The Arcades series started as part of John L Tran’s 2006 PhD research into nostalgia in Japanese landscape imagery. It is now being expanded to cover sites in Europe and the United States.

‘The city writes its own script. Things are always much stranger than they seem’, wrote the London stroller and novelist Iain Sinclair (The Guardian, 14 July 2005). The written script, however, can be vocalized too as another distinctive novelist of the city John McGregor writes, ‘the city, it sings, so listen, there is more to hear’ (If Nobody Speaks of Remarkable Things, Bloomsbury, 2002, pp. 1-2).

As reported elsewhere the acclaimed Nepali painter Manish Harijan's exhitbition titled The Rise of Collateral in Siddhartha Art Gallery (Patan, Nepal) was charged with blasphemy by the group of World Hindu Federation activists. The author and gallerist were even threatened with death. The police, instead of providing protection, padlocked the gallery. More to that, there is actual imminence of legal action against the artist and curator.

David Cameron announced in February 2011 that multiculturalism in Britain had failed. As the son of immigrants, born in the UK I reacted to this with trepidation and the mildest tinge of relief; the relief being that if there is a wasp in the room, as the saying goes, you at least want to know where it is. I still believe London is one of the most racially tolerant places to live, and it is always a pleasure to mix with Indians, Poles, Jamaicans, Chinese, Cockneys, Kurdish, and share the feeling that wherever we may be from originally, if you have never gone on the London Eye and know how to get home at three in the morning then you have to the right to call yourself a Londoner.

As we know there are different directions and ways of artistic expression accepted in the world culture. When we say “Contemporary Culture” it means pieces of art connected to current time which reflects in itself historical, political, social, psychological and other issues.

Culture of each period is considered contemporary for current space and time. Thereby culture itself depends and connects on factors stated above. The culture of any space and time should reflect qualities of this space and time in the world context. Thereby the author is fixing these qualities in own art piece where the art piece has to be considered not only as a piece of art but also visual and mental document left in history.


I am not myself, not Buthayna Ali, not a body, not a woman, not a Muslim, not a Syrian, not an Arab...
many prisons forces itself upon me.
They are combined in me, melting me, turning me into hard and fluid forms.
Hard to defend my existence, while fluid to escape, through my work, away from those jails.

The savage has been an image closely related to the history and representations of Latin America. This essay discusses varied artistic reinterpretations of the savage paradigm and the ideologies of domination and violence that support it. Though savagery seems to have changed forms, leaving the colonial world behind to reemerge as extreme violence often associated in Latin America with political questions, oppressive regimes, revolutionaries, and more recently drugs, the term is still deeply enmeshed with battles of dominion and representation involving many actors. The works analyzed address in either direct or veiled ways some of the convoluted relations between the so-called first and third worlds, alluding to everyday realities and imaginary ones through an extended notion of savagery.

It is perhaps a somewhat cliched statement to begin this introduction to the work of the internationally recognised Iranian artist Sadegh Tirafkan, by saying that he is very much a product of his circumstances, both on an international and an individual level, but this is clearly what informs his art. For Sadegh is the epitome of an Iranian artist whose innovative and utterly contemporary works are profoundly influenced by the legacy of his traditional Iranian heritage roots.