The World Viewed: Chapter I

The World Viewed: Chapter I
To imitate not the look of nature, but its conditions, the possibilities of knowing nature at all and of locating ourselves in a world.

“It is not how things are in the world that is mystical, but that it exists.” as Wittgenstein says. Existence is by itself a matter of surprise. In Art realm, we are seeking the kind of Art that is not merely imitating the appearance of Nature, but the kind that tries to capture the essence of existence and after all, the world; Art is grasping the soul of life and this seizure or tendency for possession not only belongs to the artists, but also to their audience; Art is possessing what is pictured. In today’s Art world, probably cinema is the most available sort of Art which can frequently exist in the mind and life of the viewer. According to Stanley Cavell: “My way of studying films has been mostly through remembering them, like dreams.” In other words, it is the viewer who recalls “himself” in some movie scenes. For years, “ambiguously remembering” was part of the treasure of the personal memories of those who watched movies, and later remade them in their minds the way they desired. However, with the emergence of various technologies, personal recalls were replaced by genuine equipment that were capable of reproducing the first scenes over and over again. Although, photography and painting cannot impress the audience in a real and live manner outside the frame they are being presented in. The artistic work receives its meaning from the context originated in artist’s mind. When a work is presented by itself, it can only be recognized as a good work. Whereas, each work of art is the product of a distinct period of its creator’s thoughts. For this reason, photos/paintings cannot – or better to say must not – be viewed separately. Each work is the outcome of a thought; a thought that has been developed by the Artist’s personal and environmental experiences during years and finally produces a set of works that depicts his mental world. A world that perhaps is not meaningful through a single work which goes among the indefinite images that one sees (and forgets) during each day. Presentation of a single work alone makes it a suspended image in time.  This image is a piece to the puzzle named “Collecting the World” by Susan Sontag; the images that “do not seem to be statements about the world so much as pieces of it. ” These pieces are like disconnected jottings of an author:  even though they are separately impressive, they will not deliver the mission unless put altogether. Regarding the fact that fully understanding the Artist’s mind and personal world is impossible, in the exhibition series of “The World Viewed”, we are trying to present different work sets of the same Artist in time and put the pieces of images together to attain a new world, a slice of the personal reality of the Artist, an image of his/her world; a strange image that invites us to company and viewing.

بــه گفتــه ی ویتگنشــتاین رازآلــود بــودن جهــان در چگونگــی بودنــش امــری حیرت انگیــز ْ بــودن آن اســت. بــودن، خــودِنیســت بلکــه در ذات اســت. در حــوزه ی هــر، در جســتجوی هــری هســتیم کــه تنهــا بــه دنبــال تقلیــد از ظاهــر طبیعــت نیســت، هــری کــه تــاش می کنــد تا بــه ذات ْ جهــان دســت یابــد؛ کــه هر ِ هســتی، و در یــک کام، بــه خــود ِو بــودن همیــن دســتیابی بــه جوهــره ی زندگــی اســت و این دســتیابی یــا همان آثار ِ میــل بــه تملــک نه تنهــا در میــان هرمنــدان کــه در میــان مخاطبــان آنهــا نیــز وجــود دارد؛ کــه هــر تــرف چیــزی اســت کــه بــه تصویــر در می آیــد. در دنیــای هــر امــروز شــاید ســینما تنهــا هــر ســهل الوصولی اســت که می توانــد حضــوری مــدام در ذهــن و زندگــی بیننــده داشــته باشــد. بــه اعتقــاد اســتنلی کاول «فیلم هــا ماننــد رؤیاهاینــد و ســخت بــه خاطــر بیننــده اســت کــه « خــود» را در ِ می آینــد». بــه تعبیــر دیگــر، ایــن خــود لحظاتــی از فیلــم بــه خاطــر مــی آورد. تــا ســال ها « بــه خاطــر آوردن گنــگ و مبهــم» بخشــی از گنجینــه ی خاطــرات شــخصی تمــام آنهایــی فیلــم ْ در پــس ذهــنً بــود کــه بــه تماشــای فیلم هــا می نشســتند و بعــدا را دوبــاره و بــه آن گونــه کــه خــود دوســت داشــتند بازمی ســاختند . پس از ظهــور انــواع تکنولوژی هــا امــا، باز آفرینی هــای شــخصی جــای خــود نخســتین ِ را بــه ابــزاری واقعــی دادنــد کــه قــادر بودنــد هــمان لحظــات را بــرای بیننــده بارهــا و بارهــا بازســازی کننــد. ایــن در حالــی اســت کــه عکــس و نقاشــی هنــوز نمی تواننــد خــارج از چهارچوبــی کــه در آن بــه نمایــش در می آینــد بــه گونــه ای زنــده و واقعــی بــر مخاطــب تأثیــر بگذارند. خــود نشــأت گرفتــه معنــا ِاثــر هــری در بســری کــه از ذهــن خالــق می یابــد. زمانــی کــه اثــر به تنهایــی بــه نمایــش درمی آیــد تنهــا خــوب تلقــی شــود و ایــن در حالــی اســت کــه هــر ِ می توانــد یــک اثــر خالق آن اســت. از این روســت ِ اثــر محصــول دوره هــای فکــری مختلــف کــه عکس / نقاشــی ها را به تنهایــی نمی تــوان ـ یــا شــاید بهــر اســت بگوییــم ـ نبایــد دیــد . هــر اثــر حاصــل یــک تفکــر اســت، تفکــری کــه ســال ها تحــت تأ ثیــر اتفاقــات شــخصی و محیطــی می یابــد و در نهایــت مجموعــه ای از آثــار را شــکل می دهــد کــه دنیــای ذهنــی هرمنــد را بــه تصویــر می کشــد، دنیایــی کــه شــاید به تنهایــی و از خــال یــک اثــر در ذهــن بیننــده معنایــی پیــدا نکنــد و بــه انبــوه تصاویری کــه فــرد هــر روز در زندگــی خــود می بینــد (و فرامــوش می کنــد) بپیونــدد . نمایــش یــک اثــر به تنهایــی، آن را تبدیــل بــه تصویــری معلــق در زمــان می کنــد، ایــن تصویــر قطعــه ای از پازلــی اســت کــه ســوزان ســونتاگ آن را جمــع آوری جهــان» می خوانــد، تصاویــری کــه « بیــش از آنکه تفســیرهایی « از جهــان باشــند قطعاتــی از آننــد». ایــن قطعــات بــه یادداشــت های پراکنــده ی نویســنده ای می ماننــد کــه اگرچــه به تنهایــی تأ ثیر گذارنــد، امــا تنهــا زمانــی کــه در کنــار هــم قــرار می گیرنــد رســالت خــود را بــه انجــام می رســانند. کامــل از فضــای ذهنــی و دنیــای ِ بــا د ر نظــر گرفــن ایــن امــر کــه شــناخت شــخصی هرمنــد امــری اســت غیرممکــن، در سری نمایشــگاه های « جهــان نگریســته» برآنیــم کــه طــی نمایــش مجموعه هــای مختلــف هرمنــد، دغدغه هــای ذهنــی او را در طــول زمــان دنبــال کنیــم و قطعاتــی از تصاویر را کنــار هــم قراردهیــم تــا بــه جهـــانی جدیــد دســت یابیــم، بــه برشــی از شخصی شــده ی هرمنـــد، تصویــری از جهـــان او، تصویــر ذهنــی ِواقعیــت غریــب و ناشنـــاس کــه مــا را بــه همراهــی و تماشــا مــی خوانــد.

“ASCENSION”, From “Tunisia: The Dream City” Series C-Print on Paper | 80x90 cm No. 1 in an edition of 3 | 2012

ASCENSION, From ‘Tunisia: The Dream City’ Series
by Kourush Adim
C-Print on Paper
80×90 cm |Edition of 3 | 2012

Untitled, From “White Side of the Winter” Series, 2014 Polaroid 9x11 cm, Single Edition

UNTITLED, From “White Side of the Winter” Series
by Mehrdad Afsari
Polaroid
9x11cm | Single Edition | 2013

Untitled, From “Oblivion Garden” Series by Abnous Alborzi Digital Print on Epson Traditional Photo Paper 330 g 31x20 cm | Edition of 5 | 2014

UNTITLED, From ‘Oblivion Garden’ Series
by Abnous Alborzi
Digital Print on Epson Traditional Photo Paper 330 g
31×20 cm | Edition of 5 | 2014

“PATIENCE”, From “Tehran – New York” Series Digital Print from Negative | 70x100 cm No. 1 in an edition of 3 | 1994

PATIENCE, From ‘Tehran – New York’ Series
by Nader Davoodi
Digital Print from Negative
70×100 cm | Edition of 3 | 1994

Untitled, From “Globe and Feelings” Series Photography | 30x30 cm No. 1 in an edition of 5 | 2014

UNTITLED, From ‘Globe and Feelings’ Series
by Amirali Ghasemi
Photography
30×30 cm | Edition of 5 | 2014

Untitled, From “Apprehension Jungle” Series Digital Photography, Face-Mounted Digital Print | 100x150 cm No. 1 in an edition of 5 + AP | 2014

UNTITLED, From ‘Apprehension Jungle’ Series
by Tooraj Khamenehzadeh
Digital Photography, Face-Mounted Digital Print
100×150 cm | Edition of 5 + AP | 2014

“Pervasive Crime” | From “General Defection” Series Agfa Anapurna MV Print, on Hp Artist Matte Canvas | Triptych, Each: 70 X 70 cm, Overall: 70 X 210 cm No. 3 in an edition of 5 / 2011

PERVASIVE CRIME From ‘General Defection’ Series
by Bijan Sayfouri
Agfa Anapurna MV Print, on Hp Artist Matte Canvas
Triptych, Each: 70 X 70 cm | Edition of 5 | 2011

“BLEAK”, From “Nocturnal” Series Digital Photography on Photo Paper | 70x100 cm No.2 in an edition of 4 | 2012

BLEAK, From ‘Nocturnal’ Series
by Amin Talachian
Digital Photography on Photo Paper
70×100 cm | Edition of 4  | 2012

Untitled, From “White Side of the Winter” Series, 2014 Polaroid 9x11 cm, Single Edition

UNTITLED, From “White Side of the Winter” Series
by Mehrdad Afsari
Polaroid
9x11cm | Single Edition | 2013

Untitled, From “White Side of the Winter” Series, 2014 Polaroid 9x11 cm, Single Edition

UNTITLED, From “White Side of the Winter” Series
by Mehrdad Afsari
Polaroid
9x11cm | Single Edition | 2013

Untitled | From “ We Live In Paradoxical Society ” Series Color Slide Film, Drum Scan, Digital Print | 80x80 cm | 2010 | Edition of Five

UNTITLED, From “We Live In Paradoxical Society”
by Ali & Ramyar
Slide Film, Drum Scan, Digital Print
80×80 cm | Edition of 5 | 2010

“A MEMORIAL FOR TODAY NO. 2”, From “A Memorial for Today” Series Digital Print on Photo Paper | 90x120 cm No. 2 in an edition of 5 | 2011

 NO. 2, From ‘A Memorial for Today’ Series
by Alireza Fani
Digital Print on Photo Paper
90×120 cm | Edition of 5 | 2011

Untitled, From “Globe and Feelings” Series by Amirali Ghasemi Photography 30x30 cm | Edition of 5 | 2014

UNTITLED, From ‘Globe and Feelings’ Series
by Amirali Ghasemi
Photography
30×30 cm | Edition of 5 | 2014

“FA’EZEH”, From “Reminder” Series Analogue Photography, 4x5 Slide film, Digital C-print. Full HD Video | 120x150 cm No.2 in an edition of 5 + 2 AP | 2014

FA’EZEH, From ‘Reminder’ Series
by Behnam Sedighi
Analogue Photography, 4×5 Slide film, Digital C-print.
120×150 cm | Edition of 5 + 2 AP | 2014

Like Everyday | Digital Photography 100×70 cm | Edition of 5+AP | 2013

LIKE EVERYDAY!
by Melika Shafahi
Digital Photography
100×70 cm | Edition of 5+AP | 2013

“TEHRAN”, From “Wanderings with G10” Series Digital Print | 70x100 cm No. 1 in an edition of 5 | 2009

TEHRAN, From ‘Wanderings with G10’ Series
by Shahriar Tavakoli
Digital Print
70×100 cm | Edition of 5 | 2009

Untitled, From “White Side of the Winter” Series, 2014 Polaroid 9x11 cm, Single Edition

UNTITLED, From “White Side of the Winter” Series
by Mehrdad Afsari
Polaroid
9x11cm | Single Edition | 2013

Untitled, From “Oblivion Garden” Series Digital Print on Epson Traditional Photo Paper 330 g | 31x20 cm No. 1 in an edition of 5 | 2014

UNTITLED, From ‘Oblivion Garden’ Series
by Abnous Alborzi
Digital Print on Epson Traditional Photo Paper 330 g
31×20 cm | Edition of 5 | 2014

“MOTHERLAND IN BOX” Photography | 13X10 cm No. 1 in an edition of 5 + AP | 2013

MOTHERLAND IN BOX
by Shahrzad Changalvae
Photography
13X10 cm | Edition of 5 + AP | 2013

Untitled, From the “Thursdays” Series, 2014 Digital Print on Photo Paper 13x18 cm Ed. Of 3

UNTITLED, From ‘Thursday’ Series
by Farzaneh Ghadyanloo
Digital Print on Photo Paper
13×18 cm | Edition of 3 | 2014

Untitled From “Resurrected” Series Mixed Media | 30x24 cm | 2009 | Edition of 10

UNTITLED, From ‘Resurrected’ Series
by Katayoun Karami
Mixed Media
30×24 cm | Edition of 10 | 2009

Parallel Descent, From General Defection Series Agfa Anapurna MV Print, on Hp Artist Matte Canvas 140 X 140 cm No 2 in an edition of 5 / 2011

PARALLEL DESCENT From ‘General Defection’ Series
by Bijan Sayfouri
Agfa Anapurna MV Print, on Hp Artist Matte Canvas
140 X 140 cm | Edition of 5 | 2011

Gamblers From “New Art” Series Epson Digital 70x100 cm | Edition of 7 + 2AP | 2008

GAMBLERS  From ‘New Art’ Series
by Arman Stepanian
Epson Digital
70×100 cm | Edition of 7 + 2AP | 2008

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