FAMOUS ARTIST Titus Archibald

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Born in February 12th, 1984
Iran, Mazandaran, Amol
2012, Bachelor of Art, Master of Painting field of Tehran Art and Architecture University
Starting visual art from 2000 and starting it professionally from 2004
From 2015 up to now, art manager of Isoo gallery, Amol
The founder and manager of Borjass art group and Bojass dialogue-based projects
From 2010 up to now, management of Resident in Crumple academy, Amol
From 2010 up to now, teaching art, Resident in Crumple academy, Amol
2010-2016, teaching at Art Universities of Mahmoud-abad, Mazyar of Nour, Applied Sience of Amol, Faza Art and Industry of Amol
2005-2009, member of Hajm Sabz art group
2007, major member of Zar group
2008, founder and major member of Galva group
Exhibitions
Arranging more than 10 solo exhibitions and 120 group exhibitions
Among…
Solo exhibition
2019, Squint, Isoo gallery, Amol
2015, drawing and painting exhibition with the title of Of This Suspended Insanity, Isoo gallery
2008, Hajm Sabz gallery, Ghaem-shahr
2006, Painting exhibition, House of Culture, Amol
2005, Drawing exhibition, Amol House of Culture
etc…
Group exhibition
2020, Collection of Pains, Borjass dialogue-based projects, Isoo gallery, Amol
2019, Atomization, Borjass dialogue-based projects, Isoo gallery, Amol
2019, participation at Ostrale biennale, Borjass art group, Dresden, Germany
2019, drawing and painting group exhibition, The Devious Tune of Silence, Gozar gallery, Isfahan
2018, Hajm Sabz drawing and painting group exhibition, Hepta gallery, Tehran
2017, Contemporary art exhibition, Borjass projects, Aaraan gallery, Tehran
2016, Contemporary art exhibition, Borjass projects, Aaraan gallery, Tehran
2014, Mazandaran contemporary artists annual, Niavaran Art Hall, Tehran
2011, participation at conceptual art, Kuala Lumpor, Malaysia
2007, Mazandaran contemporary artists annual, Saba Art Hall, Tehran
2006, Hajm Sabz group exhibition, Asar gallery, Tehran
2005, Hajm Sabz group exhibition, Asar gallery, Tehran
etc…
Curator of:
Contemporary art, Isoo gallery, Amol
2019, Borjass dialogue-based projects, Atomization of Iranian Identity, Isoo gallery, Amol
2018, arranging Amol New Generation artists exhibition, Zar gallery, Amol
2010-2019, arranging 15 courses exhibitions of art beginners artworks at Resident in Crumple academy
2015-2018, arranging 4 courses of contemporary drawing exhibition, Isoo gallery, Amol
2018, Amol paintists artists, Isoo gallery, Amol
2016, New Generation artists, contemporary art, Isoo gallery, Amol
2015, an exhibition with a group of Iranian artists for the opening of Isoo gallery, with Hamid Asadzade, Isoo gallery, Amol
2009, Mazandaran paintists exhibition, Zar gallery, Amol
2007, Iran paintists community exhibition, with the management of Fariborz Zarshenas, Zar gallery, Amol
2006, Exhibition with the title of China Expo, with the management of Fariborz Zarshenas, Zar gallery, Amol
Dialogue-based Talks
2015-2019, arranging more than 30 talks about visual art at Isoo gallery, Amol
2019, arranging Borjass dialogue-based talk, Breeding the Public Taste at Pahlavi’s period, book analyze, Ali Gholipour, Isoo gallery, Amol
2019, arranging Borjass dialogue-based talk, The Every Day in Post-revolutionary Iran, book analys, Abbas Kazemi, Isoo gallery, Amol
2019, arranging Borjass dialogue-based talk, Contemporary Art and Social Issue, Omid Ghajarian, Isoo gallery, Amol
2019, arranging Borjass dialogue-based talk, Avant-garde artist and professional artist, Isa Culandim, Isoo gallery, Amol
2019, speech about Atomization of Iranian Identity, Isoo gallery, Amol
2019, speech about of Borjass dialogue-based projects, Yatoka Art and industrial workshop, Rasht
2018, speech about Reification of Islamic Thought, Boom art academy, Rasht
2018, free talk about my painting collections, Nour book city, Nour
From 2010 up to now, arranging critic sessions of movie, theatre, music, Persian literature, Isoo gallery, Amol
Activities
2010 till now, group making some video arts and presenting some performances and environment art
For instants: Hours, Rope, At the begging of “Day” month, Snow Drop Rout, Funerary Monument

Professional Hachers Glittering promotional teasers that feature health codes, celebrities embedded in confidence and swimming in their bondage pattern, posters full of simple but expressive metaphors, duplicate news that emulate real-life documents, concise images and short, coded voices And the repetition takes you where it wants. Fill everything like dear minimalism, brief and useful, and vacancies, and we continue to wake up to the hot-spot of the family beneath the television set, waiting for new codes for the imagination of the future, and engineered by these hidden codes in a new promise for the future. And minimalism, which you never come to your feet, we will continue to stand on our feet, We become engineered, hacked by the most skilled hackers, brief and useful, and vacancies. Welcome to the battle of public opinion, the battle of professional hackers

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Squint (Dilapidated sequence)
“Public opinion is one of the most important and complex areas of political science calculations. Politicians are very afraid that they will lose control of public opinion. The system of power controls public opinion either through public trust or through fear and intimidation, so that public opinion either trusts the historical analysis of the ruling system or reproduces its analysis of history in fear, thereby using history to justify and demand of each party are considered raw materials to interpret it as they wish. Public opinion calculates its historical actions based on everyday needs and narrates that part of history in the public space that searches for their daily needs and turns to historiography. Politicians also direct the same daily needs of the people through their media in the direction they want and turn to making history. Playing with historical events and personalities has become commonplace in today’s social and political space and cultural productions in public and virtual media. This exhibition is an example of a game with historical sources. A game that may seem a little more realistic or another game to hide history or emphasize the relative nature of historiography. Creating mechanical forms and interactive space with the spectator is an attempt to create a historical narrative and pass the audience through time and this is a method that is institutionalized in the conceptual layers of works, narration is one of the linguistic features in Iranian art culture, especially It is in Iranian literature and painting that I tried to borrow from it. The selected images in the works show documents that are handed out on a daily basis in cyber and library spaces. The characters are part of the political and influential post-constitutional heroes who have been in my game due to the necessity of time and are telling my stories from history. “