The Tehran’s contemporary art Museum: the anti-monument
In its February 1978 issue, magazine turned its eye to the Tehran’s Museum of Contemporary Art, a grand artistic institution soon to house one of the richest and most complete modern and contemporary art collections in the world. An extraordinary piece written for by French art critic Pierre Restany perfectly captured the watershed moment the construction of this new museum, represented in a booming city where “building goes on everywhere 24 hours a day”. Restany brings readers along for the inauguration alongside the venerable Who’s Who in attendance. But mostly dwells on the historical significance of this new undertaking, which was meant to remarkably enhance Iranian capital’s position in the international contemporary art scene. He then goes on to state the novelty represented by the architectural features of the complex,
