Galerie

Georg Nothelfer

Mahdad Alizadeh

I see Red, I eat Red
2023, Glazed clay, 21 x 30 x 30cm
I see Red, I eat Red,
2023, Glazed clay, 21 x 30 x 30cm
GalerieNothelfer_AlizadehMahdad_ISeeRed,IEatRed_2023_GlasierterTon_21x30x30cm
poking with 2f (left) / Blueman (right)
2023, Clay, ca. 35 × 35 × 30 cm (left) / 2022, Glazed clay, ca. 35 × 20 × 20 cm (right)
poking with 2f (left) / Blueman (right),
2023, Clay, ca. 35 × 35 × 30 cm (left) / 2022, Glazed clay, ca. 35 × 20 × 20 cm (right)
35
i have a little candy for you!
2024, Mixed media, paper, 52 x 71cm (SOLD)
i have a little candy for you!,
2024, Mixed media, paper, 52 x 71cm (SOLD)
8 Small_52 x 71cm
Untitled
2023. Glazed clay, 32 x 28 x 38cm
Untitled,
2023. Glazed clay, 32 x 28 x 38cm
Mahdad_32x28x38 Kopie_bearbeitet
3 Flowers
2024, Mixed media, paper, 65 x 98cm
3 Flowers,
2024, Mixed media, paper, 65 x 98cm
GalerieNothelfer_AlizadehMahdad_3Flowers_2024_Mischtechnik,Papier_65x98cm
I need more nose holes
2024, Clay, 50 x 28 x 28cm
I need more nose holes,
2024, Clay, 50 x 28 x 28cm
O.T. 2024,, 52 x 42 x 42 cm. white clay partly glazed
Escape IV
2024, Mixed media, paper, 65 x 98cm
Escape IV,
2024, Mixed media, paper, 65 x 98cm
2 Big_65x98cm
Linsh
2017, Fired clay, 30 x 27 x 34 cm
Linsh,
2017, Fired clay, 30 x 27 x 34 cm
Mahdad Alizadeh_Linsh_2017_Ton_30x27x34cm
Clayground (Installation View at UdK Berlin - Performance Day X)
2019, Unfired clay, 300 × 400 × 10 cm
Clayground (Installation View at UdK Berlin - Performance Day X),
2019, Unfired clay, 300 × 400 × 10 cm
UdK_Performance Abschlussarbeit Kopie
deleted messages!
2023, Glazed clay, 27 x 50 x 20 cm
deleted messages!,
2023, Glazed clay, 27 x 50 x 20 cm
Mahdad Alizadeh_deleted messages_2023_Glasierter Ton_27 x 50 x 20 cm _Tisch Holz, Klebeband, Holzspieße_86 x 74 x 47 cm2
Mallabeable Digestion, WHAT
2022, Fired clay, 36 x 26 x 22 cm
Mallabeable Digestion, WHAT,
2022, Fired clay, 36 x 26 x 22 cm
Mahdad Alizadeh_Mallabeable Digestion,WHAT_ 2022_Ton_36x26x22 cm
Home
2024, Mixed media/paper, 65 x 98 cm
Home,
2024, Mixed media/paper, 65 x 98 cm
Mahdad Alizadeh_Home_2024_MT_Papier_65x98cm
TEHERAN WAS MAD
2024, Mixed media/paper, 65 x 98 cm
TEHERAN WAS MAD,
2024, Mixed media/paper, 65 x 98 cm
Mahdad Alizadeh_TEHERAN WAS MAD_2024_MT_Papier_65x98cm
for the howl for the wolf for the sun
2022, glazed Clay, 24 x 48 x 14 cm
for the howl for the wolf for the sun,
2022, glazed Clay, 24 x 48 x 14 cm
Mahdad ALizadeh, for the howl for the wolf for the sun, 2022, glasierter Ton, 24 x 48 x 14 cm
come into my kitchen
2022, glazed clay, 30 x 40 x 25 cm
come into my kitchen,
2022, glazed clay, 30 x 40 x 25 cm
Mahdad Alizadeh_come into my kitchen_2022_glasierter Ton_30x40x25 cm
Untitled
2018, Fired clay, 18 x 15 x 20 cm
Untitled,
2018, Fired clay, 18 x 15 x 20 cm
Mahdad Alizadeh_O.T._2018_Ton_18x15x20cm
Untitled
2017, Fired clay, 33 x 22 x 26 cm
Untitled,
2017, Fired clay, 33 x 22 x 26 cm
Alizadeh, untitled, 2017, Ton, 33 x 22 x 26 cm
interiorly exterior
2021, Fired clay, approx. 30 x 40 x 25 cm
interiorly exterior,
2021, Fired clay, approx. 30 x 40 x 25 cm
Mahdad Alizadeh, interiorly exterior, 2021, Ton, ca. 30 x 40 x 25 cm (2)

Biography

Born 1993 in Tehran, Iran
2015 BA Fine Arts, UdK Berlin
2019 MA Fine Arts, UdK, Berlin
2019 DAAD scholarship
2022 Stiftung Kulturfonds, special funding programme NEUSTART KULTUR
Lives and works in Berlin

Clay is at the heart of Mahdad Alizadeh’s art, which encompasses sculpture, installation, conceptual and performative elements, and most recently drawings. His small to medium-sized, fired and sometimes glazed clay sculptures are organically shaped and, although not figurative, tend to resemble plant or animal creatures and fragments. On a closer look, viewers recognise traces of the working process, such as hollows created by the ten fingers of his hands, cracks, and bruises. His drawings are linear and colourful and, like the sculptures, oscillate between associative representationalism and organic abstraction. Whether on paper or in clay, Alizadeh works intuitively; he does not start with an idea or imagination, but with his hands as a forming tool. While the artist’s physical proximity to the material, the intuitive and ritualised touching, feeling, and shaping are formativehere, he takes a step back from his works when it comes to their installation in the space. His interest in architecture certainly influences the plinths and environments he creates for his sculptures. He uses wood, chipboard, and adhesive tape to contrast the fired or glazed clay figures. What they have in common is an aesthetic of the unfinished that emphasises the material and its texture. Alizadeh also incorporates the viewer’s perspective on his works and deals with the discrepancy of physical presence and digital presentation in his more conceptual projects. His work merges between physicality and materiality, presentation and perception. In this way, he manages to question the very essence of art in our complex present. (Text by Hannah Jacobi)

Exhibitions

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