Tere Recarens


My work is like a long journey,

enriching every project with the encounters I make along the way.

Tere Recarens is an interdisciplinary artist from Arbúcies and lives in Berlin. As an artist she works everywhere and especially with people outside the art scene. She is curious about her surroundings and the society. Her work is like a long journey from one place to another, enriching every project with the encounters she makes along the way. She is walking hand in hand along the roads of Bamako, Bar- celona, Paris, Berlin and Tehran. Tere is traveling through time and geographies, disproving cultural boundaries and erasing the ones that have been raised between life and art.

Foto: Sajjad Avarand

Teram garden, 2018

Depot old stones and wood

Once upon a time there was a little girl, called Teram* She lived in a town and felt unhappy because in her opinion everything looked overdesigned. Too many urbanists, too many architects and trendy restau- rants. She spent her days feeling angry and sick because of this environment. Until one day she discovered how some workers with a crane left all kinds of construction mate- rials in the corner of the garden in front of her house. She went to discover this site and felt really happy between all these stones and pieces of wood.

Teram started jumping joyfully from stone to stone and spent more and more time there. She converted the place in her privat playground.

*Eram garden, a Persian historical garden that was constructed in the 11th century. It means ‘heaven’ and the idea behind it was to create an earthly paradise.

Farsi, 2018

Tere in Tehran is very surprised that in Farsi there are five words to say merci: Dastet dard nakoneh, Merci, Mamnoon, Moteshakke- ram and Sepas. These are written in Farsi on a dusty mirror.

Kooshk open studio and Galerie Anne Barrault, Paris

D’ici à Ici, Hans & Fritz contemporary, Barcelona, 2017 Baharestan Farsh, Galerie Anne Barrault, Paris, 2018

Paradeiolie, Salon international du dessin contemporain, Marseille, 2018

Baharestan carpet, 2017-18

Cardboard, Arabic gum, pigments, Invisible ink and garlands, 440 x 720 cm

The cardboard carpet is inspired by The Winter Carpet, also known as The Spring of Khosrow, which disappeared, and it is only known through descriptions. This carpet was in the palace Taghe Kasra in Ctesiphon, the capital of Persia under the Sassa- nian Empire. During the invasion of the Arabs, in 637, they took it and brought it to Umar’s Caliphate. The carpet was too big and heavy to be carried, so the Arabs cut it into several pieces and distributed it as a loot. The cardboard carpet is divides into four main areas, as in the traditional Chaharbarg design. The four themes represen- ted are the legend of Simourgh, the story of Shirin and Farhad at the time of the King Khosrow, Mohammad Mossadegh as a democratic politician and the current situa- tion of women.

Tere in Tehran, 2018

I landed in Tehran with my ‘Baharestan Carpet’ and suddenly l were at *Kooshk. l felt like a Greek scholar, a mathematician who discovered specific weight or density. There is a story behind his discovery. The kingdom of Siracuse had a jeweller who made a crown of pure gold. Later, when the king received his crown, he doubted the jeweller had used the pure gold. Perhaps it was mixed with gold. He asked Archime- des to solve the problem of whether the crown was made of pure gold or not. One day, when Archimedes went into the pool to take a bath, he found that some of the water poured out of the pool. He found there was a direct relationship between the volume of the displaced water and the weight of his body. He shouted I find it, l find it. This way he had discovered the rule of density.

Taarof, 1397

Tere Zelzeleh had found the most astonishing thing in every day lra- nian’s life: Taarof. I stamped 100 bills with my name and wishing a good year ahead: sale no mobarak! I walked and play it.

Kooshk residency, Open Studio, Tehran

*Kooshk, palace at the garden and also the name of the artist residency

Boteh Jegheh, 2015-16

Sérigraphie, lithographie, warm stamp

This is a very old form. It can be defined as the zoroastrian fire, or a cur- ved cypress, the humility, a leaf and a water drop. In the Sasanian Empi- re (226-651 A.D.), before the Arabs and Islam came to Persia, almonds were sacred, and royalty and important figures of the time used their shape on their clothing, writing their names inside the almond form. During the same period, on official and trade documents, Persians would ink the underside of their closed fist and stamp it on the paper, creating the shape of the boteh jegheh.

From Mashad to Mashad, 2015

20 Drawings (20,8x29,5 cm), several techniques

A transformation of the negative effects of an event –a plaine failure- into something positive. Written in Farsi on each one of the drawings is the following question ‘What do you think is the most important thing in life?’ and distributed to the passengers.

D’ici à Ici, Hans & Fritz contemporary, Barcelona, 2017

Paradeiolie, Salon international du dessin contemporain, Marseille, 2018

Baharestan carpet, Galerie Anne Barrault, Paris 2018

Tere Optimiste, 2016

Exhibition view, Art3, Valence, Fr, 2016


Nine banners with sentences of intellectuels and inhabitants of Malí, painted with the bogolan tecknique: earth on top of cottonfabric.

Agenc y of living organisms, TABAKALERA, Centro Internacional de Cultura Contemporánea, San Sebastian, 2016

19 MARÇ 2014

19 Març 2014, Arts Santa Mònica, Barcelona, 2004

19 Març 2014, Black box. White cube, CA2M – Centro de Arte Dos de Mayo, Móstoles, Madrid, 2014

Imagination, 2012

Photograph 30 x 40 cm