and unsettling, is caught between preservation and erasure, authenticity and artifice. Within the shifting “common grounds” of global exchange, Loos Opium Den asks: does cultural preservation resist disappearance, or does it simply repackage the past as a consumable relic, numbing us to what has already been lost? https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1426194913878-GZQ5OTB31XQ6F0FTTD0O/2015_0210_VillaStuck_5235.jpg Loos Opium Den / - Loss Opium Den 2015 Installation view, Museum Villa Stuck, Munich https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1426194913886-XESTFP97GSK0QGA4L1FR/2015_0210_VillaStuck_5232.jpg Loos Opium Den / - Loos Opium Den 2015 Installation view, Museum Villa Stuck, Munich https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1426194920421-UV3KOJ3RJDJRQD6GUVII/2015_0210_VillaStuck_5254.jpg Loos Opium Den / - Loos Opium Den Detail 2015 Installation view, Museum Villa Stuck, Munich https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1426194917169-RDPPYC1TKN4M2MQBV51X/2015_0210_VillaStuck_5236.jpg Loos Opium Den / - Loos Opium Den Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1426194919570-MFPJ3L9IN8TZBDFQR8I1/2015_0210_VillaStuck_5255.jpg Loos Opium Den / - Loos Opium Den Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1426194916881-17FWX12JEUZGXKAMD4S7/2015_0210_VillaStuck_5238.jpg Loos Opium Den / - Loos Opium Den Detail https://babakgolkar.ca/imposition-no-4 daily 0.75 2016-07-07 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467850876275-WN1B333U61Y2L2YD7OZL/Untitled_2.jpg Imposition No. 4 / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467850876275-WN1B333U61Y2L2YD7OZL/Untitled_2.jpg Imposition No. 4 / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1467850909775-175FVV1YTNTNVPT1GVPF/Imposition_No4.jpg Imposition No. 4 / - Imposition No. 4 (Need to Communicate), 2009   Acrylic on Persian carpet (framed) Dimensions: 61 cm (w) x 61 cm (h) https://babakgolkar.ca/timecapsules- daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1542592260321-J454A89QC3ARBF5GHREN/Screen+Shot+2018-11-18+at+5.50.38+PM.png Time Capsules (2016-2116) Time Capsules (2016-2116) Installation view Courtesy of Sabrina Amrani Gallery, Madrid Time Capsules (2016–2116) interrogates the intersections of value, temporality, and the artist’s role within systems of cultural and economic influence. Employing variety of materials such as taxidermy, ceramics, fiberglas and 3D-printed ABS, the work positions time as a central element, extending its scope across two centuries of historical, material and geopolitical resonance. Each piece contains a concealed object, intended to remain unopened until 2116, challenging conventional notions of ownership, authorship, and market value while exploring the limits of preservation and legacy. By embedding deferred access into its structure, the project resists immediate consumption, shifting emphasis from the artwork as a fixed commodity to an evolving proposition. The interplay of concealment and exposure disrupts assumptions about permanence and access, foregrounding the uncertainties that shape cultural memory. Any premature opening renders the work devoid of both commercial and cultural value, reinforcing its dependence on time as an active medium. Time Capsules (2016–2116) operates as both artifact and future relic, examining the forces that drive societies to collect, conserve, and attribute worth to objects over time. In doing so, the work critically engages with the mechanisms that dictate artistic legacy, prompting reflection on the shifting dynamics between creation, value, and endurance. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1542592260321-J454A89QC3ARBF5GHREN/Screen+Shot+2018-11-18+at+5.50.38+PM.png Time Capsules (2016-2116) Time Capsules (2016-2116) Installation view Courtesy of Sabrina Amrani Gallery, Madrid Time Capsules (2016–2116) interrogates the intersections of value, temporality, and the artist’s role within systems of cultural and economic influence. Employing variety of materials such as taxidermy, ceramics, fiberglas and 3D-printed ABS, the work positions time as a central element, extending its scope across two centuries of historical, material and geopolitical resonance. Each piece contains a concealed object, intended to remain unopened until 2116, challenging conventional notions of ownership, authorship, and market value while exploring the limits of preservation and legacy. By embedding deferred access into its structure, the project resists immediate consumption, shifting emphasis from the artwork as a fixed commodity to an evolving proposition. The interplay of concealment and exposure disrupts assumptions about permanence and access, foregrounding the uncertainties that shape cultural memory. Any premature opening renders the work devoid of both commercial and cultural value, reinforcing its dependence on time as an active medium. Time Capsules (2016–2116) operates as both artifact and future relic, examining the forces that drive societies to collect, conserve, and attribute worth to objects over time. In doing so, the work critically engages with the mechanisms that dictate artistic legacy, prompting reflection on the shifting dynamics between creation, value, and endurance. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1542594224030-A4KPOAKQNSQMPJWYB42K/TheFox%2CThe+Nut+and+The+Banker%27s+Hand-side.jpg Time Capsules (2016-2116) The Fox, The Nut and The Banker’s Hand 2016-2116 Taxidermy fox, concealed object, silver platter 14” x 41” x 18” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1476298167967-VQA5EDRJ9CX8BRG1QAUU/TheFox%2CThe+Nut+and+The+Banker%27s+Hand-closeup.jpg Time Capsules (2016-2116) The Fox, The Nut and The Banker’s Hand 2016-2116 Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1476297942623-D9R2HD46U0UWHOEBNELF/NoEndToPainting.jpg Time Capsules (2016-2116) No End To Painting 2016-2116 Stainless steel, one-way mirror, concealed object 41” x 41” x 4” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1476297951158-P7YBTYHPPC86SELPLW4P/NothingIsWorth%3ADyingKillingFor-side.jpg Time Capsules (2016-2116) NOTHING IS WORTH DYING/KILLING FOR 2016-2116 Primed hydrostone, stainless steel, concealed object 24” x 7” x 15” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1476298371936-DM7WFLUPJKZ4NUQFRSJ5/TheWeightoftheWorld.jpg Time Capsules (2016-2116) The Weight of the World 2016-2116 Primed fiberglass, concealed object 16” x 78” x 16” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1476297653591-V9BH8T6YE9WPUFOMS30Z/LongLiveMaxYasgur.jpg Time Capsules (2016-2116) Long Live Max Yasgur 2016-2116 Acoustic foam, terracotta, cedar, plaster, concealed object 15” x 58” x 15” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1476297773272-I8RGRQKWRHH5HMF3DMB0/Neo-Futurism.jpg Time Capsules (2016-2116) Neo-Futurism 2016-2116 ABS, concealed object 8” x 30” x 8” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1476297325843-FT8HSSU82M38QDWOOED9/InheritedRevolutions-side.jpg Time Capsules (2016-2116) Inherited Revolutions 2016-2116 Rubber, wood, suitcase, concealed object 18” x 35” x 20” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1476297645684-FIUMM1GA68HWEWY0KY2O/L%27OrigineDuMonde-2.jpg Time Capsules (2016-2116) L’Origine du Monde 2016-2116 Primed hydrostone, concealed object 23” x 14” x 41” https://babakgolkar.ca/projects daily 1.0 2025-02-17 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018936405-VVUWQG9CO88M8UZAV3TH/cropImg+%2810%29.jpeg projects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551916359230-T84DVNYP6O4KPK0YDWU2/Curchill_2.jpg projects “If You Are Going Through Hell, Keep Going.” Churchill. (panel I) (2017–2019) Inkjet on vinyl 12’ x 8’ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730787701606-TEAZWK0HD2VX6MXQGEQZ/Curchill_4.jpg projects “If You Are Going Through Hell, Keep Going.” Churchill. (panel II) (2017–2019) Inkjet on vinyl 12’ x 8’ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/84c2fcc0-7da9-47cf-9f1e-f9c872246651/1.+If+you+are+going+through+hell%2C+keep+going%2522+Churchill.jpg projects “If You Are Going Through Hell, Keep Going.” Churchill. (panels II, III) (2017–2019) Inkjet on vinyl 12’ x 8’ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/5d9e4d99-85c7-4a1d-8440-273e271356c3/Curchill_7.jpg projects “If You Are Going Through Hell, Keep Going.” Churchill. (panel II) (2017–2019) Inkjet on vinyl 12’ x 8’ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/d383279f-78df-4c28-8881-4e1e373abf5c/Curchill_9.jpg projects “If You Are Going Through Hell, Keep Going.” Churchill. (panel III) (2017–2019) Inkjet on vinyl 12’ x 8’ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1e3aecd4-d556-4c11-9022-0b5fa30c1484/Curchill_11.jpg projects “If You Are Going Through Hell, Keep Going.” Churchill. (panel III) (2017–2019) Inkjet on vinyl 12’ x 8’ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/756d7e8d-8ff7-49dc-b22f-38ab7ce732cf/large+%2820%29.jpg projects - Make it stand out December 19, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/e81a0c1c-375c-4c2d-9b38-47093ebf3db6/large+%2817%29.jpg projects - Make it stand out December 16, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/e9b1469d-3209-4dbc-8952-6f2ed47bfbc7/large+%2813%29.jpg projects - Make it stand out December 12, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/bd8baebf-1efb-451e-9684-05bd0992811a/large+%2832%29.jpg projects - Make it stand out December 31, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/3efb0806-2078-462a-b44a-433a2723ac70/large+%2816%29.jpg projects - Make it stand out December 15, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/05b105f5-1bea-4243-be15-68f9d3fe2d90/large+%287%29.jpg projects - Make it stand out December 6, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/234dd53e-9ba9-483e-bd87-c9e674e547d4/large+%2824%29.jpg projects - Make it stand out December 23, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/ef14ce3c-c9d8-4406-bd05-3e7a8a570cc7/normalized.jpg projects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/e0ed9dcf-0d01-4eed-bff5-decbc45b58fc/large+%283%29.jpg projects - Make it stand out December 2, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/b1b5caa5-ce48-4f67-a050-cde5795ddbcc/large+%288%29.jpg projects - Make it stand out December 7, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1f4a898a-5af1-42a1-8ece-bb53436f5cb4/large+%2811%29.jpg projects - Make it stand out December 10, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/0f05dccb-989a-4a22-b24c-9efc525d4620/large+%2827%29.jpg projects - Make it stand out December 26, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/3dfed685-f09b-4013-a5b7-09be39290880/large+%289%29.jpg projects - Make it stand out December 8, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/52387156-c699-4ffc-9b2a-50149c924c71/large+%2810%29.jpg projects - Make it stand out December 9, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/c8b81d69-d5cf-4ea1-89c7-d2153007b0ea/large+%286%29.jpg projects - Make it stand out December 5, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1d969645-dcf2-4f03-be73-fdfe018ccd84/large+%2826%29.jpg projects - Make it stand out December 25, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/cc878fdf-ff74-471f-86ff-814399fbd6df/large+%2821%29.jpg projects - Make it stand out December 20, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/30cf7c86-6810-45b0-b47a-9f02cc74c0b9/large+%2819%29.jpg projects - Make it stand out December 18, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/d2d2a428-a801-4bbc-a6e6-c25a5f98ebcc/large+%2831%29.jpg projects - Make it stand out December 30, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/27f04eb8-a95d-4cfa-bd63-350921a00ae1/large+%2830%29.jpg projects - Make it stand out December 29, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/368fa118-32b3-47e0-8466-3f796c4d502e/large+%2822%29.jpg projects - Make it stand out December 21, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/6e1a1612-6a10-4ec5-b691-4ab1de5fce2a/large+%2814%29.jpg projects - Make it stand out December 13, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/b8996067-4b87-4196-8d30-6a4557577d34/large+%282%29.jpg projects December 1, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/bd12cde0-8c87-4d3d-8f7d-960628330cef/large+%284%29.jpg projects December 3, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/e15183aa-21ec-4940-94f4-25581a5caf09/large+%2823%29.jpg projects - Make it stand out December 22, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/f1f71138-7bad-4796-9a74-63f23d454a12/large+%2825%29.jpg projects - Make it stand out December 24, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/a13dcc2a-7aae-42b3-80a7-9707bc15248e/large+%2829%29.jpg projects - Make it stand out December 28, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/31626dd9-fd09-4724-ba4c-bd9281c3fcf9/large+%2815%29.jpg projects - Make it stand out December 14, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/d7359d1b-3a0a-4e22-8dd1-bc76d9cfd32e/large+%2812%29.jpg projects - Make it stand out December 11, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/379989d6-a9ba-4f15-8300-4256b598e5a9/large+%285%29.jpg projects - Make it stand out December 4, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/d2188609-6866-408a-a9c9-18bb11a6f6fe/large+%2828%29.jpg projects - Make it stand out December 27, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/2f55a057-82a5-4510-af24-124563ead88b/large+%2818%29.jpg projects - Make it stand out December 17, 2017 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/b7d5e3e2-6050-4afe-9297-ecc527838422/Elephant+in+the+Dark.jpeg projects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/071178e3-64dd-40e7-ac67-306c489b8d1e/BG_Elephant_4.jpeg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/e43f2864-dc89-4bfe-9298-f09a9342abb1/large+%2834%29.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/4605bc33-b068-4b2e-9c6e-13646678d7e9/BG_Elephant_3.jpeg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738886773723-LORCZMQ1EKOQZ5C4N2DG/Elephant+in+the+Dark.jpeg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/99ad4bad-837f-4271-a2d3-ed83409a51b3/DSC_2053-1657983625.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/9a384604-e8bf-4a9d-b417-54aac6801157/large+%2833%29.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738690840832-XIQP49CTNVF8VSVESGTE/Sellers.jpeg projects - Make it stand out Sellers, 2017 Lead oil on canvas, mp3 audio (28 seconds) 136” x 84” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/6efb5f90-e546-4f58-a4d1-ba85262eff91/10Sellers.jpg projects - Make it stand out Sellers, 2017 Left and right view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/9de7665a-22a4-4c76-a5ba-536b1dae0281/cropImg+%283%29.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595691143-AS6S7N3LAH03KUZ71NUS/2.+Golkar_A+Parallax+View_Wide_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595701194-0S9RTXQTY3FADWC2OQXX/3.+Golkar_A+Parallax+View_Wide_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595701541-LJBKOTNWN2K4A0CPWWYO/4.+Golkar_A+Parallax+View_Wide_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595710728-09TEKJZ62GX3KV79H1BS/5.+Golkar_A+Parallax+View_Wide_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595711477-JD68IO5JB79545PX3XAY/6.+Golkar_A+Parallax+View_Detail_Vertical_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595720359-Y8ACCGFI5DGVSP9XLQHS/7.+Golkar_A+Parallax+View_Wide_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595720397-G924QIRGL1DIB5D1VXMF/8.+Golkar_A+Parallax+View_Perspective_Vertical_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595732822-FWE3EVRL1MAGWOFUXENF/9.+Golkar_A+Parallax+View_Perspective_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595732195-SBFNMRN57BBEEB0ZVKKB/10.+Golkar_A+Parallax+View_Perspective_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595741681-22OCU8I94MIXYQPR4CAK/11.+Golkar_A+Parallax+View_Detail_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595741685-LDDOL3TF399L5JWXPNRX/12.+Golkar_A+Parallax+View_Detail_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595750977-B2I0W2Z62EVJH0P380Q5/13.+Golkar_A+Parallax+View_Wide_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595751945-9JDQY1OTU40HHD0CSCLW/14.+Golkar_A+Parallax+View_Perspective_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738595757174-4SSKZ9CMJUX7UYK887ZG/15.+Golkar_A+Parallax+View_Perspective_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738784872750-3FQHKO2M03XCPCBS121Q/1.%2BGolkar_A%2BParallax%2BView_Perspective_Horizontal_HighRes_StudioBabakGolkar.jpg projects - Make it stand out A Parallax View (2023) Permenant Public artwork commisioned by Bosa Development for Bosa Waterfront. Cold rolled steel dipped in chrome Variable dimensions https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1646853701284-6JJTAG5HH2S31QKAQ4O3/Teach+Your+Kids.png projects TEACH YOUR KIDS... 2021 Oil on canvas Installation view at Sabrina Amrani Gallery, Madrid https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596235255-TMPVNXDKF9J2YWM13SL5/03.jpg projects TEACH YOUR KIDS HOW TO BE UNHOLLY 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596235978-U54UUDI9JAYRMS75WGWP/05.jpg projects TEACH YOUR KIDS HOW TO HIT OTHER KIDS 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596241492-00RPCHKOGX71CKCDSSFQ/07.jpg projects TEACH YOUR KIDS HOW TO BE SELFISH 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596242745-H3OJVMX7NY548YWPNRF9/01.jpg projects TEACH YOUR KIDS NOT TO LISTEN 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596249705-I1EDHFLW1PTN1IRWANE2/02.jpg projects TEACH YOUR KIDS HOW TO BITE 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596250083-4Q93PU2RHVJXQSXFKF0V/04.jpg projects TEACH YOUR KIDS HOW TO STEAL 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596256814-MDVNYLHEQIH62CS055CO/06.jpg projects TEACH YOUR KIDS HOW TO MINE BITCOIN 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596257210-K1NMPZK9WVURR3ZVMNC7/08.jpg projects TEACH YOUR KIDS HOW TO FUCK IN METAVERSE 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596263390-R1ZLGRJ7WV2S8N1R7Y1D/09.jpg projects TEACH YOUR KIDS HOW TO CARE LESS 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596264220-MTHIMSKKPTNTTSIWEE1X/10.jpg projects TEACH YOUR KIDS HOW TO CROSS TALK 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596269528-HM7ZAKPK2KDDP9FMKGOO/11.jpg projects TEACH YOUR KIDS HOW TO YELL 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738596271086-ARYI4NE1QZ8XSG2SV638/12.jpg projects TEACH YOUR KIDS NOT TO ANSWER 2021 Oil on canvas 16” x 24” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1542685190187-5B8478KNZLTUCMXX2RBV/RoadSide_Regina_BabakGolkar_finals_04.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1542685191799-8DJ0M456E4V9Z4WKVWT0/RoadSide_Regina_BabakGolkar_finals_05.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1542685192978-COGS215V8ODAVIJXLZZ7/RoadSide_Regina_BabakGolkar_finals_06.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370496183747-I2XPP06LOZA0HZ7XLMVX/BG_Negotiating+Space+%237-8.JPG projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371538589907-IV0QJVL1L5RBCZAZBTQH/1.+Imposition+%232%28Installation_Dertail%29.jpg projects - Imposition No. 1, 2008 (detail)   Acrylic on Persian carpet Dimensions: 92 cm (w) x 137 cm (h) https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730998561404-7TXW55XXYXDDV4ZVOBTP/The+Return+Project+Opening+Page.jpg projects - The Return Project Ongoing since 2014 The Return Project critically explores contemporary art practices by reconfiguring consumer objects within their original commercial contexts. Positioned within a commercial system, the project challenges the structures that assign value to art, questioning the frameworks that define both the art object and the artist. The process involves purchasing an object, reconstructing it in the studio, and then returning it—transformed and authenticated as an artwork—to the store, where it re-enters circulation at the retailer’s price. This cycle is documented through a diptych of photographs and accompanied by a residual object formed from leftover fragments, each piece engaging with contemporary issues like geopolitics, economics, and cultural limitations. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1376279840307-YPX81J1HK68MPE7I2AYX/DSC04435.JPG projects - Le Corbusier Derivatives Le Corbusier Derivatives is a sculptural series inspired by Le Corbusier’s unrealized designs for the Olympic Stadium in Baghdad, later distorted by Saddam Hussein in 1981. Intended as a celebration of sports and Modernist ideals, the stadium was repurposed by Uday Hussein in the late 1980s as a site for training—and, disturbingly, for the torture of athletes who failed in international competitions. These sculptures echo the aesthetic of modern furniture but incorporate materials and scales evocative of Medieval torture devices, aligning with the human body in unsettling ways. Through this fusion, the series critiques the manipulation of Modernist ideals for authoritarian purposes, exposing the potential for utopian visions to be co-opted into symbols of oppression. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1370740781561-FY3U75LRRJEQCWT52D3D/5.Babak+Golkar_GFSAU_5.jpg projects - Grounds For Standing and Understanding 2012 Installation view, Charles H. Scott Gallery, Vancouver Persian carpet, wood, lacquer, drywall, interior paint Various dimensions Grounds for Standing and Understanding reimagines the Persian carpet—a symbol of cultural memory and domestic intimacy—as a blueprint for monumental architectural forms, bridging the ornamental with the ideological weight of urban modernism. By extruding the carpet’s patterns into structures inspired by Brutalism, Constructivism, and Art Deco, the installation critiques the utopian promises of these architectural styles, now laden with institutional power, particularly within rapid urban developments in Asia and the Middle East. Within the gallery, sections of these forms are magnified, creating walls that compel the viewer to navigate space through a heightened awareness of scale. This physical negotiation reveals architecture’s role in shaping experience, directing movement, and enforcing order. The installation ultimately interrogates the relationship between cultural memory and architectural ambition, positioning built environments as both literal and symbolic foundations that inscribe ideologies of power and spatial hierarchy. Here, the carpet serves not merely as a static artifact but as a conceptual site that challenges our understanding of space, structure, and cultural projection. Photo: Scott Massey https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1371536099863-9I6JYLQ8KM3TE78SCKXA/BG_Negotiating+Space_3_1.jpg projects - Negotiating the Space, No. 3 2010 40” x 58” x 46” Persian carpet, wood, plexiglas, lacquer paint Courtesy Sammlung Sanziany and Palais Rasumofsky, Vienna Negotiating the Space series examines the intersections and tensions between early Western Modernist architecture and Middle Eastern nomadic craft. By juxtaposing abstracted architectural forms with the intricate patterns of a traditional rug, the work creates a layered dialogue on cultural identity and historical continuity. The elevated structures, evoking both urban modernity and industrial abstraction, contrast sharply with the handcrafted rug, a symbol of tradition and rootedness. This installation reflects on how cultural forms influence and are influenced by each other, inviting a critical examination of the dynamics of modernization, globalization, and the preservation of heritage in an increasingly homogenized world. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730925884912-IDYSE2JQCBGE6QQR12XP/image-asset.png projects a fair day’s wage for a fair day’s work 2016 Installation view Courtesy of Edel Assanti, London An iteration of The Return Project (ongoing since 2012), the artworks in a fair day’s wage for a fair day’s work examine the extraction of surplus value and the erasure of labor in both the art market and capitalism. By subtly altering mass-produced commodities—replacing a cubic zirconia with a diamond, swapping a standard nail for 24K gold—and returning them unnoticed into circulation, the project exposes the contingency of value and the dependence of worth on systems of authentication rather than material transformation. These interventions engage Marxist critiques of labor and exchange, revealing how value is assigned, withheld, or rendered invisible. By embedding artistic labor within consumer circulation, The Return Project questions: Who profits from surplus labor? How does the market obscure production? If value is constructed, what does that mean for the worker, the artist and the commodity itself? https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738885432125-9BA2DYYU4VWROA4UV914/1.+Golkar_A+Parallax+View_Perspective_Horizontal_HighRes_StudioBabakGolkar.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738886057294-FFWIX8MV0CC6NYXIOGW2/25TeachYourKids.png projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738886101615-O2JQEM9I5I0AQ8FD7Z3S/21Rehearsal.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738886212674-40Q8L2CX5YC4O80LTGLJ/Sellers.jpeg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738886412437-KZ1UNJ1RFHP8QTWS9YQ8/normalized.jpg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738886516880-EK0F5NIQ9JZYB53NJINF/1.+cropImg+%2810%29.jpeg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738886773723-LORCZMQ1EKOQZ5C4N2DG/Elephant+in+the+Dark.jpeg projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738886984621-J0P29UAE5U8K2GR8FREX/Screenshot+2025-02-06+at+4.09.13%E2%80%AFPM.png projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1738887805377-GVZ27VM1BB4B4AI6LR8F/Screenshot+2025-02-06+at+4.23.00%E2%80%AFPM.png projects https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1542680727684-UZCB2DE8L3V2Y8J1ZZTH/N_Vancouver-38.jpg projects - The Exchange Project 2016 Installation view, Polygon Gallery, North Vancouver The Exchange Project interrogates how an art object’s status, value, and meaning are constructed through artistic declaration, institutional framing, and economic systems. Operating through a barter system, the project engages approximately one hundred contemporary artists in critical dialogue, resulting in an exchange of artworks. These exchanges will culminate in a new body of work: around one hundred diptych photographs of the traded pieces, forming an appropriated archive of artistic labor and value. Drawing from André Malraux’s Le Musée Imaginaire (1947)—which proposed that art history shifted from the museum to “that which can be photographed”—the project uses Malraux’s diptych format to explore how curatorial and artistic production function as acts of assembly and contextualization. By adopting the roles of artist, curator, and mediator, the project critically engages the structures, codes, and circulation patterns that shape meaning and value within the art system. Through its alternative economic model, The Exchange Project reframes art as both product and exchange, highlighting the infrastructural conditions of art-making while questioning how value is assigned, transferred, and reproduced within contemporary artistic practice. https://babakgolkar.ca/all-the-blind-men daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1552348408189-NDKP56R5Q0EQAAH5SP64/All+The+Blind+Men_BW.jpg All The Blind Men All The Blind Men, 2019 Servais Family Collection, Brussels in partnership with the Contemporary Art Gallery, Vancouver. All the Blind Men investigates the fractured nature of truth and the ideological mechanisms that shape perception, history and collective memory. Painting functions as both a material practice and a conceptual apparatus, interrogating how images mediate, replicate,and distort historical narratives. Fragmentation, deconstruction and destabilized forms challenge the presumed stability of representation, exposing the ways in which truth is selectively constructed and imposed. In an era where media, technology and institutional power dictate public consciousness, All the Blind Men critiques the mechanisms by which narratives are shaped and sustained. By unsettling the authority of images and the systems that produce them, the work reveals the instability of perception itself. A space of rupture emerges, where the act of looking becomes a confrontation with the structures that frame understanding. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1552348408189-NDKP56R5Q0EQAAH5SP64/All+The+Blind+Men_BW.jpg All The Blind Men All The Blind Men, 2019 Servais Family Collection, Brussels in partnership with the Contemporary Art Gallery, Vancouver. All the Blind Men investigates the fractured nature of truth and the ideological mechanisms that shape perception, history and collective memory. Painting functions as both a material practice and a conceptual apparatus, interrogating how images mediate, replicate,and distort historical narratives. Fragmentation, deconstruction and destabilized forms challenge the presumed stability of representation, exposing the ways in which truth is selectively constructed and imposed. In an era where media, technology and institutional power dictate public consciousness, All the Blind Men critiques the mechanisms by which narratives are shaped and sustained. By unsettling the authority of images and the systems that produce them, the work reveals the instability of perception itself. A space of rupture emerges, where the act of looking becomes a confrontation with the structures that frame understanding. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551916360242-J1QS86YETW4SSBDER5OC/Curchill_1.jpg All The Blind Men “If You Are Going Through Hell, Keep Going.” Churchill, 2017-2019 Inkjet on vinyl 120” x 84” If You Are Going Through Hell, Keep Going. Churchill functions as both a conceptual and physical threshold, positioning viewers within the interplay of propaganda and persona construction. Installed as an entry piece, this triptych—printed on vinyl strips reminiscent of an industrial entryway—depicts Winston Churchill, headfirst and face up, sliding down a waterslide in the south of France. A seemingly lighthearted moment, captured by a film crew, becomes a curated image of resilience and approachability, signaling the construction of myth even in leisure. Requiring viewers to pass through Churchill’s carefully framed persona, the installation underscores the serialized nature of propaganda, exposing the mechanisms by which historical figures are mythologized. Danish subtitles reading, “he was the only man who was able to save the free world,” reinforce the gap between reality and representation, while the title, referencing a widely misattributed Churchill quote, further amplifies the instability of historical narratives. Both threshold and thesis, If You Are Going Through Hell, Keep Going. Churchill frames an inquiry into the enduring power of visual mythology, revealing how political influence is shaped, circulated and consumed. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551916359230-T84DVNYP6O4KPK0YDWU2/Curchill_2.jpg All The Blind Men “If You Are Going Through Hell, Keep Going.” Churchill, 2017-2019 (panel I) Inkjet on vinyl 120” x 84” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551916363905-3WZITRXM2DDQ4Z5C8Y5E/Curchill_4.jpg All The Blind Men “If You Are Going Through Hell, Keep Going.” Churchill, 2017-2019 (panel II) Inkjet on vinyl 120” x 84” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551920329247-IR06T8PM2DPD0L222KF5/Curchill_12.jpg All The Blind Men “If You Are Going Through Hell, Keep Going.” Churchill, 2017-2019 (panels II and III) Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551916375500-CCY2HP7380LPXB84SNBS/Curchill_10.jpg All The Blind Men “If You Are Going Through Hell, Keep Going.” Churchill, 2017-2019 Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551916376758-VW99RTC6DFYKKX5XY41F/Curchill_11.jpg All The Blind Men “If You Are Going Through Hell, Keep Going.” Churchill, 2017-2019 (panel III) Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551921452760-5QIVB8ZIEHITMRUX7PS4/Mann+Ist+Man_5.jpg All The Blind Men Mann Ist Mann, 2017-2019 Lead oil paint on canvas 84” x 124” Mann Ist Mann examines the performative nature of power and the fluidity of identity within political frameworks. The title—meaning “a man is a man”—echoes Bertolt Brecht’s notion of individuals as interchangeable within ideological systems, particularly in military or authoritarian structures. This idea resonates through the painting’s depiction of Tsar Nicholas II in a moment of staged playfulness, a carefully curated image that underscores the theatricality embedded in political authority. The Tsar’s direct gaze, breaking the “fourth wall,” alludes to Brechtian strategies of exposing constructed narratives—techniques later weaponized by figures like Vladislav Surkov, a former theatre director who shaped contemporary Russian political myth-making. By juxtaposing historical and modern power structures, Mann Ist Mann critiques the manipulation of public perception, revealing how authority is performed, reinforced and ultimately interchangeable within ideological systems. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551921580172-842R2N990PFRR6DPTMNT/Mann+Ist+Man_7.jpg All The Blind Men Mann Ist Mann Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551916677157-ZB5Z2JB7A3VH7Y6TNE46/Mann+Ist+Man_2.jpg All The Blind Men - Mann Ist Mann (with Rehearsal) 2019 Five channel HD video | 6m 30s Choreography: Emmalena Fredriksson Music Composition: François Houle Cello: Marina Hasselberg Dance: Matthew Wyllie and Aiden Cass Rehearsal is a five-channel video installation examining identity, repetition and the conditioning forces that shape selfhood within systems of power. Featuring two contemporary dancers, choreographed in collaboration with Vancouver-based choreographer Emmalena Fredriksson, the work unfolds through five iterative variations of a musical piece originally composed for Bertolt Brecht’s 1926 play Mann ist Mann. The score was reimagined through collaboration with composer François Houle and performed by cellist Marina Hasselberg, expanding its sonic and rhythmic dimensions. Structured yet mechanical, the dancers’ movements embody a gradual dissolution of self, mirroring the tension between autonomy and control. The multi-channel format amplifies this cyclical fragmentation, reinforcing the instability of identity under imposed structures. By framing the dance as an ongoing rehearsal, the work exposes the mechanics of conditioning, revealing how repetition, discipline and performance reinforce ideological influence. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551920912451-WNPPB2FFQDC87YP3FGA0/Screen+Shot+2019-03-07+at+1.24.53+AM.png All The Blind Men - REHEARSAL ACT V (still from video) 2019 5 channel HD video 9:16 6’ 30” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551917479830-65XGW37UU7DIFK70T2P6/Sellers_3.jpg All The Blind Men - Sellers 2017 -Lead oil on canvas 136” x 84” -MP3 sound 20s Sellers examines the convergence of propaganda, marketing, and psychological influence through an anamorphic portrait of Joseph Goebbels and an accompanying sound piece. The work highlights ideological parallels between Goebbels, the Third Reich’s Minister of Propaganda, and Edward Bernays, the pioneer of American public relations and nephew of Sigmund Freud, revealing their shared strategies of mass persuasion. The sound component features a 20-second audio clip of Thea Rasche, a 1920s German pilot and media sensation whose public image—shaped by Bernays—promoted consumer ideals like self-expression through dress. This entanglement of propaganda and consumer culture is further emphasized by Goebbels’s distorted portrait, shifting with the viewer’s position to underscore the subjectivity inherent in ideological influence. Referencing Bernays’ Propaganda (1928)—a foundational text in modern advertising—the installation critiques how psychological tactics of persuasion continue to shape public consciousness, exposing the mechanics of influence embedded in media and political discourse. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551917568890-ZWR2DGCYO2HQU5QLBZV2/Amusement+Park_1.jpg All The Blind Men - Amusement Park, 1926 2017-2019 Lead-base oil paint on canvas, custom-made wooden frame 40” x 46” x 4” Amusement Park, 1926 interrogates the disturbing intersection of nostalgia, violence, and racial spectacle in American history. At first glance, the work presents a delicate, washed-out Impressionist rendering of an amusement park, framed in a classicized colonial style. Upon closer inspection, hooded KKK figures occupy the Ferris wheel, while embers smolder on the ground—a haunting allusion to racial terror. Based on a 1926 photograph by Clinton Rolfe documenting a KKK amusement park in Colorado, the piece juxtaposes aesthetic innocence with systemic brutality, exposing how visual nostalgia not only veils historical atrocities but also reinforces their place within cultural memory. The custom frame, referencing French colonial design and subtly incorporating miniature nooses, heightens this tension, embedding symbols of beauty and brutality within a single cultural artifact. By merging idyllic imagery with latent violence, Amusement Park, 1926 critiques how histories of racial terror are aestheticized, sanitized, and repackaged within collective consciousness. The work compels reflection on how the past lingers within the present, revealing the uneasy ways in which systemic violence is not just remembered, but continually reimagined and reinscribed in visual culture. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551917579508-24SM6XYNWP7FJBE1JKFW/Amusement+Park_4.jpg All The Blind Men - Amusement Park, 1926 Detail https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1551917583057-L7CRIUL124QWPIYSQQWF/Amusement+Park_6.jpg All The Blind Men - Amusement Park, 1924 Detail https://babakgolkar.ca/the-longer-you-can-look-back-the-farther-you-can-look-forward daily 0.75 2025-02-05 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018939840-CSQTP62ZWRKHTKA25H43/cropImg.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / The Longer You Can Look Back, The Farther You Can Look Forward 2020 Courtesy of Sabrina Amrani Gallery, Madrid The Longer You Can Look Back, The Farther You Can Look Forward critically explores the influence of image culture and propaganda, examining how visual manipulation shapes public perception and political narratives across history. Through references to Brechtian theatre, Goebbels' propaganda, and the performative gestures of figures like Churchill and Mao, the project reveals how visual tropes perpetuate political influence. Techniques of anamorphosis, associative imagery, and disorienting spatial interventions challenge viewers to question their role within the machinery of image production and consumption. By transforming images into sites of cultural memory and ideological reflection, The Longer You Can Look Back, The Farther You Can Look Forward invites a necessary skepticism toward the narratives visual media enforces. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018939840-CSQTP62ZWRKHTKA25H43/cropImg.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / The Longer You Can Look Back, The Farther You Can Look Forward 2020 Courtesy of Sabrina Amrani Gallery, Madrid The Longer You Can Look Back, The Farther You Can Look Forward critically explores the influence of image culture and propaganda, examining how visual manipulation shapes public perception and political narratives across history. Through references to Brechtian theatre, Goebbels' propaganda, and the performative gestures of figures like Churchill and Mao, the project reveals how visual tropes perpetuate political influence. Techniques of anamorphosis, associative imagery, and disorienting spatial interventions challenge viewers to question their role within the machinery of image production and consumption. By transforming images into sites of cultural memory and ideological reflection, The Longer You Can Look Back, The Farther You Can Look Forward invites a necessary skepticism toward the narratives visual media enforces. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018936405-VVUWQG9CO88M8UZAV3TH/cropImg+%2810%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / If You Are Going Through Hell, Keep Going. Churchill. (panel I) (2017–2019) Inkjet on vinyl 12’ x 8’ If You Are Going Through Hell, Keep Going. (Churchill) functions as both a conceptual and physical gateway, positioning viewers to confront the interplay of propaganda and persona construction from the outset. Installed as the entry piece, this triptych vinyl print—derived from documentary stills of Winston Churchill sliding headfirst down a waterslide in the south of France—transforms a playful moment into a curated image of resilience and approachability, signaling the construction of personal myth even in leisure. By requiring viewers to pass through Churchill’s carefully crafted persona, the installation underscores the serialized nature of propaganda and sets the exhibition’s thematic tone. If You Are Going Through Hell, Keep Going. (Churchill) thus serves as both threshold and thesis, framing an exploration of political influence and the enduring power of visual mythology within the public sphere. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730787701606-TEAZWK0HD2VX6MXQGEQZ/Curchill_4.jpg The Longer You Can Look Back, The Farther You Can Look Forward / If You Are Going Through Hell, Keep Going. Churchill. (panel II) (2017–2019) Inkjet on vinyl 12’ x 8’ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730787717015-51BTPWYU4VG9EMF0V0VF/Curchill_9.jpg The Longer You Can Look Back, The Farther You Can Look Forward / If You Are Going Through Hell, Keep Going. Churchill. (panel III) (2017–2019) Inkjet on vinyl 12’ x 8’ https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018927840-VAIWSQOCYUIALDY7AYW7/cropImg+%286%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / Amusement Park, 1926 2020 Lead oil on canvas, hand-carved wooden frame 40” x 46” x 4” Amusement Park 1926 probes the unsettling intersection of nostalgia, violence, and betrayed innocence. At first glance, the work appears as a delicate, washed-out Impressionist rendering of a fairground, evoking a sentimental past. Closer inspection, however, reveals hooded KKK figures occupying the merry-go-round, disrupting any notion of innocence. Based on a 1926 photograph by Clinton Rolfe of a KKK amusement park in Colorado, the piece exposes disturbing layers of historical spectacle within American visual culture. The ornate frame, echoing French colonial design and subtly incorporating nooses, heightens this tension, implicating symbols of beauty and brutality within cultural artifacts. Together, the painting and frame serve as a haunting reminder of the latent violence embedded in historical imagery, urging viewers to consider how memory and aesthetics contribute to the perpetuation of social trauma. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018925788-8SLVPIH406LO2RR3LNCF/cropImg+%284%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / Drifters 2018 Lead-based oil on canvas 51” x 90” Drifters exists as both a large oil painting and a monumental wallpaper of repeated images, examining the performative nature of political spectacle. Focusing on Chairman Mao’s 1966 propaganda swim in the Yangtze River—captured by the BBC to project strength amid criticism—the work reflects on how visual media amplifies and perpetuates constructed personas, a tactic echoed by figures like Vladimir Putin. The repetition of Mao’s image as wallpaper underscores propaganda’s reach, interrogating how powerful figures shape public perception through image proliferation. Drifters compels viewers to confront the role of iconography in shaping political narratives, revealing how symbols drift across contexts to sustain ideological influence over time. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018938125-UGJP1GAOTZFQV7D0N45R/cropImg+%2812%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018921833-NWO1DNNF6B2VZF3O4UUZ/cropImg+%281%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / Sellers 2017 Lead oil on canvas, mp3 audio Painting: 136” x 84” Audio: 28 seconds Selers explores the convergence of propaganda, marketing, and psychological influence through an installation featuring an anamorphic portrait of Joseph Goebbels and an accompanying sound piece. This work highlights ideological parallels between Goebbels, the Third Reich’s Minister of Propaganda, and Edward Bernays, the American public relations pioneer and nephew of Sigmund Freud, underscoring their impact on mass persuasion. The audio component features Thea Rasche, a 1920s German pilot and media sensation whose fame, cultivated by Bernays, promoted consumer ideals like “self-expression” through dress. This interplay between propaganda and consumer culture is further complicated by Goebbels’s distorted portrait, shifting with the viewer’s position to emphasize the subjectivity inherent in ideological influence. Sellers thus reflects on how modern consumer culture is deeply rooted in propaganda’s psychological tactics, prompting critical awareness of the persuasive power embedded in media. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018926001-BH1GORJDODN4SQY15CL0/cropImg+%283%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / REHEARSAL 2019 Five channel video installation 6’ 30” Rehearsal is a five-channel video installation that captures a five-act rehearsal featuring two contemporary dancers, choreographed in collaboration with Vancouver-based choreographer Emmalena Fredriksson. This work interprets a musical piece Bertolt Brecht composed for his early play, Mann ist Mann, performed in Berlin between 1924 and 1926. Brecht’s play humorously explores themes of war, human fungibility, and the erosion of identity through brainwashing and propaganda. In Rehearsal, the dancers’ movements echo these themes, embodying the repetitive, mechanistic loss of self inherent in Brecht’s critique. The multi-channel setup amplifies the fragmented and cyclical nature of the performance, mirroring the dissolution of individuality within systems of power. Through this reinterpretation, Rehearsal becomes a meditation on identity under duress, exposing the fragile boundaries between autonomy and control in the face of ideological influence. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730790173025-GE4SBBBUFC36MI72HG9C/normalized.jpg The Longer You Can Look Back, The Farther You Can Look Forward / Descry! How Far Back Can You See? 2019 Silver infused porcelain 20” x 8” x 8” Descry! How Far Back Can You See? challenges conventional self-perception by replacing a mirror’s focus on self-image with a wide-angle view of surroundings, captured in silver-infused porcelain cylinders. This reversed perspective shifts attention from the viewer to the space and history behind them, displacing the self within the curved surface. By transforming reflection into a device for perceiving the past, Descry! prompts viewers to reconsider their position in time and space, inviting a layered exploration of memory and perception as it unfolds in real-time. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018928315-BIGA4W6WIJJ1QSIG7ZY5/cropImg+%285%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / Descry! How Far Back Can You See? Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018930161-LV34UJCBBMK7JO3L9JFI/cropImg+%287%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / Descry! How Far Back Can You See? Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018931815-52RGTBJ890CF44EV8ES8/cropImg+%289%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / Mann Ist Mann 2017-2019 Lead oil on canvas 84” x 124” In Mann Ist Mann, the title—meaning “a man is a man”—reflects Brecht’s concept of individuals as interchangeable within ideological systems, particularly in military or authoritarian contexts. This idea resonates through the painting’s depiction of Tsar Nicholas II and Prince Nicholas of Greece in a staged moment of playfulness, paralleled with the modern political dynamics of Vladimir Putin and his advisor Vladislav Surkov. Surkov, a former theatre director influenced by Brechtian techniques, has used Epic Theatre’s strategies to craft a controlled, self-aware narrative around Putin’s authority. The Tsar’s direct gaze breaks the “fourth wall,” echoing Brecht’s intent to reveal the constructed nature of power—a nod to Surkov’s manipulation of public perception through performance and irony. By juxtaposing figures across history, Mann Ist Mann critiques the performative aspects of authority, suggesting that power relies as much on image and manipulation as on influence. The work transforms a playful historical moment into a reflection on how leaders are crafted as symbols within systems that ultimately render them replaceable, engaging with Brecht’s enduring ideas on the theatricality of power. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018922034-BTDGM6WGUCYB7GEZHXLY/cropImg+%282%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / The Longer You Can Look Back, The Farther You Can Look Forward 2020 Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018931609-YJ0WRGDCN5R3GTHLLJ86/cropImg+%288%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / The Longer You Can Look Back, The Farther You Can Look Forward 2020 Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1580018936264-PFLV6UJKPVCQP8BV281S/cropImg+%2811%29.jpeg The Longer You Can Look Back, The Farther You Can Look Forward / The Longer You Can Look Back, The Farther You Can Look Forward 2020 Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1730788929868-9NFGQ2ALBC4Y4PEHAGIK/Sellers.jpg The Longer You Can Look Back, The Farther You Can Look Forward / The Man Who Sold The World 2017 136 × 84” Lead oil on canvas The Man Who Sold The World (2017) presents Stanley Kubric’s Dr. Strangelove played by Peter Sellers, his figure monumental and charged with tension, caught in the moment before his infamous involuntary Nazi salute. Painted in lead oil on canvas at a dramatic scale, the painting amplifies the neurosis of men in power, where control and collapse are inseparable. Strangelove’s expression—part exhilaration, part struggle for restraint—is frozen in a state of contradiction: a mind devoted to cold logic, yet overtaken by unconscious ideological impulse. Detached from the cinematic frame, the painting repositions this figure in the realm of contemporary politics, where the performance of authority has become indistinguishable from le théâtre de l’absurde. In its weight, surface and material presence, the work extends beyond Kubrick’s satire, transforming Strangelove from a Cold War relic into a specter of power’s enduring pathology. What emerges is not just a historical reference, but a meditation on how the theater of political control continues to play out—its absurdities, contradictions and self-destructive instincts laid bare. https://babakgolkar.ca/new-gallery-2 daily 0.75 2025-11-10 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1762800933912-SKAFV9V9FRA6Z3WQ8W73/Esker_BabakGolkar_01.jpg When Sound Becomes Unsound https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1762800933912-SKAFV9V9FRA6Z3WQ8W73/Esker_BabakGolkar_01.jpg When Sound Becomes Unsound https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1762800933121-2KISZXBV4AG1G8F7N79F/Esker_BabakGolkar_02.jpg When Sound Becomes Unsound https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1762800950336-ARLKSHCWXDQLVT65QVXH/Esker_BabakGolkar_06.jpg When Sound Becomes Unsound 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https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1762802813960-V4NOQ4B0PIOV642WMGHZ/Esker-Spring2025-photoby_elysebouvier-5850.jpg When Sound Becomes Unsound https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1762802946678-M6CK611PG2BTW2ZMLJP6/Esker-Spring2025-photoby_elysebouvier-6042.jpg When Sound Becomes Unsound https://babakgolkar.ca/new-page daily 0.75 2020-05-13 https://babakgolkar.ca/the-nationalaehttp/wwwthenationalae/arts-culture/art/babak-golkar-explores-shifting-meanings-through-picture-frames daily 0.75 2014-05-09 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372051171419-H8R4KO2QKMTDK9WC267X/Event+Images_Parergon_10Nov2011__DSC0753.jpg The National.ae / https://babakgolkar.ca/http/wwwarchiloverscom/s2695/grounds-for-standing-and-understanding-exhibition-by-babak-golkararchilovers daily 0.75 2014-05-09 https://babakgolkar.ca/http/wwwstraightcom/arts/babak-golkars-persian-carpets-rise-3-d-charles-h-scott-gallery daily 0.75 2013-06-24 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1372051933607-SGWXR4YPC6FX72KWQPNX/11.+Grounds+For+Standing+and+Understanding.JPG Georgia Straight / Babak Golkar builds a dialogue between East and West, modern and premodern, in his Persian carpet–based installation Grounds for Standing and Understanding. https://babakgolkar.ca/usurping-the-big-other-understanding-symbolic-space daily 0.75 2013-08-12 https://babakgolkar.ca/on-the-thin-ice-of-order-catalogue-essay daily 0.75 2017-04-12 https://babakgolkar.ca/the-logic-of-parerga daily 0.75 2017-04-12 https://babakgolkar.ca/artforum daily 0.75 2013-08-12 https://babakgolkar.ca/practice daily 0.75 2024-10-15 https://babakgolkar.ca/georgia-straight daily 0.75 2014-05-09 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1385664255940-I1HUZCDVLKR87WY7303F/Golkar-1.jpg Georgia Straight / Babak Golkar's Scream Pots asks us to both act and reflect on the pressures of contemporary life and the ways in which we do or do not deal with them. Photo: SCOTT MASSEY https://babakgolkar.ca/vancouver-is-awesome daily 0.75 2013-11-28 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1385665170517-I821PL1BESAEA1F7LHS6/1_From+God+to+Malevich.jpg VANCOUVER IS AWESOME / From God to Malevich, 180 View, Left to Right, Then Reversed, To Be Viewed at an Arm’s-Length, 2009 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1385665003200-YYEZWV6MUV3Q551ODMDM/5.Babak+Golkar_GFSAU_5.jpg VANCOUVER IS AWESOME / Grounds for Standing and Understanding, 2012 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1385351603713-0O9UKJ368VY6F54T5FG0/via-2013.gif VANCOUVER IS AWESOME / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1385664811403-FA4808OQQ27UQ20SS691/image.jpeg VANCOUVER IS AWESOME / DO THE DOWNWARD DOG!, 2013 Repurposed Enzo Mari's Sedia 1 chair https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1385665252168-UJLMV0YJCM9WSTMMIBSR/Golkar-3.jpg VANCOUVER IS AWESOME / Dialectic of Failure, 2013 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1385665500853-PV2URBETVXZTMFF6J1H5/14.jpg VANCOUVER IS AWESOME / Black Cube: Moving Towards The Abstract Light, 2011 https://babakgolkar.ca/savahttp/savagestatesblogspotca/20131101archivehtmlge-states daily 0.75 2014-05-09 https://babakgolkar.ca/the-vancouver-sun daily 0.75 2014-05-09 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1399600034485-J8Z2URPJNYR30XY7OE35/image-asset.jpeg The Vancouver Sun / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1399600071273-5SYGIHKUT6WSBL7M3LJO/image-asset.jpeg The Vancouver Sun / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1399600100082-CXJIO9C4IACFSPG45A3U/image-asset.jpeg The Vancouver Sun / https://babakgolkar.ca/new-page-1 daily 0.75 2014-05-18 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1400440647152-JH8KHQEJG92UMDQ7E2JW/image-asset.jpeg Satellite Gallery / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1400440720367-ZQQ8QX41BOBX0NK2CAGL/image-asset.jpeg Satellite Gallery / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1400440790651-CXCAQM5TZ01GGSVW10G2/image-asset.jpeg Satellite Gallery / https://babakgolkar.ca/the-free-play-of-signs-of-flux-and-deconstruction daily 0.75 2017-04-12 https://babakgolkar.ca/the-nationalae daily 0.75 2014-10-09 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412831655071-36XT6VSGAG5C0BPS9W73/image-asset.jpeg The National.ae / But A Storm Is Blowing (Left), History (Right), 2014. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412831953712-B05UBYLZMNQ518GUO1L5/BG_The+Return+Project_2014_Installation+view_24.jpg The National.ae / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412831953728-UR0YCDP8FGPBGDHZ4QJQ/BG_The+Return+Project_2014_Installation+view_25.jpg The National.ae / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1412831816058-5K91OUJAGPABJH2EUN1S/image-asset.jpeg The National.ae / Fair Trade (Top), Assisted Reconstruction (Bottom), 2014 https://babakgolkar.ca/artforum-1 daily 0.75 2015-05-01 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1430439009315-F49O7B6N6RDLSOYGZL9E/image-asset.jpeg ArtForum / https://babakgolkar.ca/financial-times- daily 0.75 2016-11-17 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1479342129783-U85KWY9170EZQN0O6OE6/http-%252F%252Fcom.ft.imagepublish.prod-us.s3.amazonaws.jpeg Financial Times / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1479342292571-BNQ050VDTSIKIWPIHVW9/image-asset.png Financial Times / https://babakgolkar.ca/untitled-hagia-sophia-certificate-of-authenticity daily 0.75 2017-03-07 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1488930462468-KQTTBWWT80IEYN4OSY2Q/1.+BG_Untitled_%28Hagia+Sophia%29_1.jpg Untitled (Hagia Sophia) Certificate of Authenticity https://babakgolkar.ca/new-page-3 daily 0.75 2019-05-14 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1557864565567-5YEG9EURW1JH25T5WGPU/Screen+Shot+2019-05-14+at+1.08.57+PM.png Photomonitor / - Yarn (after) "From EIC with Love" © Babak Golkar Image courtesy the artist and Edel Assanti https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1557864566133-DZ51AK43YGECOT1RZ4UA/Screen+Shot+2019-05-14+at+1.08.48+PM.png Photomonitor / - Yarn (after) "From EIC with Love" © Babak Golkar Image courtesy the artist and Edel Assanti https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1557864569586-YY8KD47GS1KWH1KC43UU/Screen+Shot+2019-05-14+at+1.08.39+PM.png Photomonitor / - Hessian Glove for a Ten Year Old Boy © Babak Golkar Image courtesy the artist and Edel Assanti https://babakgolkar.ca/new-page-2 daily 0.75 2019-05-14 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1557863101614-YO9VEWO1KG5A7RP21W2D/Screen+Shot+2019-05-14+at+12.44.26+PM.png This Is Tomorrow / https://babakgolkar.ca/new-page-4 daily 0.75 2021-08-10 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1628626785677-IINXVWCKDT3RZ7XHZRKN/Munch-Skriget_-remix-litografi.png Scream like Scream / Scream / Scream. (Edvard Munch remixed by Opulence.) https://babakgolkar.ca/new-page-31 daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/a59bed3c-12aa-4ca8-b36a-7211048cdc05/Screenshot+2024-11-05+at+8.04.27%E2%80%AFAM.png The Elephant (an Intermission) / - Make it stand out Deaf Feet (2017) Lead based oil on canvas. 112” x 100” x 4” (16” x 20” x 4” each) https://babakgolkar.ca/new-page-84 daily 0.75 2025-02-02 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/99ad4bad-837f-4271-a2d3-ed83409a51b3/DSC_2053-1657983625.jpg The Elephant (an intermission) / Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/5563f890-788b-4abc-a3a0-89d6e48235bf/DSC_2046-1657983625.jpg The Elephant (an intermission) / https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/e07907b5-f873-4498-b78f-17a570ea97f3/DSC_2043.jpg The Elephant (an intermission) / - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1571852795572-ZIFAXHHEOAFKBLRI0NBZ/Eye.jpg The Elephant (an intermission) / - Make it stand out Mirror/Stage 2018 Lead-based oil on canvas 6” x 4” https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/1571852717456-12Y3X0DM5T2ZNRN88UWM/DSC_2071.jpg The Elephant (an intermission) / - Make it stand out Installation view https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/f11fd79c-a00f-4141-b692-ea991ac443e1/DSC_2083-1657983625.jpg The Elephant (an intermission) / - Make it stand out Installation view https://babakgolkar.ca/new-page-20 daily 0.75 2025-12-05 https://babakgolkar.ca/week-2-the-theathre-of-everyday-things-dec-29jan-2 daily 0.75 2025-12-05 https://babakgolkar.ca/register daily 0.75 2025-12-05 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/c5f4258b-b508-404f-b933-4505e339d6fb/iStock-480585411.jpg Creative Studios Winter Break https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/67792916-3913-4297-8fdc-856db509fbcc/iStock-480585411.jpg Creative Studios Winter Break https://babakgolkar.ca/dropin daily 0.75 2025-12-05 https://babakgolkar.ca/store daily 0.75 2025-12-04 https://babakgolkar.ca/store/drop-in monthly 0.5 2025-12-05 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/d8030eb1-f028-4b43-991f-29d0c7d0f945/iStock-1245939176.jpg Store - Drop-In - iStock-1245939176.jpg https://babakgolkar.ca/store/week-2-the-theathre-of-everyday-things-dec-29-jan-2 monthly 0.5 2025-12-05 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/eb1b29b4-9174-4d95-954a-e4721b014147/iStock-490772140.jpg Store - Week 2: The Theathre of Everyday Things (Dec 29-Jan 2) - iStock-490772140.jpg https://babakgolkar.ca/store/week-1-impossible-architectures-dec-22-26 monthly 0.5 2025-12-05 https://images.squarespace-cdn.com/content/v1/51affa76e4b09617805d618c/9641b42c-6abf-412d-9cd4-331b479cbd24/iStock-1396206106.jpg Store - Week 1: Impossible Architectures (Dec 22-26) - iStock-1396206106.jpg