Pars Arts

Etsy-Irooni: Schauleh Sahba’s Azadi Print

I love seeing Iranian things on Etsy. This is an Azadi Tower print by Schauleh Sahba. The lines are made up of the word “freedom” in five different languages. Pretty sweet!

The Art of Mona Shomali

Iranian-American artist Mona Shomali paints lush, vibrant images of Kahlo-esque nudes in Iran-inspired settings. We asked her about her art.

Pars Arts: Your work was featured in the all-female, SoCiArts-produced show, feminine, where it stood out because of its interesting use of nudity. Your current series is called “Naked Folklore.” Can you discuss your use of nudes and why you decided to pair nude women with Iranian motifs?

Mona Shomali: Naked Folklore is a series of paintings that pairs together brazen nude females with Iranian cultural artifacts of great significance. The women in the paintings can question and transform ethnographic taboos, assumptions, and traditional rites of passage of both Iranian and American culture without fear of repercussions. These women are surreal and provocative as they experience their own self-defined identities- regardless of what is possible.

Shab-o-Sher & Samovar - Mona Shomali

The use of nudity was my way of challenging the images of Iranian women I saw in the American media—black shrouded formless sexless women. Besides the paintings, books and photo albums of my family members, the only contemporary images of Iranian woman that I came across were with a “chador”, literally translated from Farsi to English as “tent”. I wanted to explore the sensuality, volition and complex desires of the authentic woman who was underneath the tent.

Nudity is also very significant taboo within Iranian culture and Iranian art history. Although cultures from Europe, Africa and the Pacific Islands have had their own figurative art movements featuring nudity, Iranians have not yet enjoyed their own figurative movement. A figurative art movement becomes even more difficult within the contemporary Iranian state. The Islamic government’s position is that nudity in art violates the limits of Islam – it is prohibited and shameful. This is an ironic part of my identity because the Iranian position on nudity could not be more in contrast with the bohemian “American-ness” of where I was raised: the San Francisco Bay Area.

PA: You emphasize that your work is not Iranian but Iranian-American. What distinguishes Iranian-American art – your art – from that of your Iranian counterparts? How would you define or describe the characteristics of Iranian-American art vs. Iranian art?

MS: This series is a narrative expression of what it is to be an Iranian-American woman, an illustration of societal “Iranian-ness” and individualistic “American-ness” that is experienced from adolescence to womanhood. It is about finding a personal balance between modernity and tradition – sorting through clashing cultural ideas of what it is to be a “good woman”, “good wife”, and “good daughter” and choosing a standard for oneself. It is a story that reflects a very distinct and specific period in history. My narrative also reflects the era of globalization, both the benefits and disadvantages.

Iranian-American art can not be collapsed with Iranian art because the histories and narratives are completely different and must be honored in their own right. After the 1979 Islamic Revolution in Iran, the Iranians who live in Iran have had their own rich and difficult experiences that translate to their own collective and personal narratives. Contemporary Iranian narrative art reveals politically charged stories from the Iran-Iraq war, the divide of close-knit families, harassment by the Islamic police, the unfolding of the hostage crisis, student riots, protests, imprisonment, and so much more.

It is essential that I distinguish myself from Iranians that live in Iran. My cousin recently emigrated to the U.S. from Iran two years ago and she keeps a blog for her Iranian friends. She writes, “My friends in Iran do not know what it is like to go outside and feel the wind blowing through their hair”. Her story is of an Iranian living in America. My story is of being Iranian-American. I have never worn a chador and I have no idea what that must be like for all my Iranian female counterparts.

My Iranian-ness was experienced in the Western world – not based on contemporary Iran, but based on stories of immigrant nostalgia and American media images. Growing up with Iranian immigrant parents in the suburbs in the 1980s, it was impossible to escape the tension between Iran and the United States. I remember that at age 11, it was the first time I sensed from my friends that being Iranian was not a good thing. Unfortunately, I even asked my mom to not speak to me in Farsi in public out of embarrassment and fear of my young classmates. This was because I had internalized the negative images of Iranians I had seen in the American media. The hostage crisis had resulted in a lot of resent and hostile feelings towards Iranian immigrants.. In my early teens, I remember feeling defensive when asked questions about being Iranian. I felt as though I was always trying to compensate and trying to show alternative and positive perspectives of Iranian culture. Personally, I found it very difficult to operate and behave within two opposing cultural standards. I felt most comfortable somewhere in between rebellion and renaissance.

Iranian-American artists express the tension between the two countries of our diaspora identity, and as a result, our “Iranian-ness” becomes more accessible to the non-Iranians in the countries we live within. For example, one of my favorite artists is Iranian-French. Marjane Satrapi’s storytelling is through her comic styled books and widely acclaimed movie “Persepolis” has allowed for non-Iranians to have such a deeper understanding of Iran. Her stories are authentic and personal, but they can also be universally re-affirming for Iranians all over the world that can recognize themselves in her art.

PA: In the last few years, there’s been an inordinate amount of attention on Iranian female writers, particularly in the United States and Europe, and it’s become a bit of a fetish. Is this happening in the art world, as well? If so, how does this affect you in your work?

MS: With the current American focus on the Middle East/Iran, there is an teachable opportunity that writers can take advantage of. Especially for members of the Iranian diaspora living in America, writing a personal novel is a very revealing and non-threatening way to introduce the issues that Iranian women face.

Furthermore, writers, like artists, are interested in creating their own stories and versions of history. Unlike a textbook that deals with the orientalist version of Iranian culture, Iranian women’s art can provide a much needed indigenous perspective of culture and identity. Unlike the exact and reductionist nature of science, art is not “wrong” or “right” when it recounts events and stories that have taken place.

PA: In “Naked Folklore,” only one painting depicts a man – the rest are all of women. Can you describe the meaning of the painting with the man, “The Strength of a Vulnerable Man”?

MS: One of the reasons my mother left Iran during the Islamic revolution was because she did not want to wear the chador that would soon become mandatory Islamic rule. I always was aware of the official stated reason for the chador: that the bodies and head are covered so the women do not tempt men other than their husbands, etc. In the Koran 24:31, it states, “Tell the faithful women to lower their gaze and guard their private parts and not display their beauty except what is apparent of it.” The idea that women “tempt” men is not only restricted to the Koran. In both the Bible stories of Adam and Eve and Samson and Delilah, it is a woman that tempts the man towards sin, or betrayal of God.

In many Islamic governments, it is law that the women cover up and keep hidden in order to “prevent” the man from sinning. The restraints are not on the men’s desires, but on the object of their desires. This stems from an assumption that the sexual desire of a man is not controllable, that men are reduced to savage animals that can not control themselves. Simultaneously, it becomes the woman’s “fault” for tempting or provoking the sexual acts of a man.

I am aware that women globally have fought long and hard to shed the outdated patriarchal restrictions that have been imposed on women by men. What I can not comprehend is how the state imposed chador helps create more value and respect for women. I do understand that all of us are a product of our gender socialization and conditioning. From whatever cultural vantage point that may be, we ask, “what makes a strong man?” and “what makes a strong woman?” To what extent do we “naturally” behave like our own gender? For certain cultural belts running through the world, behaviors such as machismo, possessiveness, protection or even violence may be expected of strong men. For other cultures, male strength may be illustrated through sensitivity, rational choice, due diligence, and in the measure of self control. Personally, I acknowledge that women possess sexual power, but I also acknowledge the restraint that the modern man is capable of. This respectful restraint should not be underestimated.

The Strength of a Vulnerable Man - Mona Shomali

These ideas of strength and weakness are so deeply embedded into our cultures that we rarely question them – until these ideas clash. Gender politics are most heated when the norms and expectations for gender and sexuality are in transition. Because of these juxtapositions and contradictions between male and female strength, I wanted to illustrate the opposite of a classic image between Adam and Eve. What if it was Adam that was really tempting Eve by offering her the forbidden fruit? Would the ideas of “strength” and “temptation” change? Who would be vulnerable, and who would have to resist whom?

“Blazing Grace” in London

© concept: Shoja Azari, Painting: Shahram Karimi, Coffee House Painting 2009, still from video installation East Central/London and LTMH/New York

For Londonites: The work of Iranian artists Shoja Azari and Shahram Karimi will be shown at the East Central Gallery from January 15-February 27. From press materials:

The show, entitled “Blazing Grace”, reflects on the futility of war and the trauma of a violated land, focusing on the Gulf war in 1990 and the Middle Eastern region more broadly. The exhibition is the result of an ongoing collaboration between the painter Shahram Karimiand the video artist Shoja Azari.

Five artworks from the so-called “Oil Series” will surround viewers, re-creating a cinematic experience through the canvases’ glow of mesmerising colours. Referring to the first Gulf War, and presented in the darkened subterranean floor of East Central, the “Oil Series” depicts scenes of deserts aflame, with fires scorching the skies, smoke billowing in the wind, a soldier disappearing into misty horizons and tanks reining over ashen land. When the Iraqi troupes retired from Kuwait they set afire 737 oil wells, which burned for months and months.

The works sample images from Werner Herzog’s film “Lessons of Darkness”, with scenes slowed, edited and reframed by Azari, projected as brief looping videos onto Karimi’s hyperrealist paintings which are literally brought to life, while Karimi also interweaves on the canvases barely decipherable lines of his own poetry written in Farsi, evoking intuitive thoughts lying underneath the surfaces.

Exhibited in its own enclave in this seminal show is the video projection “Coffee House Painting”, another creative collaboration between Azari
and Karimi, which was then recreated as a video projection by Azari. Rich in political and historical references, and equally critical of global
politics, the work is inspired by the traditional Persian coffee house paintings that were popular in early 20th Century Iran and which spoke of
heroes and villains from Persia’s epic history of myth and legend.

Gallery details here.

Ann Curry’s Inside Iran

Nice job, Ann Curry!

Thirty Years On: SOAS Conference on the Iranian Revolution

SOAS conference Thirty Years On: The Social and Cultural Impacts of the Iranian Revolution will be held in London this Friday and Saturday, featuring films and panels that delve into the aftermath of the revolution. Here’s a schedule, and if you can’t make it, there are abstracts on the SOAS site that are definitely worth a read.

(Thanks, Leili!)

feminine

This Friday, SoCiArts opened an exhibit of all-female artists, “feminine,” which will run through April 17 (by appointment) here in Los Angeles. SoCiArts has been quite successful in producing and promoting arts and film events, particularly those that feature Iranian artists. Of the eight women included in “feminine,” three are Iranians – Negin Karbassian, Shagha Ariannia, and Mona Shomali.

The show’s paintings and photographs hung on brick walls and from pipes, the concrete floor bouncing the noise of conversations and the sound of footsteps around the room. Outside, well-heeled smokers made wisps of toxic air that hovered at nose-level, a kind of olfactory entry badge that attached itself to your hair and clothes and followed you into the room. The woman at the door worried about running out of price lists, and the bartender poured and poured.

It was a beautiful and very sensory scene, almost to the point of being overwhelming. I met two artists, and only talked at any length with one – Mona Shomali, who had come in from New York and walked me through her portfolio (she only had two works hanging on the wall; look for an interview with her here soon). Though I looked for a thread beyond gender to tie some of the art together, I didn’t really find it – it ranged from prints of Bush-era political commentary to portraits of pop-culture figures, abstracted Persian calligraphy to abstract line drawings, clothed photographic self-portraiture to nude photographic self-portraiture. (Incidentally, the nudes were by the only artist whose work was not immediately visible from the entrance of the gallery; they were tucked on a wall next to the DJ, also female and very beautiful, who was working a Macbook from the back of the room.)

Perhaps the show’s thread is sheer variety, but maybe a thread beyond the feminine is not really necessary; a couple of days after the show, I found a Blackbook article from late last year, which cites a study by the National Endowment for the Arts that reports female artists make, on average, $0.75 for every dollar male artists make. According to the same NEA report, more female artists work part-time than male artists do, so perhaps an entire show devoted to female work is intended to narrow these disparities.

For more on the show and its eight artists, see the SoCiArts website.

Interview with Iason Athanasiadis: Exploring the Other

Photojournalist, writer, producer, and 2008 Nieman Fellow Iason Athanasiadis has spent years covering the Middle East, and he’ll be showing his work at the Craft and Folk Art Museum (CAFAM) in Los Angeles from January 25 through March 29 in an exhibition entitled “Exploring the Other.” We asked Iason about his experience working as a journalist in Iran.

Pars Arts: An exhibit of your photographs of Iran and its people, “Exploring the Other,” is opening at CAFAM shortly. When/why/how did you become interested in Iran?
Iason Athanasiadis: In the 2004 Olympics, I was working for BBC World in Greece after having spent years in the Arab Middle East, including covering the US invasion of Iraq for al-Jazeera. After the spotlights went out over the stadiums and the large BBC Olympics team disappeared back to London, I wanted to take a year off and go back to university. Serendipity knocked when an Iranian friend of mine told me about an MA program being offered by an Iranian university that would also mean moving to Iran. I jumped at the chance. It was one of the best decisions I made in my life.

PA: You’ve spent quite a bit of time living in and reporting from Iran. What do you think is the biggest challenge for foreign journalists in Iran?
IA: Several issues, chief of which is how to reconcile on-the-ground narratives that are more conflicting and widely-dispersed than from almost any other place that I’ve reported on. It’s very difficult to do fact-checking when the narratives are sometimes diametrically opposed, the government bureaucracy unresponsive and the craft of ‘foreign correspondent’ is synonymous with ‘foreign intelligence operative’ in the minds of many.

Paperwork is required to work anywhere in the country, minders are ever-present, and official permits never arrive or come long after the news deadline has elapsed, However, Iran is also by far the most fascinating country to work on off-the-radar stories about society that break the dominance on the news agenda of stories about the nuclear program, human rights abuses and purported Iranian designs on the region. And however often we in the West say that the Iranians are paranoid and see conspiracy everywhere, my stay in the country often proved to me that “just because one is paranoid doesn’t mean they’re not out to get him.” This recently-published story demonstrates the truth of this, I think: Revolutionary Inroads.

By far the best journalist writing from Iran these days is Thomas Erdbrink. His wife, Newsha Tavakolian, is one of the most talented of the next generation of photographers.

PA: The exhibit’s press release notes that your work “challenges visitors to question how media information is presented (and filtered).” As an experienced journalist, can you briefly explain this filtering process?
IA: The blame lies both on the side of editors suffering from an anti-Iran bias or not enough knowledge of the country, and on the side of a government that refuses access and hinders coverage of the country.

PA: As a photojournalist and non-Iranian yourself, what makes the images of Iran you’ve taken different from those your fellow journalists are creating? In other words, how do these images sidestep filtering, or make the filtering process more transparent?
IA: As a non-Iranian I see the country with a freshness that, unfortunately, I lack in covering my own country, Greece.

We always see the new through a different perspective than the one with which we view the familiar. Excellent work from Iran has been created by several photojournalists; the majority of them more talented and senior than me. Some of these are Reza Deghati, Majid Saeedi, Kaveh Golestan, Bahman Jalali, Paolo Woods, Mohammad Farnood, Jamshid Bayrami, Gilles Peress, Nasrollah Kasraian.

If we want to talk about sidestepping filtering, it’s easy to do this if the primary place where the filtering happens is in the head. I made sure to learn the language, read as much as I could about Iran and speak to those who could enlighten me about the true nature of the country. As for the second main place where filtering happens, the editor’s desk, as a freelancer I have the great luxury to choose not to work again with editors whose handling of my work I have issues with.

PA: You’ve had numerous photo exhibits around the world, including in Iran. How have Iranians in Iran reacted to images of themselves?
IA: I made a point of turning up to my Tehran shows every day of their duration and engaging with visitors on their perceptions of the images. I learned a lot of interesting things from these encounters.

For example, one visitor was pleasantly surprised to see the picture of the man with weighing-scales that he had passed by every day since he was a child in Hamedan’s main square, hanging on the wall; Iranians in Greece and the US have enjoyed seeing images of a homeland they have not seen since leaving it before or after the Revolution. Many of them express surprise, sadness, joy or melancholy at how their country looks today. Often these images do not jive with their own narratives.

I learned much from the criticism that visitors – thankfully Iranians are not shy about their emotions – expressed about my work, and tried to use it as a spur to improve my perspective.

Most memorable was the comment a Tehrani journalism made about my work. Of all the people depicted, she said, the majority look sad, disconnected. Why did I portray them like that? What was it in my own psychosynthesis that prompted me to click the shutter on these moments?

The comment stuck with me because it was true, and I questioned myself over it. Even in my current show, one of the rare images of people laughing is on the ski lifts in Shemshak, a place that at the time the image was taken effectively lay outside the orbit of public morality.

Maybe it has to do with me. Maybe it has to do with the way in which the citizens of the Islamic Republic present themselves in public.

Khoda – Reza Dolatabadi

Reza Dolatabadi is director/art director of “Khoda,” a five-minute student film comprised of more than 6000 paintings produced over two years.

Khoda from Reza Dolatabadi

Director/art director: Reza Dolatabadi
Written by Reza Dolatabadi & Mark Szalos Farkas
Animation by Adam Thomson
Music by Hamed Mafakheri

Hossein Derakhshan: Iranian Bloggers Speak Out

A group of Iranian bloggers has published a collective statement about Hossein Derakhshan’s arrest in Tehran. It’s signed by Omid Memarian and Sanam Dolatshahi, among others.

From On Hoder’s Disappearance and Possible Detention (eyeranian.net):

Derakhshan’s own position regarding a number of prisoners of conscience in Iran has been a source of contention among the blogging community and has caused many to distance themselves from him. This, however, doesn’t change the fact that the freedom of expression is sacred for all not just the ones with whom we agree.

We therefore categorically condemn the circumstances surrounding Derakhshan’s arrest and detention and demand his immediate release.

Pictures of You: Images from Iran

Tom Loughlin is a Colorado-based artist whose portraits of Iranians in Iran are being shown in a groundbreaking and thought-provoking installation across the United States. We asked Tom how his show, Pictures of You: Images from Iran, came about, how people have reacted so far, and where the show is going.

Pars Arts: In your artist’s statement, you write that the idea for Pictures of You started when you were taking photos in Isfahan. What drew you to Iran in the first place?

Tom Loughlin: The first time I heard of Iran was in 1979, when I was in middle school in St. Louis, Missouri. I clearly remember an intense mood of anger and disbelief about the takeover of the U.S. embassy in Tehran. Every night on the network news, we would be reminded of how many days the “hostage crisis” had gone on. I don’t recall hearing anything about the history of U.S./Iranian relations, and the only explanation offered for the actions of the Iranian hostage takers was that they were religious fundamentalists who hated the United States.

The whole thing made quite an impression on me, and as I grew older, I couldn’t stop wondering what had motivated those Iranian university students. In high school, I was lucky enough to be able to take a course on Middle Eastern history, which helped me understand the roots of the Iranian revolution, and put Iranian concerns about U.S. intervention in a new light.

Although my history class helped to explain what had happened in Iran in 1979, it raised important questions for me about the United States. For example, our government’s participation in the 1953 coup was not part of our national conversation about Iran in 1979. What does that say about our own representative democracy? How can citizens engage in informed debate about foreign policy decisions if they lack the most basic historical facts?

Western demonization of Iran is not a new phenomenon – it dates back to the time of Herodotus. What’s fascinating to me is that we in the United States can’t seem to move away from that narrative. Of course there are many, many Americans who understand the world in a more nuanced way, but the puzzle for me is why with all of our prosperity, freedom, and commitment to education, so many of us have a simplistic, polarized view of U.S./Iranian relations.

PA: How did you find your subjects for the portraits in the installation? How did they react to the project?

TL: The show has evolved fairly rapidly over the past two years. When I first traveled to Iran in October 2006, the project didn’t even really exist. My main interest was in seeing Iran with my own eyes, and finding out what life was like for people in Iran. Not surprisingly, I was welcomed with Iran’s legendary hospitality, and I quickly came to believe that the United States would be a better place if all Americans could see the humanity of the citizens of Iran.

On my most recent trip to Iran, I was able to show renderings of what the completed installation would look like, and talk in some detail about where the work would be shown. Everyone I spoke to about the project seemed to understand it right away – both my desire to show Iran to Americans, and the variety of responses that we were likely to get in the United States. I found people to be very supportive, and quite interested to see how Americans would respond.

PA: The photos in Pictures of You are printed on translucent silk. You’ve written that the silk is intended to allow viewers to see each other as well as the photographs, and to remind them that “something beautiful is in jeopardy.” How have viewers reacted to Pictures of You?

TL: There have been a wide variety of reactions. In fact, the one commonality seems to be that no one is indifferent. Everyone seems to have a powerful response to the show.

So far, the overwhelming majority of responses have been positive. Viewers thank us for putting a human face on Iran, and many of them have powerful emotional responses. It’s quite amazing for me as an artist to see people emerging from the installation in tears, or emptying their pockets into our donation boxes because they want to see the show travel to other venues.

We have had a variety of negative responses as well. At our installation in Denver, we were picketed by a Christian group that wanted to express the view that Muslims were going to hell. Interestingly, they all agreed that the subjects of my photographs looked like very nice people. At the same installation, we had a visitor tell us that he wanted to go and get dynamite and destroy the artwork. One of our staff members engaged him in conversation about the show, and within ten minutes he had changed his mind completely! He told us he supported what we were doing, and thanked us for being there.

A lot of the negative responses have appeared on weblogs and news sites. Several bloggers came through our installation without sharing their opinions with anyone staffing the show, but went home and posted their negative feelings on their websites. In some cases, those posts drew hundreds and hundreds of comments within a day of being posted. There was also extensive commentary in response to mainstream online newspaper coverage of the show – frequently quite negative.

It’s fascinating to see how people make use of the new media that are available today. In this case, online forums have allowed debate about the show (and about U.S./Iranian relations) among people from very different backgrounds and points of view. Of course, we have also seen person-to-person debate and dialog happening at the show, too.

PA: Your website notes Pictures of You will be traveling throughout the U.S. in 2008/2009. Where have you shown thus far, and where are you headed?

TL: So far we have shown the work in my hometown of Crested Butte, Colorado, and at the Democratic National Convention. My wife and I agreed that we would build the installation and show it at those venues so that people could see what it looked like and how it worked. Let’s face it: this is a project that’s difficult to describe to someone who hasn’t seen it. Now that we’ve shown it a couple of times, and people have begun to talk about their experience of seeing the show, we think it will be easier for people to understand what we’re trying to do.

We are currently in a period of fundraising. It’s not a cheap show to put on, and we are absolutely committed to the idea that it has to be free for people to come see it. We want as many people as possible to have a chance to walk through the installation, so we feel the need to travel with it and to keep admission free.

We’ve put together a list of venues – we’ve narrowed it down to fifteen places we would like to travel to – beginning in Los Angeles this spring. But it’s all contingent on financial support. We’d be interested in hearing from your readers about where they would like to see the show, and whether they would be interested in supporting our fundraising efforts. [Ed. note: see the end of this post for tentative cities/dates.]

PA: Were you able to show this installation at the DNC and RNC? How did viewers at each convention react?

TL: In some ways, the most interesting responses we got were from the Democratic and Republican National Committees that put on the conventions. The DNC had a designated “free speech” zone in a beautiful city park right in the heart of downtown Denver. The DNC helped groups who wanted to put on a display in the park, or march from the park to the auditorium where the convention was being held. We had a rather large, unorthodox installation to put on, but with help from the DNC and officials working for the City of Denver, we were able to pull it off.

We had a different experience with the folks planning the Republican National Convention. We applied to put on our installation in their designated free speech zone – a large, grassy island across the Mississippi River from the convention site. After we submitted our application, we were told that our installation couldn’t go in the free speech zone, so we had to start over again. After months of going back and forth, we were offered a spot just a few weeks before the convention. The proposed location was under a bridge next to a highway, and had no parking lot and no way for pedestrians to cross the highway. We elected not to put on the installation there.

Draw your own conclusions about what those distinctions might mean.

PA: What are your future plans for Pictures of You?

TL: We want to travel broadly with the installation, and we want to record how Americans respond to it. I think the variety and the intensity of viewers’ responses to the show present an opportunity to document where we are as a nation right now. We’ve made a short film about the first two installations, and it’s been a great way to illustrate how people respond to the artwork [Ed. note: see top of this post for the video]. We would like to do a longer film about the reception we get as we travel across the United States. But, as I mentioned, this is all dependent on financial support.

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Pictures of You will have tentative showings in the following cities in 2009:

• Los Angeles, early April
• Las Vegas, mid April
• St. George, UT, mid/late April
• Phoenix, early May
• Santa Fe, early/mid May
• Colorado Springs, mid/late May
• St. Louis, 4th of July
• Cheyenne, WY, mid July
• Chicago, mid August
• Minnesota State Fair, late August
• Kansas State Fair, mid September
• Texas State Fair, late September/early October
• Oxford, MS, mid October
• Oklahoma City, mid/late October
• Louisiana State Fair, late October/early November
• East Coast trip starting Spring 2010