Aziz Art May 2016
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A<br />
ni<br />
sh<br />
Ka<br />
p<br />
o<br />
or<br />
Lake<br />
Urmia<br />
Iran<br />
<strong>May</strong> <strong>2016</strong><br />
A<br />
Farsophone<br />
London Legal Walk<br />
Shirin Neshat<br />
zi<br />
z<br />
A<br />
rt<br />
http;//www.aziz-anzabi.com
1.Shirin<br />
Neshat<br />
9.<br />
Competition<br />
10.Anish<br />
Kapoor<br />
17.<br />
Competition<br />
18.London<br />
Legal Walk<br />
20.Lake Urmia<br />
Director: <strong>Aziz</strong> Anzabi<br />
Editor and translator :<br />
Asra Yaghoubi<br />
Research: Zohreh Nazari
Shirin Neshat born 1957 is an<br />
Iranian visual artist who lives in<br />
New York City, known primarily for<br />
her work in film, video and<br />
photography.Her artwork centers<br />
around the contrasts between<br />
Islam and the West, femininity and<br />
masculinity, public life and private<br />
life, antiquity and modernity, and<br />
bridging the spaces between these<br />
subjects. Neshat has been<br />
recognized countless times for her<br />
work, from winning the<br />
International Award of the XLVIII<br />
Venice Biennale in 1999,to winning<br />
the Silver Lion for best director at<br />
the 66th Venice Film Festival in<br />
2009,to being named <strong>Art</strong>ist of the<br />
Decade by Huffington Post critic G.<br />
Roger Denson.<br />
about the west, romanticized the<br />
west, and slowly rejected all of his<br />
own values; both my parents did.<br />
What happened, I think, was that<br />
their identity slowly dissolved, they<br />
exchanged it for comfort. It served<br />
their class”.<br />
As a part of Neshat’s<br />
“Westernization” she was enrolled<br />
in a Catholic boarding school in<br />
Tehran. Through her father’s<br />
acceptance of Western ideologies<br />
came an acceptance of a form of<br />
western feminism. Neshat’s father<br />
encouraged each of his daughters<br />
to “be an individual, to take risks, to<br />
learn, to see the world", and he<br />
sent his daughters as well as his<br />
sons to college to receive their<br />
higher education.<br />
Background<br />
Neshat is the fourth of five children<br />
of wealthy parents, brought up in<br />
the religious town of Qazvin in<br />
north-western Iran under a "very<br />
warm, supportive Muslim family<br />
environment",where she learned<br />
traditional religious values through<br />
her maternal grandparents.<br />
Neshat's father was a physician and<br />
her mother a homemaker. Neshat<br />
said that her father, "fantasized<br />
1
After graduating school, she moved<br />
to New York and married a Korean<br />
curator, Kyong Park,who was the<br />
director and founder of Storefront<br />
for <strong>Art</strong> and Architecture, a nonprofit<br />
organization.Neshat helped<br />
Park run the Storefront, where she<br />
was exposed to many different<br />
ideologies and it would become a<br />
place where she received a much<br />
needed experience with and<br />
exposure to concepts that would<br />
later become integral to her<br />
artwork.<br />
During this time, she did not make<br />
any serious attempts at creating<br />
art, and the few attempts were<br />
subsequently destroyed. In 1990,<br />
she returned to Iran. "It was<br />
probably one of the most shocking<br />
experiences that I have ever had.<br />
The difference between what I had<br />
remembered from the Iranian<br />
culture and what I was witnessing<br />
was enormous. The change was<br />
both frightening and exciting;<br />
I had never been in a country that<br />
was so ideologically based. Most<br />
noticeable, of course, was the<br />
change in people's physical<br />
appearance and public behavior<br />
Education<br />
In 1975, Neshat left Iran to study<br />
art at UC Berkeley and completed<br />
her BA, MA and MFA.<br />
Work<br />
Neshat’s earliest works were<br />
photographs, such as the Unveiling<br />
(1993) and Women of Allah<br />
(1993–97) series, which explore<br />
notions of femininity in relation to<br />
Islamic fundamentalism and<br />
militancy in her home country. As a<br />
way of coping with the discrepancy<br />
between the culture that she was<br />
experiencing and that of the prerevolution<br />
Iran in which she was<br />
raised, she began her first mature<br />
body of work, the Women of Allah<br />
series, portraits of women entirely<br />
overlaid by Persian calligraphy.<br />
Her work refers to the social,<br />
cultural and religious codes of<br />
Muslim societies and the<br />
complexity of certain oppositions,<br />
such as man and woman. Neshat<br />
often emphasizes this theme<br />
showing two or more coordinated<br />
films concurrently,
creating stark visual contrasts<br />
through motifs such as light and<br />
dark, black and white, male and<br />
female. Neshat has also made<br />
more traditional narrative short<br />
films, such as Zarin.<br />
The work of Neshat addresses the<br />
social, political and psychological<br />
dimensions of women's experience<br />
in contemporary Islamic societies.<br />
Although Neshat actively resists<br />
stereotypical representations of<br />
Islam, her artistic objectives are<br />
not explicitly polemical. Rather,<br />
her work recognizes the complex<br />
intellectual and religious forces<br />
shaping the identity of Muslim<br />
women throughout the world.<br />
Using Persian poetry and<br />
calligraphy she examined concepts<br />
such as martyrdom, the space of<br />
exile, the issues of identity and<br />
femininity.<br />
In 2001-02, Neshat collaborated<br />
with singer Sussan Deyhim and<br />
created Logic of the Birds, which<br />
was produced by curator and art<br />
historian RoseLee Goldberg. The<br />
full length multimedia production<br />
premiered at the Lincoln Center<br />
Summer Festival in 2002 and<br />
toured to the Walker <strong>Art</strong> Institute<br />
in Minneapolis and to <strong>Art</strong>angel in<br />
incorporate music, Neshat uses<br />
sound to help create an<br />
emotionally evocative and beautiful<br />
piece that will resonate with<br />
viewers of both Eastern and<br />
Western cultures. In an interview<br />
with Bomb magazine in 2000,<br />
Neshat revealed, "Music becomes<br />
the soul, the personal, the intuitive,<br />
and neutralizes the sociopolitical<br />
aspects of the work. This<br />
combination of image and music is<br />
meant to create an experience that<br />
moves the audience."<br />
Neshat was profiled in The New<br />
Yorker magazine on October 22,<br />
2007.<br />
When Neshat first came to use film,<br />
she was influenced by the work of<br />
Iranian director Abbas<br />
Kiarostami.She directed several<br />
videos, among them Anchorage<br />
(1996) and, projected on two<br />
opposing walls: Shadow under the<br />
Web (1997), Turbulent (1998),<br />
Rapture (1999) and Soliloquy<br />
(1999). Neshat's recognition<br />
became more international in 1999,<br />
when she won the International<br />
Award of the XLVIII Venice Biennale<br />
with Turbulent and Rapture, a<br />
project involving almost 250 extras<br />
and produced by
the Galerie Jérôme de Noirmont<br />
which met with critical and public<br />
success after its worldwide avantpremière<br />
at the <strong>Art</strong> Institute of<br />
Chicago in <strong>May</strong> 1999.<br />
With Rapture, Neshat tried for the<br />
first time to make pure<br />
photography with the intent of<br />
creating an aesthetic, poetic, and<br />
emotional shock. Games of Desire,<br />
a video and still-photography<br />
piece, was displayed between<br />
September 3 and October 3 at the<br />
Gladstone Gallery in Brussels<br />
before moving in November to the<br />
Galerie Jérôme de Noirmont in<br />
Paris. The film, which is based in<br />
Laos, centers on a small group of<br />
elderly people who sing folk songs<br />
with sexual lyrics - a practice which<br />
had been nearing obsolescence.<br />
In 2009 she won the Silver Lion for<br />
best director at the 66th Venice<br />
Film Festival for her directorial<br />
debut Women Without Men,<br />
based on Shahrnush Parsipur's<br />
novel of the same name. She said<br />
about the movie: "This has been a<br />
labour of love for six years.(...) This<br />
film speaks to the world and to my<br />
country."The film examines the<br />
1953 British-American backed<br />
coup, which supplanted Iran's<br />
democratically elected government<br />
with a monarchy.<br />
In July 2009 Neshat took part in a<br />
three-day hunger strike at the<br />
United Nations Headquarters in<br />
New York in protest of the 2009<br />
Iranian presidential election<br />
Exhibitions and film festivals<br />
Since her first solo exhibition, at<br />
Franklin Furnace in New York in<br />
1993, Neshat has been featured in<br />
solo exhibitions at the Museo de<br />
<strong>Art</strong>e Moderno, Mexico City;<br />
Contemporary <strong>Art</strong>s Museum,<br />
Houston; Walker <strong>Art</strong> Center,<br />
Minneapolis (2002); Castello di<br />
Rivoli, Turin; Dallas Museum of <strong>Art</strong><br />
(2000); Wexner Center for the <strong>Art</strong>s,<br />
Columbus; the <strong>Art</strong> Institute of<br />
Chicago; the Serpentine Gallery,<br />
London; Museo de <strong>Art</strong>e<br />
Contemporáneo de Castilla y León,<br />
León; and the Hamburger Bahnhof,<br />
Berlin (2005). In 2008, her solo<br />
exhibition “Women Without Men”<br />
opened at the ARoS Aarhus<br />
Kunstmuseum, Denmark, and<br />
traveled to the National Museum of<br />
Contemporary <strong>Art</strong>, Athens
, and to the Kulturhuset,<br />
Stockholm. She was included in<br />
Prospect.1, the 2008 New Orleans<br />
Biennial, documenta XI, the 2000<br />
Whitney Biennial, and the 1999<br />
Venice Biennale. In 2012 Shirin<br />
Neshat had a Solo Exhibition in<br />
Singapore, Game of Desire at <strong>Art</strong><br />
Plural Gallery.A major<br />
retrospective of Neshat’s work,<br />
organized by the Detroit Institute<br />
of <strong>Art</strong>s, was scheduled to open in<br />
2013.<br />
Since 2000 Neshat has also<br />
participated in film festivals,<br />
including the Telluride Film<br />
Festival (2000), Chicago<br />
International Film Festival (2001)<br />
San Francisco International Film<br />
Festival (2001), Locarno<br />
International Film Festival (2002),<br />
Tribeca Film Festival (2003),<br />
Sundance Film Festival (2003), and<br />
Cannes Film Festival (2008).<br />
In 2013 she was a member of the<br />
jury at the 63rd<br />
Berlin International Film Festival<br />
Recognition<br />
Neshat was artist in residence at<br />
the Wexner Center for the <strong>Art</strong>s<br />
(2000) and at MASS MoCA (2001).<br />
In 2004 she was awarded an<br />
honorary professorship at the<br />
Universität der Künste, Berlin In<br />
2006 she was awarded The Dorothy<br />
and Lillian Gish Prize, one of the<br />
richest prizes in the arts, given<br />
annually to “a man or woman who<br />
has made an outstanding<br />
contribution to the beauty of the<br />
world and to mankind’s enjoyment<br />
and understanding of life.”<br />
In 2010 Neshat was named <strong>Art</strong>ist of<br />
the Decade by Huffington Post critic<br />
G. Roger Denson, for "the degree to<br />
which world events have more than<br />
met the artist in making her art<br />
chronically relevant to an<br />
increasingly global culture," for<br />
reflecting "the ideological war<br />
being waged between Islam and<br />
the secular world over matters of<br />
gender, religion, and democracy,"<br />
and because "the impact of her<br />
work far transcends the realms of<br />
art in reflecting the most vital and<br />
far-reaching struggle to assert<br />
human rights."<br />
In 2015 Neshat was selected and<br />
photographed by Annie Leibovitz as<br />
part of the 43rd Pirelli Calendar<br />
which celebrated some of the<br />
world's most inspiring women.
Win a featured showcase as The<strong>Art</strong>List.com's<br />
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Featured on the homepage of The<strong>Art</strong>List.com website for the month of <strong>May</strong><br />
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9
Sir Anish Kapoor<br />
CBE RA born 12 March 1954 is a British-Indian sculptor. Born in<br />
Bombay,Kapoor has lived and worked in London since the early 1970s<br />
when he moved to study art, first at the Hornsey College of <strong>Art</strong> and<br />
later at the Chelsea School of <strong>Art</strong> and Design.<br />
He represented Britain in the XLIV Venice Biennale in 1990, when he<br />
was awarded the Premio Duemila Prize. In 1991 he received the Turner<br />
Prize and in 2002 received the Unilever Commission for the Turbine Hall<br />
at Tate Modern. Notable public sculptures include Cloud Gate<br />
(colloquially known as "the Bean") in Chicago's Millennium Park; Sky<br />
Mirror, exhibited at the Rockefeller Center in New York City in 2006 and<br />
Kensington Gardens in London in 2010; Temenos, at Middlehaven,<br />
Middlesbrough; Leviathan, at the Grand Palais in Paris in 2011; and<br />
ArcelorMittal Orbit, commissioned as a permanent artwork for<br />
London's Olympic Park and completed in 2012.<br />
Kapoor received a Knighthood in the 2013 Birthday Honours for<br />
services to visual arts. He was awarded an honorary doctorate degree<br />
from the University of Oxford in 2014.In 2012 he was awarded Padma<br />
Bhushan by Congress led Indian government which is India's 3rd<br />
highest civilian award.<br />
10
Career<br />
Anish Kapoor became known in the<br />
1980s for his geometric or<br />
biomorphic sculptures made using<br />
simple materials such as granite,<br />
limestone, marble, pigment, and<br />
plaster.These early sculptures are<br />
frequently simple, curved forms,<br />
usually monochromatic and<br />
brightly coloured, using powder<br />
pigment to define and permeate<br />
the form. "While making the<br />
pigment pieces, it occurred to me<br />
that they all form themselves out of<br />
each other. So I decided to give<br />
them a generic title,<br />
A Thousand Names, implying<br />
infinity, a thousand being a<br />
symbolic number. The powder<br />
works sat on the floor or projected<br />
from the wall. The powder on the<br />
floor defines the surface of the<br />
floor and the objects appear to be<br />
partially submerged, like icebergs.<br />
That seems to fit inside the idea of<br />
something being partially there."<br />
Such use of pigment characterised<br />
his first high-profile exhibit as part<br />
of the New Sculpture exhibition at<br />
the Hayward Gallery London in<br />
1978.<br />
In the late 1980s and 1990s, he<br />
was acclaimed for his explorations<br />
of matter and non-matter,<br />
specifically evoking the void in both<br />
free-standing sculptural works and<br />
ambitious installations. Many of his<br />
sculptures seem to recede into the<br />
distance, disappear into the ground<br />
or distort the space around them.<br />
In 1987, he began working in stone.<br />
His later stone works are made of<br />
solid, quarried stone, many of<br />
which have carved apertures and<br />
cavities, often alluding to, and<br />
playing with dualities (earth-sky,<br />
matter-spirit, lightness-darkness,<br />
visible-invisible, consciousunconscious,<br />
male-female, and<br />
body-mind). "In the end, I’m talking<br />
about myself. And thinking about<br />
making nothing, which I see as a<br />
void. But then that’s something,<br />
even though it really is nothing."<br />
Since 1995, he has worked with the<br />
highly reflective surface of polished<br />
stainless steel. These works are<br />
mirror-like, reflecting or distorting<br />
the viewer and surroundings. Over<br />
the course of the following decade<br />
Kapoor's sculptures ventured into<br />
more ambitious manipulations of<br />
form and space. He produced a<br />
number of large works, including<br />
Taratantara (1999)
A35-metre-high piece installed in<br />
the Baltic Flour Mills in Gateshead,<br />
England, before renovation began<br />
there; and Marsyas (2002), a large<br />
work consisting of three steel rings<br />
joined by a single span of PVC<br />
membrane that reached end to<br />
# end of the 3,400-square-foot<br />
(320 m2) Turbine Hall of Tate<br />
Modern. Kapoor's Eye in Stone<br />
(Norwegian: Øye i stein) is<br />
permanently placed at the shore of<br />
the fjord in Lødingen in northern<br />
Norway as part of <strong>Art</strong>scape<br />
Nordland. In 2000, one of Kapoor's<br />
works, Parabolic Waters, consisting<br />
of rapidly rotating coloured water,<br />
was<br />
shown outside the Millennium<br />
Dome in London.<br />
The use of red wax is also part of<br />
his repertoire, evocative of flesh,<br />
blood, and transfiguration. In 2007,<br />
he showed Svayambh (which<br />
translated from Sanskrit means<br />
"self-generated"), a 1.5-metre<br />
block of red wax that moved on<br />
rails through the Nantes Musée<br />
des Beaux-<strong>Art</strong>s as part of the<br />
Biennale estuaire; this piece was<br />
shown again in a major show at the<br />
Haus Der Kunst in Munich and in<br />
2009at the Royal Academy in<br />
London.Some his work blurs the<br />
boundaries between architecture<br />
and art. In 2008, Kapoor created<br />
Memory in Berlin and New York for<br />
the Guggenheim Foundation, his<br />
first piece in Cor-Ten, which is<br />
formulated to produce a protective<br />
coating of rust.Weighing 24 tons<br />
and made up of 156 parts, it calls to<br />
mind Richard Serra’s huge, rusty<br />
steel works, which also invite<br />
viewers into perceptually<br />
confounding interiors.<br />
In 2009, Kapoor became the first<br />
Guest <strong>Art</strong>istic Director of Brighton<br />
Festival. Kapoor installed four<br />
sculptures during the festival: Sky<br />
Mirror at Brighton Pavilion gardens;<br />
C-Curve at The Chattri, Blood<br />
Relations (a collaboration with<br />
author Salman Rushdie); and 1000<br />
Names, both at Fabrica. He also<br />
created a large site-specific work<br />
titled The Dismemberment of<br />
Jeanne d’Arc and a performancebased<br />
installation: Imagined<br />
Monochrome.The public response<br />
was so overwhelming that police<br />
had to re-divert traffic around<br />
Curve at the Chattri and exercise<br />
crowd control.
In September 2009, Kapoor was<br />
the first living artist to have a solo<br />
exhibition at the Royal Academy of<br />
<strong>Art</strong>s. As well as surveying his<br />
career to date, the show also<br />
included new works. On display<br />
were Non-Object mirror works,<br />
cement sculptures previously<br />
unseen, and Shooting into the<br />
Corner,a cannon that fires pellets<br />
of wax into the corner of the<br />
gallery. Previously shown at MAK,<br />
Vienna, in January 2009, it is<br />
a work with dramatic presence<br />
and associations and also<br />
continues Kapoor's interest in the<br />
self-made object, as the wax builds<br />
up on the walls and floor of the<br />
gallery the work slowly oozes out<br />
its form.<br />
In spring 2011, Kapoor's work,<br />
Leviathan,was the annual<br />
Monumenta installation for the<br />
Grand Palais in Paris. Kapoor<br />
described the work as: "A single<br />
object, a single form, a single<br />
colour...My ambition is to create a<br />
space with in a space that<br />
responds to the height and<br />
luminosity of the Nave at the<br />
Grand Palais. Visitors will be invited<br />
to walk inside the work, to immerse<br />
themselves in colour, and it will, I<br />
hope, be a contemplative and<br />
poetic experience."<br />
In 2011, Kapoor exhibited Dirty<br />
Corner at the Fabbrica del Vapore<br />
in Milan.Fully occupying the site's<br />
"cathedral" space, the work<br />
consists of a huge steel volume, 60<br />
metres long and 8 metres high, that<br />
visitors enter. Inside, they gradually<br />
lose their perception of space, as it<br />
gets progressively darker and<br />
darker until there is no light, forcing<br />
people to use their other senses to<br />
guide them through the space. The<br />
entrance of the tunnel is gobletshaped,<br />
featuring an interior and<br />
exterior surface that is circular,<br />
making minimal contact with the<br />
ground. Over the course of the<br />
exhibition, the work was<br />
progressively covered by some 160<br />
cubic metres of earth by a large<br />
mechanical device, forming a sharp<br />
mountain of dirt which the tunnel<br />
appears to be running through.<br />
Public commissions<br />
Turning the World Upside Down,<br />
Israel Museum, 2010
Kapoor's earliest public<br />
commissions include the Cast Iron<br />
Mountain at the Tachikawa <strong>Art</strong><br />
Project in Japan, as well as an<br />
untitled 1995 piece installed at<br />
Toronto's Simcoe Place resembling<br />
mountain peaks. In 2001, Sky<br />
Mirror, a large mirror piece that<br />
reflects the sky and surroundings,<br />
was commissioned for a site<br />
outside the Nottingham Playhouse.<br />
Since 2006, Cloud Gate, a 110-ton<br />
stainless steel sculpture with a<br />
mirror finish, has been<br />
permanently installed in<br />
Millennium Park in Chicago.<br />
Viewers are able to walk beneath<br />
the sculpture and look up into an<br />
"omphalos" or navel above them.<br />
In the autumn of 2006, a second<br />
10-metre Sky Mirror, was installed<br />
at Rockefeller Center, New York<br />
City. This work was later exhibited<br />
in Kensington Gardens in 2010 as<br />
part of the show Turning the World<br />
Upside Down, along with three<br />
other major mirror works.<br />
ArcelorMittal Orbit, London<br />
Olympic Park, 2012<br />
In 2009, Kapoor created the<br />
permanent, site-specific work<br />
Earth Cinema for Pollino National<br />
Park, the largest national park<br />
in Italy, as part of the project<br />
<strong>Art</strong>ePollino – Another<br />
South.Kapoor's work, Cinema di<br />
Terra (Earth Cinema), is a 45m long,<br />
3m wide and 7m deep cut into the<br />
landscape made from concrete and<br />
earth.People can enter from both<br />
sides and walk along it, viewing the<br />
earth void within.Cinema di Terra<br />
officially opened to public in<br />
September 2009.Kapoor was also<br />
commissioned by Tees Valley<br />
Regeneration (TVR) to produce five<br />
pieces of public art, collectively<br />
known as the Tees Valley Giants.The<br />
first of these sculptures, Tememos,<br />
was unveiled to the public in June<br />
2010. Temenos stands 50 metres<br />
high and is 110 metres in length. A<br />
steel wire mesh pulled taught<br />
between two enormous steel<br />
hoops, it remains an ethereal and<br />
an uncertain form despite its<br />
colossal scale.In 2010, Turning the<br />
World Upside Down, Jerusalem was<br />
commissioned and installed at the<br />
Israel Museum in Jerusalem. The<br />
sculpture is described as a "16-foot<br />
tall polished-steel hourglass " and it<br />
"reflects and reverses the Jerusalem sky<br />
and the museum's landscape, a likely<br />
reference to the city's duality of celestial<br />
and earthly, holy and profane".
Cloud Gate<br />
at the Millennium Park, Chicago<br />
Also in June, Kapoor's Orbit was<br />
announced as the winning proposal<br />
for an artwork for the 2012<br />
Olympic Games. The Greater<br />
London Authority selected<br />
Kapoor's sculpture from a shortlist<br />
of five artists as the permanent<br />
artwork for the Olympic Park. At<br />
115 metres tall, Orbit is the tallest<br />
sculpture in the UK.<br />
Soon to be completed is a granite<br />
monument to commemorate the<br />
British victims<br />
of 9/11 in New York’s Hanover<br />
Square.<br />
When asked if engagement with<br />
people and places is the key to<br />
successful public art, Kapoor said,<br />
“I’m thinking about the mythical<br />
wonders of the world, the Hanging<br />
Gardens of Babylon and the Tower<br />
of Babel. It’s as if the collective will<br />
comes up with something that has<br />
resonance on an individual level<br />
and so becomes mythic. I can claim<br />
to take that as a model for a way of<br />
thinking. <strong>Art</strong> can do it, and I’m<br />
going to have a damn good go. I<br />
want to occupy the territory, but<br />
the territory is an idea and a way of<br />
thinking as much as a context that<br />
generates objects.
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17
18
http://www.farsophone.org.uk
Lake Urmia is an endorheic salt<br />
lake in Iranian Azerbaijan, Iran and<br />
near Iran's border with Turkey.The<br />
lake is between the provinces of<br />
East Azerbaijan and West<br />
Azerbaijan in Iran, and west of the<br />
southern portion of the Caspian<br />
Sea. At its full size, it was the<br />
largest lake in the Middle East and<br />
the sixth largest saltwater lake on<br />
earth with a surface area of<br />
approximately 5,200 km² (2,000<br />
mile²), 140 km<br />
(87 mi) length, 55 km (34 mi)<br />
width, and 16 m (52 ft) depth.[5]<br />
The lake has shrunk to 10% of its<br />
former size due to damming of the<br />
rivers that flow into it and<br />
pumping of groundwater from<br />
the area.<br />
Lake Urmia, along with its once<br />
approximately 102 islands, are<br />
protected as a national park by the<br />
Iranian Department of<br />
Environment.<br />
long cores from Lake Urmia has<br />
revealed a nearly 200 kyr record of<br />
vegetation and lake level changes.<br />
The vegetation has changed from<br />
the <strong>Art</strong>emisia/grass steppes during<br />
the glacial/stadial periods to oakjuniper<br />
steppe-forests during the<br />
interglacial/interstadial periods.<br />
The lake seems to have had a<br />
complex hydrological history and its<br />
water levels have greatly fluctuated<br />
in the geological history. Very high<br />
lake levels have been suggested for<br />
some time intervals during the two<br />
last glacial periods as well as during<br />
both the Last Interglacial as well as<br />
the Holocene. Lowest lake levels<br />
have occurred during the last<br />
glacial periods.<br />
Ecology<br />
Lake Urmia is located in Iran<br />
UNESCO Biosphere Reserves in Iran<br />
See also: Geography of Iran and<br />
Environmental issues in Iran<br />
Palaeoecology<br />
A palynological investigation on<br />
20
Modern ecology<br />
Lake Urmia is home to some 212<br />
species of birds, 41 reptiles, 7<br />
amphibians, and 27 species of<br />
mammals, including the Iranian<br />
yellow deer. It is an internationally<br />
registered protected area as both a<br />
UNESCO Biosphere Reserve and a<br />
Ramsar site. The Iranian Dept. of<br />
Environment has designated most<br />
of the lake as a National Park.<br />
The lake is marked by more than a<br />
hundred small, rocky islands, which<br />
serve as stopover points during the<br />
migrations of several wild birds<br />
including flamingos, pelicans,<br />
spoonbills, ibises, storks, shelducks,<br />
avocets, stilts, and gulls. A recent<br />
drought has significantly decreased<br />
the annual amount of water the<br />
lake receives. This in turn has<br />
increased the salinity of the lake's<br />
water, lowering the lake viability as<br />
home to thousands of migratory<br />
birds including the large flamingo<br />
populations. The salinity has<br />
particularly increased in the half of<br />
the lake north of the causeway.<br />
By virtue of its high salinity, the lake<br />
no longer sustains any fish species.<br />
Nonetheless, Lake Urmia is<br />
considered a significant natural<br />
habitat of <strong>Art</strong>emia, which serve as<br />
food source for the migratory birds<br />
such as flamingos.In early 2013, the<br />
then-head of the Iranian <strong>Art</strong>emia<br />
Research Center was quoted that<br />
<strong>Art</strong>emia Urmiana had gone extinct<br />
due to the drastic increases in<br />
salinity. However this assessment<br />
has been contradicted.<br />
Falling level and increasing salinity<br />
The lake is a major barrier between<br />
two of the most important cities in<br />
West Azerbaijan and East<br />
Azerbaijan provinces, Urmia and<br />
Tabriz. A project to build a highway<br />
across the lake was initiated in the<br />
1970s but was abandoned after the<br />
Iranian Revolution of 1979, having<br />
finished a 15 km causeway with an<br />
unbridged gap. The project was<br />
revived in the early 2000s, and was<br />
completed in November 2008 with<br />
the opening of the 1.5 km Urmia<br />
Lake Bridge across the remaining<br />
gap.The highly saline environment<br />
is already heavily rusting the steel<br />
on the bridge despite anticorrosion<br />
treatment. Experts have warned<br />
that the construction of the<br />
causeway and bridge, together with<br />
a series of ecological factors, will<br />
eventually lead to the drying up of the<br />
lake
turning it into a salt marsh which<br />
will directly affect the climate of<br />
the region.<br />
Lake Urmia has been shrinking for a<br />
long time, with an annual<br />
evaporation rate of 0.6m to 1m<br />
(24 to 39 inches). Although<br />
measures are now being taken to<br />
reverse the trend the lake has<br />
shrunk by 60% and could disappear<br />
entirely.Only 5% of the lake's water<br />
remains.<br />
Bridge construction over Lake<br />
Urmia in 2005<br />
On 2 August 2012, Mohammad-<br />
Javad Mohammadizadeh, the head<br />
of Iran's Environment Protection<br />
Organization, announced that<br />
Armenia has agreed on<br />
transferring water from Armenia<br />
to counter the critical fall in Lake<br />
Urmia's water levels, remarking<br />
that "hot weather and a lack of<br />
precipitation have brought the lake<br />
to its lowest water levels ever<br />
recorded". He added that recovery<br />
plans for the lake include the<br />
transfer of water from Eastern<br />
Azerbaijan Province. Previously,<br />
Iranian authorities had announced<br />
a plan to transfer water from the<br />
Aras River, which borders Iran and<br />
Azerbaijan; the 950-billion-toman<br />
plan was abandoned due to<br />
Azerbaijan's objections.<br />
In July 2014, Iran President Hassan<br />
Rouhani approved plans for a 14<br />
trillion rial program (over $500<br />
million) in the first year of a<br />
recovery plan. The money is<br />
supposed to be used for water<br />
management, reducing farmer's<br />
water use, and environmental<br />
restoration. Several months earlier,<br />
in March 2014, Iran's Department<br />
of Environment and the United<br />
Nations Development Programme<br />
(UNDP) issued a plan to save the<br />
lake and the nearby wetland, which<br />
called for spending $225 million in<br />
the first year and $1.3 billion<br />
overall for restoration.<br />
The Silveh Dam in Piranshahr<br />
County should be complete in<br />
2015. Through a tunnel and canals<br />
it will transfer up to 121,700,000<br />
m3 (98,700 acre·ft) of water from<br />
the Lavin River in the Little Zab<br />
basin to Lake Urmia basin annually.<br />
In 2015, president Hassan<br />
Rouhani’s cabinet approved $660<br />
million for better irrigation systems<br />
and steps to combat<br />
desertification.
Environmental protests<br />
The prospect that Lake Urmia may<br />
dry up entirely has drawn protests<br />
in Iran and abroad, directed at both<br />
the regional and national<br />
governments.<br />
Desalting of Urmia Lake<br />
Protests flared in late August 2011<br />
after the Iranian parliament voted<br />
not to provide funds to channel<br />
water from the Araz River to raise<br />
the lake level. Apparently,<br />
parliament proposed instead to<br />
relocate people living around Lake<br />
Urmia.<br />
More than 30 activists were<br />
detained on 24 August 2011<br />
during an iftar meal.On 25 August,<br />
several soccer fans were detained<br />
before and after the Tabriz derby<br />
match between Tractor Sazi F.C.<br />
and Shahrdari Tabriz F.C.. for<br />
shouting slogans in favor of<br />
protecting the lake, including<br />
"Lake Urmia is dying, the Majlis<br />
[parliament] orders its execution".<br />
In the absence of a right to protest<br />
publicly in Iran, protesters have<br />
incorporated their messages into<br />
chants at football matches.<br />
Further demonstrations took place<br />
in the streets of Tabriz and Urmia<br />
on 27 August and 3 September<br />
2011.Amateur video from these<br />
events showed riot police on<br />
motorcycles attacking apparently<br />
peaceful protesters.According to<br />
the governor of West Azerbaijan, at<br />
least 60 supporters of the lake were<br />
arrested in Urmia and dozens in<br />
Tabriz because they had not<br />
applied for a permit to organize a<br />
demonstration.<br />
On <strong>May</strong> 5, <strong>2016</strong>, Leonardo Di<br />
Caprio posted a photo of "a<br />
dilapidated ship dock remains on<br />
dried up Lake Urmia" on his<br />
Instagram page stating: "It used to<br />
be the biggest salt lake in the<br />
Middle East, but it now contains<br />
five percent of the amount of water<br />
it did two decades ago due to<br />
climate change, dam construction<br />
and decrease in precipitiation."
http://www.aziz-anzabi.com