Farshid Bazmandegan’s solo exhibition, “Drifting in Between,” at Track 16 Gallery in Los Angeles delves into the complex relationship between art, politics, and geopolitics. The artist’s work is inspired by the incongruent actions of the CIA during the Cold War, where they promoted Abstract Expressionism as a symbol of American freedom while also backing a coup in Iran to protect British oil interests.
Bazmandegan’s art focuses on materials like emergency blankets, tar, and steel oil barrels, symbolizing displacement, human cost, and natural resources that drive global politics. In pieces like “Untitled” (2022), a steel oil drum shaped like a flag comments on how nations are reduced to mere resources in the eyes of some governments.
One of the standout works in the exhibition is “Landscape of Exile” (2024), where a gold-coated emergency blanket is juxtaposed with tar on a wood panel, creating a visually striking piece that challenges the viewer to contemplate the human impact of political decisions. The artist’s use of materials and techniques reminiscent of Abstract Expressionism adds another layer of complexity to his work.
By connecting Abstract Expressionism to the 1953 coup in Iran, Bazmandegan prompts viewers to consider the complicity of the art industry in geopolitical issues. The exhibition features both salable works and larger sculptural installations, underscoring the contradictions inherent in the art world.
As viewers engage with Bazmandegan’s work, they are invited to reflect on their own role in a flawed industry entangled with harmful systems. The artist doesn’t provide answers but creates a space for contemplation of the complexities of contemporary life.
“Drifting in Between” is a thought-provoking exhibition that challenges the viewer to confront the intersections of art, politics, and power. It is on display at Track 16 Gallery in Los Angeles until December 21st.
