Omid Majidinejad
'Rebellious Utopia'

Omid Majidinejad, 'Rebellious Utopia' series, 2021, ink on paper, 44 x 30 Inches, courtesy of the artist and Hamzianpour & Kia

Hamzianpour & Kia is pleased to present Rebellious Utopia, a solo show by Omid Majidinejad, on view Dec 10, 2022 - Jan 7, 2023. The show comprises ink-drawn works on paper, all created in the past two years. 

The opening reception is on Saturday, December 10, from 4-8 pm. 

Hamzianpour and Kia is located in the Wilshire Miracle Mile at 5225 Wilshire Boulevard, Suite 212. The gallery's entrance is on Wilshire and la Brea on weekdays. 

On Saturday, December 10th, please enter through the alley (Carling Way) behind the building.


While training as an architect and industrial designer, Omid Majidinejad became interested in the notion of Utopia and the perennial search for the perfect city.  Growing up in Isfahan, he was inspired by the city’s central square, the illustrious Naqhsh-e Jahan – a vast public-private complex that covers nearly a million square feet and includes a palace, two mosques and a bazaar. He saw this square and its constant flux of people as a microcosmic city in itself, and realized that manifestations of Utopia can and do exist, albeit in a decidedly imperfect state – an idea that became central in his creation of the works on view in this show. In subsequent travels around the western world, Majidinejad encountered many more architectural iterations of the utopian ideal, both in squares such as St. Peter’s, and in public arenas like the Colosseum, and began to further question the concept of structures as expressions of ideas and ideologies.

 In his art, Majidinejad reduces the three-dimensional back down to two, boldly ‘collapsing’ iconic buildings and complexes that were conceived (and continue to be construed) as paragons of perfection and embodiments of paradigms both theological and secular. The sanctity and archetypal nature of these structures is disrupted and interrogated by Majidinejad’s practice of transposing architectural elements not only across buildings but across styles, eras, and cultures. In bringing quintessential components of Gothic church to a Romanesque mosque and vice-versa, for example, Majidinejad underlines both the affinities and the disparities that characterize the two styles and their socio-religious origins – and in the process creates a language that is at the same time anomalous and familiar. The resultant disorientation prompts the viewer to examine their own liminal preconceptions about the inviolability of borders and definitions.



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