Paris

Behjat Sadr, Untitled, ca. 1974, oil on aluminum, painted steel, 78 6⁄8 × 39 3⁄8".

Behjat Sadr

Balice Hertling | 239 Rue Saint-Martin

In Le temps suspendu (Time Suspended), Mitra Farahani’s 2006 documentary on the Iranian painter Behjat Sadr, the artist explains that “in painting, you suspend time.” Sadr passed away ten years ago at the age of eighty-five, but in this exhibition, her decades-long practice crystallized in nine oil paintings (one supported by steel struts running from floor to ceiling), seven collages, and four photographs. Her canvases often read as abstractions, but they are squarely grounded in the real: in the materiality of the varied surfaces and the viscosity of oil paint.

As an art student in Italy in the late 1950s, Sadr took European art informel as a reference point. Here, two paintings dated ca. 1957, around the time the artist exhibited at Rome’s Galerie Il Pincio with the support of her teacher Roberto Melli, bore witness to the influence of that movement. Both Untitled, like all of the works

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