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18

BAHMAN MOHASSES | TIRESIAS NON SAPEVA TANTO DEL FUTURO (TIRESIAS DIDN'T KNOW MUCH ABOUT THE FUTURE)

UK: Greenford Park WarehouseVAT reduced rate

Estimate:

120,000

to
- 180,000 GBP

BAHMAN MOHASSES | TIRESIAS NON SAPEVA TANTO DEL FUTURO (TIRESIAS DIDN'T KNOW MUCH ABOUT THE FUTURE)

BAHMAN MOHASSES | TIRESIAS NON SAPEVA TANTO DEL FUTURO (TIRESIAS DIDN'T KNOW MUCH ABOUT THE FUTURE)

Estimate:

120,000

to
- 180,000 GBP

Lot sold:

150,000

GBP

Property from a Private Collection

BAHMAN MOHASSES

1931-2010

Iranian

TIRESIAS NON SAPEVA TANTO DEL FUTURO (TIRESIAS DIDN'T KNOW MUCH ABOUT THE FUTURE)


each: signed and dated B. Mohasses '70 and titled on the reverse; signed, titled and dated in Farsi on the reverse

oil on canvas, in three parts

each: 100 by 70 cm.; 39⅜ by 27 in. overall: 100 by 210 cm.; 39⅜ by 82⅝ in.


Please note that consumer cancellation rights do not apply to this lot.


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Condition:

This work is in good condition. The canvas is well stretched. Upon closer inspection, the centre panel has a few hairline scratches on the bottom part. There are some minor pinhole-sized paint losses across the bottom and left edge. Any surface imperfection is in line with the artist’s working process. The varnish is unevenly applied.

There is no restoration apparent when viewed under the UV light.


Colour:

The catalogue illustration is fairly accurate, with the overall tonality being subtler in the original work.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.  

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE INCLUDED IN THE CATALOGUE.

Christie's, Dubai, 31 October 2007, Lot 115

Acquired from the above sale by the present owner 

Bahman Mohassess, Enrico Crispolti, A.V. Serov, Eds., Bahman Mohassess, Rome 2007, p. 105, illustrated 

…And I Tiresias have foresuffered all

Enacted on this same divan or bed;

I who have sat by Thebes below the wall

And walked among the lowest of the dead.

Bestows one final patronising kiss,

And gropes his way, finding the stairs unlit…


T.S. Eliot, The Waste Land, New York, 1922, p. 33.


Bahman Mohasses created dystopic, disjointed and disenfranchised figures and realities. Semi-autobiographical and completely reflective of a darker wit and nihilistic, irreverent understanding of the world, Mohasses (posthumously) has cemented his position as a legendary artistic figure.


Ironically, while Mohasses is now understood to be an acclaimed Modern Master and invaluable resource to understanding Iranian Modernism at large, his intention was firmly the contrary. Preferring the periphery, the darkness or ‘liminal’ spaces, he deliberately destroyed his works and evaded mass exposure. Enigmatic and tortured, this is perhaps an expected preference for a man who grappled with his sexuality and sense of rootedness; of national and spiritual belonging.


Tiresias did not know much about the future is a unique and rare work by Mohasses. The frenetic movement that seems to come in hand with angst, is more tangible in this triptych than in any other of his works that have come to auction. While his oeuvre is inhabited by demons or mutant beings, there is a suffocating stillness in them: frozen screams or faceless bodies in a void or vacuum. The audience usually remains on the outside, voyeurs into the mind of the artist. This work on the other hand pulls us in. It is wild, reckless and troubled in its all-consuming subject matter.


An understanding of Greek Mythology allows us to peer into Mohasses’ psyche. Well-read and familiar with the European classics and French intellectual thinkers, it was the Greek legend that served to allay his discontent and give visual expression to his propensity to nihilism. The story of Tiresias varies in Greek mythology. Simply, he was turned into a woman as punishment. His masculinity was returned after seven years, and so the spaces or worlds he maneuvered were liminal. He is understood not least as a complex and tortured figure. However, ultimately, he is one who is ‘redeemed’ and vindicated. Mediating between humankind and the gods, between present and future, this world and the underworld in Greek legendary history, Tiresias became synonymous with ‘soothsayer.’ Some stories believed Tiresias listened to the songs of birds, to understand their language. The title, evidently, suggests the opposite – not even Tiresias was all-seeing, there was no solace. Mohasses’ irreverent and dark perspective is implicit in the title of this work, which so aptly describes the scene before us.


Figures morph, animals are stretched, masked faces loom in the background – and then the bird, Mohasses’ ever present bird, remains in the painting’s focal point. Hovering over what we can only speculate is an oracle, its vacant stare confronts the viewer. These creatures are not of this world and neither are we (at least, this is what we are made to question) – because, what is the world that we live in, is it the world as we know it, as we choose to see it, or a raw monstrous, ill-fated place; the world that Mohasses believes to be our reality? Tortured, disingenuous, layered with pretense – his was an existence full of fear, despair and hopelessness. It was ugly, and in his own words, he sought to glorify the beauty of this ugliness.


It is also perhaps in this work more so than any of his others, that we can see how Francis Bacon’s anthropomorphic figures influenced Mohasses’ artistic output. We see the same twisted and contorted movement. Largely through their stylistic choices: in the paint application, scale and abstracted figures – anguish and pain are redolent.


Mohasses’ intellectual prowess found an outlet in his work as an editor of a weekly art and literary publication. His involvement in a well-known cultural society also enabled him to become part of an avant-garde artistic movement, not dissimilar to the motivations and expressions of the Dada movement.


The presence of a bird, or beaked figure became central to many of Mohasses’ paintings and became a visual embodiment of pessimism and otherness. Interestingly, the essence of this symbology can also be seen in the philosophical underpinnings of Max Ernst’s work, a leading figure in Dada and Surrealist movement.


Both artists’ oeuvres were coloured, in part, by post-war (World War II) trauma – the death, destruction and despair it leaves. Artist Sir Jacob Epstein’s (1880-1959), too, responded to the aftermath of war (albeit, World World I). His bronze sculpture, Torso in Metal from ‘The Rock Drill’ (1913-14) is also a figure that exists in dualities: threatening but vulnerable, a victim as well as a perpetrator. The same menacing nature and machine-like existence can be seen in the figures within Mohasses’ work – both artists see monsters, devoid of humanity.


Similar to Mohasses, Ernst had a dark imagination which came through in many of his paintings and posters. His creative output had Freudian roots, as did many of the Surrealists. As a key figure in the Dada movement, his use of subversive, autobiographical tropes, was not unlike Mohasses – perhaps most apparent in his beaked-figure, known as Loplop. A 1983 New York Times article on Max Ernst describes his reputation as ‘being one of the most gifted, inventive and versatile of 20th Century artists.' It goes on to quote William S. Rubin, who in 1968 wrote: ''in the extraordinary variety of his styles and techniques, Max Ernst is to Dada and Surrealism what Picasso is to 20th Century art as a whole.'' (John Russell, ‘Art View: Behind the Magical Images of Max Ernst’, The New York Times, 4 September 1983, online.) Mohasses too, was considered to be the ‘Picasso of Iran’ and he can also be considered as one of the most gifted artists.


This is a powerful, rare and monumental masterpiece by Bahman Mohasses and a true honour for Sotheby’s to present.