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### Body
htmlText_34057041_142D_7417_4199_B93E58022345.html = Minus four (-4)
Oil on canvas
215×180 cm
2026
Study No. 1(sketchbook)
Conté pencil on kraft paper
26×35 cm
2025
Study No. 1(sketchbook)
Conté pencil on kraft paper
26×35 cm
2025
Study No. 10 (painting)
Oil on canvas
70×100 cm
2025
Study No. 11 (sketchbook )
Oil on canvas fabric
35×25 cm
2026
Study No. 2 (three-dimensional study)
Mixed media
37×32× 25.5cm
2025
Study No. 2 (three-dimensional study)
Mixed media
37×32× 25.5cm
2025
Study No. 2 (three-dimensional study)
Mixed media
37×32× 25.5cm
2025
Study No. 3(composition study)
Oil on canvas
20×34 cm
2025
Study No. 4 (composition study)
Oil on canvas
26×41 cm
2025
Study No. 5 (painting)
Oil on canvas
20×23 cm
2025
Study No. 6 (painting)
Oil on canvas
40×30 cm
2025
Study No. 7 (painting)
Oil on canvas
40×30 cm
2025
Study No. 8 (painting)
Oil on canvas
40×30 cm
2025
Study No. 9 (painting)
Oil on canvas
40×30 cm
2025
The last 89 seconds
Oil on canvas
220×380 cm
2025
The Hour of Disaster, takes its title from the global Doomsday Clock, a symbolic clock introduced in 1947 by a group of scientists who had been involved in the first atomic bomb project.[1] The clock serves as a metaphor for global crises including nuclear war, climate change, and destructive technologies that could potentially lead to the extinction of humanity. In the Doomsday Clock, the concept of time is understood as an approaching threat. Its hands are symbolically adjusted over time, moving closer to midnight the symbolic point of catastrophe as humanity faces increasingly serious risks.
Azim Morakabatchi created this series with the intention of conveying this warning to people around the world. The process through which the series took shape is interdisciplinary in nature; as the idea moves through text, sculpture, and painting, it maintains its conceptual coherence while allowing for reinterpretation within each medium. The setting of the work is both timeless and placeless an element that underscores the sense of disorientation and confusion experienced by the contemporary human being.
“The Last 89 Seconds” did not reach its intended destination in the year it was created. With the outbreak of war and the work’s subsequent absence from public view, it itself came to embody the fate that it had previously sought to represent. A year later, following the adjustment of the Doomsday Clock from 89 to 85 seconds, “Minus Four” was added to the series. This work is not merely a new addition alongside the existing pieces; rather, it introduces the mechanism of change into the very structure of the series.
In “The Last 89 Seconds,” time is the subject of the work; in “Minus Four,” it becomes the mechanism through which the work is produced and continues to exist. “Minus Four” is not an image of “85 seconds,” but rather a record of the interval between two temporal states an interval that becomes shorter with each change and compels us to reconsider the present. From this perspective, “Minus Four” is a work of the passage of time, rather than an image of a particular moment in time. It bears the trace of a real change in the external world, one that compels the series to redefine its relationship with the present. If “The Last 89 Seconds” can be understood as a work about time, “Minus Four” is a work created by time.
At this point, “The Hour of Disaster” is no longer merely a symbol or a visual reference; it becomes a temporal mechanism that directly determines the state of the work. The series does not confront the viewer with a fixed image of the future, but places them in relation to the actual time of the world a time that is constantly changing, with each change redefining the state that came before it. The external world, without directly intervening in the process of creation, generates the necessity for change. Thus, the dynamism of the work does not lie in its physical movement, but in its ontological condition and in the process through which the work takes shape and continues to exist. The work is no longer a fixed and final object, but an open structure exposed to time, carrying within it the potential for change, expansion, reinterpretation, and re-creation. “The Hour of Disaster” is an unfinished process in which time, the world, and the artwork are changing in parallel. Now, four more seconds have been lost: only 85 seconds remain before the beginning of disaster.
Saadat Afzood
The Hour of Disaster, takes its title from the global Doomsday Clock, a symbolic clock introduced in 1947 by a group of scientists who had been involved in the first atomic bomb project.[1] The clock serves as a metaphor for global crises including nuclear war, climate change, and destructive technologies that could potentially lead to the extinction of humanity. In the Doomsday Clock, the concept of time is understood as an approaching threat. Its hands are symbolically adjusted over time, moving closer to midnight the symbolic point of catastrophe as humanity faces increasingly serious risks.
Azim Morakabatchi created this series with the intention of conveying this warning to people around the world. The process through which the series took shape is interdisciplinary in nature; as the idea moves through text, sculpture, and painting, it maintains its conceptual coherence while allowing for reinterpretation within each medium. The setting of the work is both timeless and placeless an element that underscores the sense of disorientation and confusion experienced by the contemporary human being.
“The Last 89 Seconds” did not reach its intended destination in the year it was created. With the outbreak of war and the work’s subsequent absence from public view, it itself came to embody the fate that it had previously sought to represent. A year later, following the adjustment of the Doomsday Clock from 89 to 85 seconds, “Minus Four” was added to the series. This work is not merely a new addition alongside the existing pieces; rather, it introduces the mechanism of change into the very structure of the series.
In “The Last 89 Seconds,” time is the subject of the work; in “Minus Four,” it becomes the mechanism through which the work is produced and continues to exist. “Minus Four” is not an image of “85 seconds,” but rather a record of the interval between two temporal states an interval that becomes shorter with each change and compels us to reconsider the present. From this perspective, “Minus Four” is a work of the passage of time, rather than an image of a particular moment in time. It bears the trace of a real change in the external world, one that compels the series to redefine its relationship with the present. If “The Last 89 Seconds” can be understood as a work about time, “Minus Four” is a work created by time.
At this point, “The Hour of Disaster” is no longer merely a symbol or a visual reference; it becomes a temporal mechanism that directly determines the state of the work. The series does not confront the viewer with a fixed image of the future, but places them in relation to the actual time of the world a time that is constantly changing, with each change redefining the state that came before it. The external world, without directly intervening in the process of creation, generates the necessity for change. Thus, the dynamism of the work does not lie in its physical movement, but in its ontological condition and in the process through which the work takes shape and continues to exist. The work is no longer a fixed and final object, but an open structure exposed to time, carrying within it the potential for change, expansion, reinterpretation, and re-creation. “The Hour of Disaster” is an unfinished process in which time, the world, and the artwork are changing in parallel. Now, four more seconds have been lost: only 85 seconds remain before the beginning of disaster.
Saadat Afzood
The Hour of Disaster, takes its title from the global Doomsday Clock, a symbolic clock introduced in 1947 by a group of scientists who had been involved in the first atomic bomb project.[1] The clock serves as a metaphor for global crises including nuclear war, climate change, and destructive technologies that could potentially lead to the extinction of humanity. In the Doomsday Clock, the concept of time is understood as an approaching threat. Its hands are symbolically adjusted over time, moving closer to midnight the symbolic point of catastrophe as humanity faces increasingly serious risks.
Azim Morakabatchi created this series with the intention of conveying this warning to people around the world. The process through which the series took shape is interdisciplinary in nature; as the idea moves through text, sculpture, and painting, it maintains its conceptual coherence while allowing for reinterpretation within each medium. The setting of the work is both timeless and placeless an element that underscores the sense of disorientation and confusion experienced by the contemporary human being.
“The Last 89 Seconds” did not reach its intended destination in the year it was created. With the outbreak of war and the work’s subsequent absence from public view, it itself came to embody the fate that it had previously sought to represent. A year later, following the adjustment of the Doomsday Clock from 89 to 85 seconds, “Minus Four” was added to the series. This work is not merely a new addition alongside the existing pieces; rather, it introduces the mechanism of change into the very structure of the series.
In “The Last 89 Seconds,” time is the subject of the work; in “Minus Four,” it becomes the mechanism through which the work is produced and continues to exist. “Minus Four” is not an image of “85 seconds,” but rather a record of the interval between two temporal states an interval that becomes shorter with each change and compels us to reconsider the present. From this perspective, “Minus Four” is a work of the passage of time, rather than an image of a particular moment in time. It bears the trace of a real change in the external world, one that compels the series to redefine its relationship with the present. If “The Last 89 Seconds” can be understood as a work about time, “Minus Four” is a work created by time.
At this point, “The Hour of Disaster” is no longer merely a symbol or a visual reference; it becomes a temporal mechanism that directly determines the state of the work. The series does not confront the viewer with a fixed image of the future, but places them in relation to the actual time of the world a time that is constantly changing, with each change redefining the state that came before it. The external world, without directly intervening in the process of creation, generates the necessity for change. Thus, the dynamism of the work does not lie in its physical movement, but in its ontological condition and in the process through which the work takes shape and continues to exist. The work is no longer a fixed and final object, but an open structure exposed to time, carrying within it the potential for change, expansion, reinterpretation, and re-creation. “The Hour of Disaster” is an unfinished process in which time, the world, and the artwork are changing in parallel. Now, four more seconds have been lost: only 85 seconds remain before the beginning of disaster.
Saadat Afzood
The Hour of Disaster, takes its title from the global Doomsday Clock, a symbolic clock introduced in 1947 by a group of scientists who had been involved in the first atomic bomb project.[1] The clock serves as a metaphor for global crises including nuclear war, climate change, and destructive technologies that could potentially lead to the extinction of humanity. In the Doomsday Clock, the concept of time is understood as an approaching threat. Its hands are symbolically adjusted over time, moving closer to midnight the symbolic point of catastrophe as humanity faces increasingly serious risks.
Azim Morakabatchi created this series with the intention of conveying this warning to people around the world. The process through which the series took shape is interdisciplinary in nature; as the idea moves through text, sculpture, and painting, it maintains its conceptual coherence while allowing for reinterpretation within each medium. The setting of the work is both timeless and placeless an element that underscores the sense of disorientation and confusion experienced by the contemporary human being.
“The Last 89 Seconds” did not reach its intended destination in the year it was created. With the outbreak of war and the work’s subsequent absence from public view, it itself came to embody the fate that it had previously sought to represent. A year later, following the adjustment of the Doomsday Clock from 89 to 85 seconds, “Minus Four” was added to the series. This work is not merely a new addition alongside the existing pieces; rather, it introduces the mechanism of change into the very structure of the series.
In “The Last 89 Seconds,” time is the subject of the work; in “Minus Four,” it becomes the mechanism through which the work is produced and continues to exist. “Minus Four” is not an image of “85 seconds,” but rather a record of the interval between two temporal states an interval that becomes shorter with each change and compels us to reconsider the present. From this perspective, “Minus Four” is a work of the passage of time, rather than an image of a particular moment in time. It bears the trace of a real change in the external world, one that compels the series to redefine its relationship with the present. If “The Last 89 Seconds” can be understood as a work about time, “Minus Four” is a work created by time.
At this point, “The Hour of Disaster” is no longer merely a symbol or a visual reference; it becomes a temporal mechanism that directly determines the state of the work. The series does not confront the viewer with a fixed image of the future, but places them in relation to the actual time of the world a time that is constantly changing, with each change redefining the state that came before it. The external world, without directly intervening in the process of creation, generates the necessity for change. Thus, the dynamism of the work does not lie in its physical movement, but in its ontological condition and in the process through which the work takes shape and continues to exist. The work is no longer a fixed and final object, but an open structure exposed to time, carrying within it the potential for change, expansion, reinterpretation, and re-creation. “The Hour of Disaster” is an unfinished process in which time, the world, and the artwork are changing in parallel. Now, four more seconds have been lost: only 85 seconds remain before the beginning of disaster.
Saadat Afzood
Mojdeh Art Gallery started its activity in 1999 and has based its programs on two axes from the beginning: first, holding exhibitions for pioneer and young artists, and the second axis, in connection with the first axis, is: research and authoring of books and articles in the field of modern and contemporary art of Iran. It should be noted that the exhibitions held in Mojdeh Art Gallery were of various art media such as paintings, photographs, sculptures, installation, etc. and these exhibitions usually included statements and criticism in addition to visual expression. It should be noted that Mojdeh Art Gallery, while continuing its artistic and research activities, has drawn a road map for the future, the main axes of which are: participation in international programs in the field of sale and presentation of artworks, research and publishing books in the field of modern and contemporary arts and finally selecting artists and researchers in various artistic fields and cooperation with these people to achieve the goals of the gallery.
CONTACT:
Tell : +98 21 22067442
+98 21 26654577
WhatsApp & Telegram: +98 912 1504557
Address: Unit 1 -No.27 - East 18th St. - North Allameh Ave. - Saadat Abad - Tehran - Iran
Mojdeh Art Gallery started its activity in 1999 and has based its programs on two axes from the beginning: first, holding exhibitions for pioneer and young artists, and the second axis, in connection with the first axis, is: research and authoring of books and articles in the field of modern and contemporary art of Iran. It should be noted that the exhibitions held in Mojdeh Art Gallery were of various art media such as paintings, photographs, sculptures, installation, etc. and these exhibitions usually included statements and criticism in addition to visual expression. It should be noted that Mojdeh Art Gallery, while continuing its artistic and research activities, has drawn a road map for the future, the main axes of which are: participation in international programs in the field of sale and presentation of artworks, research and publishing books in the field of modern and contemporary arts and finally selecting artists and researchers in various artistic fields and cooperation with these people to achieve the goals of the gallery.
CONTACT:
Tell : +98 21 22067442
+98 21 26654577
WhatsApp & Telegram: +98 912 1504557
Address: Unit 1 -No.27 - East 18th St. - North Allameh Ave. - Saadat Abad - Tehran - Iran
Azim morakabatchi
Azim Morakabatchi is a contemporary painter and illustrator born in 1977 in Ardabil city. He has had 7 solo exhibitions and more than 35 group exhibitions in his career. Morakabatchi studied painting academically at the undergraduate level at the University of Science and Culture and is a permanent member of the Iranian Painters Association.Apart from university studies, continuous study and activity in knowing the characteristics of the painting medium has created a new and personal expression in Morakabatchi’s works. His expression over time shows his transition from representing reality to a vector drawn between reality and abstraction. In such a way that the color, composition and lines of the painting oscillate on the border between reality and abstraction, sleep and wakefulness, madness and rationality. In addition to the expressive form of painting, to express these borderline and sometimes confusing elements, Morakabatchi has also used other forms of expression such as illustration and video, which, like painting, express the complex and borderless world of Morakabatchi. Sometimes he crosses the border between different media, sometimes by knowing the limitations of media and sometimes by knowing the capabilities of each media, he goes towards discovering a new expression and he sometimes connects the media to each other. The most important point is that in his artist books, he creates a deep and continuous link between the verbal media, i.e. language, and the non-verbal media, i.e. illustration, and this issue is also evident and traceable in the statements he wrote during different years for his exhibitions. In such a way that the artist's statement is not as an interpreter and carrier for the perception of the painting, but as an independent medium in the direction of linking verbal and non-verbal language. Azim Meskaranchi is a bilingual artist and therefore benefited from the culture of both Persian and Azeri languages, and this benefit from two languages in his works has led to the richness and clash of two cultures. He entered popular culture by using Azeri folk stories and uses these stories and the literary language of imagination to create textures and roles that are not only representative elements for illustration or painting, but they convert the image to an arena for thought and contemplation in culture and language.
Azim Morakabatchi
Azim Morakabatchi is a contemporary painter and illustrator born in 1977 in Ardabil city. He has had 7 solo exhibitions and more than 35 group exhibitions in his career. Morakabatchi studied painting academically at the undergraduate level at the University of Science and Culture and is a permanent member of the Iranian Painters Association.Apart from university studies, continuous study and activity in knowing the characteristics of the painting medium has created a new and personal expression in Morakabatchi’s works. His expression over time shows his transition from representing reality to a vector drawn between reality and abstraction. In such a way that the color, composition and lines of the painting oscillate on the border between reality and abstraction, sleep and wakefulness, madness and rationality. In addition to the expressive form of painting, to express these borderline and sometimes confusing elements, Morakabatchi has also used other forms of expression such as illustration and video, which, like painting, express the complex and borderless world of Morakabatchi. Sometimes he crosses the border between different media, sometimes by knowing the limitations of media and sometimes by knowing the capabilities of each media, he goes towards discovering a new expression and he sometimes connects the media to each other. The most important point is that in his artist books, he creates a deep and continuous link between the verbal media, i.e. language, and the non-verbal media, i.e. illustration, and this issue is also evident and traceable in the statements he wrote during different years for his exhibitions. In such a way that the artist's statement is not as an interpreter and carrier for the perception of the painting, but as an independent medium in the direction of linking verbal and non-verbal language. Azim Meskaranchi is a bilingual artist and therefore benefited from the culture of both Persian and Azeri languages, and this benefit from two languages in his works has led to the richness and clash of two cultures. He entered popular culture by using Azeri folk stories and uses these stories and the literary language of imagination to create textures and roles that are not only representative elements for illustration or painting, but they convert the image to an arena for thought and contemplation in culture and language.
About the exhibition
The Hour of Disaster is Azim Morakabatchi’s fourth solo exhibition at Mojdeh Art Gallery. The exhibition is interdisciplinary in nature; as the idea moves through text, sculpture, and painting, it maintains its conceptual coherence while allowing for reinterpretation within each medium.
Curated by Saadat Afzood, the exhibition is part of the first edition of “Tehran Art Month” and will be held at Mojdeh Art Gallery from August 21 to September 11, 2026.
For more information, please contact Mojdeh Art
For more information, please contact Mojdeh Art Gallery
About the exhibition
The Hour of Disaster is Azim Morakabatchi’s fourth solo exhibition at Mojdeh Art Gallery. The exhibition is interdisciplinary in nature; as the idea moves through text, sculpture, and painting, it maintains its conceptual coherence while allowing for reinterpretation within each medium.
Curated by Saadat Afzood, the exhibition is part of the first edition of “Tehran Art Month” and will be held at Mojdeh Art Gallery from August 21 to September 11, 2026.