The World Viewed: Chapter II

The World Viewed: Chapter II
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.

“FRIDA” Oil on Canvas | 150x120 cm 2014

FRIDA
by Homa Arkani
Oil on Canvas
150×120 cm | 2014

A Requiem for Friends I Mixed Media on Canvas |150x100 cm | 2007

A REQUIEM FOR FRIENDS, 01
by Raana Farnoud
Mixed Media On Canvass
150×100 cm | 2007

Untitled | Ink on Cardboard 100x70 cm | 2011

UNTITLED, From ‘Obscurity’ Series
by Shima Esfandiari
Ink on Cardboard
100×70 cm | 2011

“WAITING FOR PEACE” Mixed Media on canvas | 120x100 cm 2014

WAITING FOR PEACE
by Pooneh Oshidari
Mixed Media on Canvas
120×100 cm | 2014

Untitled | Ink on Cardboard 100x70 cm | 2011

UNTITLED, From ‘Obscurity’ Series
by Shima Esfandiari
Ink on Cardboard
100×70 cm | 2011

Untitled | From “Amino Acids” Series Oil On Cardboard |50x35 cm | 2014

UNTITLED From ‘Amino Acids’ Series
by Vahid Chamani
Oil On Cardboard
50×35 cm | 2014

Untitled From “Glass Room” Series Unique Intaglio, Print Making | 29x42 cm | 2014

UNTITLED From ‘Glass Room’ Series
by Mehrdad Khataei
Unique Intaglio, Print Making
29×42 cm | 2014

“NO. 2”, From “Les Demoiselles d’Avignon” Series Ink and Watercolor | 25x35 cm 2006

NO. 2 From ‘Les Demoiselles d’Avignon’ Series
by Marjan Razavi
Ink and Watercolor
25×35 cm | 2006

Untitled From “Glass Room” Series Unique Intaglio, Print Making | 29x42 cm | 2014

UNTITLED From ‘Glass Room’ Series
by Mehrdad Khataei
Unique Intaglio, Print Making
29×42 cm | 2014

“NO. 1”, From “Les Demoiselles d’Avignon” Series Ink and Watercolor | 35x25 cm 2006

“NO. 1”, From “Les Demoiselles d’Avignon” Series by Marjan Razavi
Ink and Watercolor
35×25 cm | 2006

“STUDY OF FIGURE” Charcoal on Paper | 50x35 cm 2012

UNTITLED
by Mehdi Rahemi
Chalcography
35×50 cm No. 1 in an edition of 3 + AP | 2007

“TALK TO ME OH MYSTERIOUS SILENT ONE”, From “Chairs” Series Mixed Mixed Media on Canvas | 220x150 cm 2013

“TALK TO ME OH MYSTERIOUS SILENT ONE”, From  “Chairs” Series by Bahareh Raeesi
Mixed Mixed Media on Canvas
220×150 cm | 2013

“NEGAR & FARHAD”, From “Déjeuner du Matin” Series Mixed Media on Board | 25x35 cm 2014

NEGAR & FARHAD From ‘Déjeuner du Matin’ Series
by Mani Gholami
Mixed Media on Board
25×35 cm | 2014

“SNOOZE”, From “Chairs” Series Mixed Media on Canvas | 100x80 cm 2012

SNOOZE From ‘Chairs’ Series
by Shima Faridani
Mixed Media on Canvas
100×80 cm | 2012

“NO. 3”, From“Cityscapes” Series Oil on Canvas | 40x50 cm 2014

NO. 3 From ‘Cityscapes’ Series
by Behrooz Valiani
Oil on Canvas
40×50 cm | 2014

HEAT STROKE | Acrylic on Canvas | 100x100 cm 2013

HEAT STROKE
by Masoomeh Mozzafari
Acrylic on Canvas
100×100 | cm 2013

Untitled Acrylic on Canvas | 160x150 cm 2012

UNTITLED
by Shaahin Norouzi
Acrylic on Canvas
160×150 cm | 2012

In the Late Stages of Pregnancy | From “Chair” Series Acrylic on Canvas | 100x100 cm | 2012

LATE STAGES OF PREGNANCY From ‘Chair’ Series
by Shima Faridani
Acrylic on Canvas
100×100 cm | 2012

“NO. 2”, From“Cityscapes” Series Oil on Canvas | 20x40 cm 2014

NO. 2 From ‘Cityscapes’ Series
by Behrooz Valiani
Oil on Canvas
20×40 cm | 2014

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