Jury

Hamid Severy

Rozita Sharaf Jahan

Parisa  Pahlavan

Behrang Samadzadegan

Behnam Kamrani

Info

Vista Prize 2018 Selected Exhibition

Sculptures, Installation, Video and …

5th to 15th January 2017

A Few Words

The emerge of new generation artists and vast use of new media with the emphasis on art- works, having different visual expression and tune in Iranian Contemporary Art.
“Vista Gallery”, having a different perspective to the art discourse, tried to provoke to the importance of the di- fferent opinions in the contemporary art by presenting “Vista Award”. After the recall announcement, plans submitted to the secretariat of “Vista Award” through the dedi- cated space on the site. During the process, the election board selected 150 plans. Meetings held on to investigate; and after inviting the artists and providing dialogue opportunities, plans selected. Then before holding the exhibition of chosen items, many sessions held on with the artists, discussing on the plans presentation in ” Vista gallery ” . And in coordination with the artists, “Visit Studio” formed .
After holding the exhibition of selected items, during a ceremony along with the unveiling of the ” Vista Sign ” and the poster of ” Vista Award “.
While appreciating the selected plans , giving the ” Vista Award ” to the premier plan will take place. Hope that with the presence and support of our dear artists , giving the “Vista Contemporary Art Award ” and ” Vista Sign ” be continually effective in the field of contemporary art .

Vista Art gallery

Parisa pahlavan

Statement

Iranian contemporary art has different trends in it’s formation. These trends are based on the quantitative development; but in some cases it also has the new thought and theoretical aspects, the issue that seems to be contrary to the flow of art as a commodity. The idea of Vista contemporary art competition arose exactly in such an atmosphere. The importance to the thought of artistic innovation is in a way in the name of Vista, meaning thought in ancient Persian language. This art-centered conference focused on innovation is today evaluated in all media. The support of this idea caught the attention of all through the art galleries of conceptual and new art in Tehran Museum of Contemporary Art about 12 years ago; though, the sparks of this experience were existed in the past years. This effort to leading art with no financial rewards by Vista managers to the importance of artistic products regarding innovation, can be a pattern for the other governmental and private sections.
This attention is an emphasis on newly values that can increase to the Iran’s today art as a form of culture.
The election board of this event are people who every of them have been involved with the Iran contemporary art ; it’s analytical , educational and exhibition aspects . In fact , they have a great share in it’s advance . This prize will let the newly thoughts find a chance to perform , regardless of any routine calculations in any form.
It is obvious that any movements like this make sense in it’s continuity.
Hope that this issue become feasible and hereby a way forward to create new works provided.

Behnam Kamrani

Group1

 

Rift

Emad Mardani
1992, Esfahan
BA, Painting
Participating in more than 5 Group Exhibition

Nazgol Nayeri
1990, Tehran
BA, Painting
Participating in more than 5 Group Exhibition

Payam Qelichi
1993, Arak
BA, Painting
Participating in more than 8 Group Exhibition

Sanam Sayeh Afkan
1989, Tehran
BA, Public Managment

Statement

Noun.

  1. A crack, split or a fissure.
  2. An opening or a fracture within the wall, Perforation.

(Imagery)

  • Flaws and faults, Vice/Sin

The land of which the humans live on is constantly experiencing alteration and metamorphosis and the change taking place in modern lives is so speedy that it indisposes every human being for paying much attention to the environment and its various aspects. Unfortunately, these considerable changes occurring in some climates of the country has led to a crisis in them. The trail of these changes are vividly seen in conversion and manipulation taking place in the structures of the nature, as well as following the behavior of man itself on making the urban areas. Isfahan province and specifically Esfahan city are without a doubt, an explicit example for the earlier statement.

The Zayandeh-rood river, also known as Zendeh-rood, is rather a lively river. It has played a significant role building up the Esfahan city’s urban texture and its identity. Now, however, the remnant of the dried river resides on the city’s body like a cleft. Zayandeh-rood has been through drainage and drought due having its water transferred to cities like Yazd, Kerman, Kashan and Qom since late 70’s. A rather significant event happened during the river’s primary long-term drought eras. The people of the city stepped on the river’s bedding which used to be vibrant and lively and they would take pictures of themselves and the now-dried river.

Seeing this happen would often bring painful and intricate feelings, perhaps because there was a sense of disrespect to the nature itself. Walking on a dried river’s bedding may best be similar to walking in a cemetery. Some people fear stepping on the gravestones, a behavior which originates in respect and modesty for passed away people who were once alive. The same respect can be held for Zayandeh-rood, considering the reasons are now more saddening due the abandonment and neglecting the reasons and consequences of what has happened to this river.

Another example of such abandonment is clearly seen in depletion of city’s traditional texture and disappearance of the architectural reflexion which was once adequate for the climate. Esfahan is one of the cities of the warm and dry climate of Iran. Buildings in such regions were often constructed with heat resistant material like bricks, clay and mud due drastic temperature changes during day and night. Esfahan has been a traditional symbol of an Iranian city and had lived to that title until about forty years ago. But the architectural masterpieces are now like drifted islands in a vast sea of iron and cement. In fact, Esfahan has turned into an industrial metropolis in last four or five decades.

Roaming over the Esfahan city and its suburban areas, mansions on the edge of destruction and ruins of the city’s old texture are seen here and there. These ruins are perceptible evidence of neglecting this region’s traditional architecture. The architecture of which despite all its visual and engineering aspects, is to be forgotten. Narrow and wide cracks mark the body of the said ruins as a significant symbol of hollowed out constructions.

During the process of the formation of every vestige, having selected the building on verge of destruction, a molding process is executed for every fissure on the walls of the building. Having the volumes of every crack, Injection moulding is what is done next. With the casts being formed, several fractures are duplicated.  These fractures are, in fact, the relics obtained from the cracks that were on the figure of the chosen building.

Proceeding this task, a region of Zayandeh-rood’s riverbed is selected and hollow identical blocks are dug. The soil obtained from excavating these blocks is transferred to the gallery and structures are formed based on tridimensional images and volume casts that were previously made out of the ruins.

Generally, these masterpieces are made in a way that they spark a sense of questioning in the audience which later causes them to perceive the physical essence and mass meaning of every masterpiece after having explored the context, images and evidence regarding the matter.

The gaps between ground blocks in proportion to the walls are adjusted in a way that enables every individual to walk through the space in between. Same accommodation is considered for the interspace of the ground blocks themselves. The recesses of vertical masses vary. However, the minimum space in between still allows an individual to pass cautiously. Documents and images based on 3D pictures are settled next to the masterpiece on the wall so that the audience will encounter them as soon as they step into the area. These documents include the masterpiece’s manifestation, archived images of the river both on its drought and high water phases, the images of people strolling on the dried riverbed and also the picture of hollow blocks on Zayandeh-rood’s bottom as well as the images of the mansions which the fractures were derived from. The documents of Zayande-rood and the buildings are assembled in separate parts.

The interaction between hollow blocks on Zayande-rood and the initial piece is a matter constantly preserved since the beginning of the process taken place in the river. The said connection remains indefeasible for every individual having accidentally encountered the river, be it based on the images of the river’s land set on the gallery or due developing an experience similar to what the viewers have approached in the gallery. All the soil excavated from the riverbed is returned to Esfahan and to its original site in the hollowed blocks where it belongs by the end of the exhibition.

It is hoped that this project may have an impact on its audience, as well as reminding the importance of environmental sustainability and point out the destruction gradually done by humans.

 

Group2

Pyrite 

Masoumeh Mohtadi
1983, Esfahan
Master of Art, Painting
Held 2 Solo & Participating in 22 Group Exhibition

Statement

Gold metal with the chemical sign of Au is the name of an element. Gold metal has initially been precious and popular. Before the world war one, the financial system of several countries was based on the gold standard and then the monetary system was replaced with no fund. In the late 19th century in barbaric west age, the unaware people picked the pyrite instead of gold from reverbed. Pyrite is an inorganic metal with this chemical formula, FeS2. some of pyrites have this capacity to have 25 percent gold in their scales.

The comparing of gold and pyrite is like the comparing of Euro-centric and non-euro-centric art for me. The dominant discourse here, where is called middle-east, seems like Euro-centric art discourse with hundred years’ delay and mustiness. And as a person who is not logged in the concept of European white man’s definition, I ask myself that where I will be accommodated in the history of art.  Is there any opportunity for me to open a new discourse up in international arena? Gold and pyrite are reminders for me to remind all thing I had already read about aesthetic, originality, costly art, cheap art, exotic art and etc. why is the western discourse as a dominant one here? Why do we still peer to the western studies? Why are we aware of the western art history & philosophy while we are disinterested in our history? Why have the Korean, Chinese and also Japanese artists been more successful in international arena and they could produce their cultures and convert them as a universal discourse? And thousands of whys …

In my perspective, the response to these questions could be hidden in comparing of gold and pyrite’s discussion. We have probably involved with the Gold Edge. We have supposed every shiny thing as a gold metal. This process in the second half of 19th century AD, by the presence of Dealer-critic system and also by selling the works of impressionists in the decade of 1880 AD. Via dealers and art critics, became a pioneer of a new way in economy.

Henceforth, market and art became so close or we just thought so, that it seems every artist who published a manifest related to art, had already had a look to the marketing likewise. Beside the change and development of the concept of art which has been the major trouble of any historic current and has also been the foundation of any contemporary artist, market was changed consciously or unconsciously to convert every detractor to the amicable economic current.

Here I am encountered with a dilemma whether a western artist has consciously published a manifest about an art which turns to a wealthy goods as soon as possible or as an Iranian artist I have imagined it like a pure gold while I got involved with looking at the pictures and reading the texts which has been the definitions for the practical concept of western art.

Some of the most expensive art-works of the world will be selected, the real dimensions of the art-work are implemented on the wall and a golden lampblack surrounds them. It seems there were a picture here which doesn’t exist anymore and the remained thing is its golden trace. The art-work title, the dimensions and the artist’s name will be installed on the wall where the art-work identification usually locates there.  The audience can listen to any artists’ manifest about art via hands free and of course he/she will understand that the word “art” hasn’t been utilized even one time in the manifest but it seems he/she has listened to the artists’ manifest about marketing.

In the niche of the gallery, a stand will be located, made of marble. On the stand there is a book in which its all pictures have become equal, worthless and golden. The features of any art-work will be appeared under each golden foursquare, and it is the only distinction between them.

A huge frame is the discriminant of these two spaces, a huge colorful frame from ground to ceiling made of Papier-mache with its main color (gray, with no shininess).   It seems you should enter to the framed world of art so as to leaf that historic book full of pictures. This frame will be made of Papier-mache.The paste of Papier-mache will be made by squishing the useless art books and all the catalogues collected by me and other artistic visitors. As all pictures of the book has been equalized, all artistic events will be done likewise and they become integrated, and will make a frame. An integrated frame from Iranian and wester art which has no shininess. A frame which is created for artists like me/us, by reading texts and looking at western pictures so as to be able to find a place for ourselves in the art world. The making process of this frame will be installed on the wall right side of the stand, by using some pictures.

Group3

The Final Solution

Ashena Mostafavi
1985, Tehran
BA, Painting
Participating in 3 Group Exhibition

Statement 

Father’s vagrancy in the field of poetry, his unwanted career, was an early challenge for me.

For him, this internal conflict, inspired sudden showers of the firmament of taste, while for me, it was a cloudy weather obscuring the misty world behind it. he was in union with a constant recreation of the world, and I, with the alienation resulting from an early separation from it.

With his probably self-imposed dismissal from the university, his circle of friends and students fell apart. He was left alone with his position as a poet—a position he never conceded and always preserved: in all his frequent travels, in the gazebo-like space he had built for himself in the courtyard, in all those midnights that the ring of his poetry reading had become inseparable from the sounds of nature at night.

All our acquaintances sold something in their shops. Father’s poetry shop had no visitors. Yet, every morning, he would open the roller shutter and set to selling poetry.

I grew up.

In the same big house whose library collapsed after the house was sold and demolished, I preserved the books and placed them in cartons, these liquid detergent, lime juice, tomato paste and tissue cartons.

I grew older.

I transferred the cartons to a built-in closet. The books suffered many years of darkness and suffocation: the experience of darkness, silence and solitude, common between me, him and the books.

Gradually a perseverance appeared in me, a defiance towards the familiar, as well as a fascination with unknown paths.

With his courage, he became a role model to me for inescapable wandering in material life.

It was only then when I realised where he stood in the world.

I too wanted to become one with the constant recreation of the world and share the solitude I had experienced.

I named this experience The Final Solution. The Final Solution is a chance for reflecting upon the unwanted seclusion that the poet experienced.

The Final Solution refers to Himmler’s suggestion for erasing the problem from the board, a phenomenon typical of all totalitarian regimes.

One solution is to eliminate imagination. Insistence on removing imagination and forcing the poet into seclusion resulted in his refusal to speak. It was as if he was banned from thinking and lost the ability to participate in the public sphere. When the poet knows his production basically amounts to nothing he opts for silence and solitude. The process of creation thus remains unfinished since artworks reach their perfection only after being read or seen.

My final solution is to invite the artist and poet to the space of dialogue, so that the artist retrieves his existence through the process of creation, and the addressee through reading. This is because today the two need each other more than ever.

Ashena Mostafavi, autumn 2017

Group4

Ninety Two Pages 

Emad Anoshirvani
1991, Mashhad
print supervisor

Statement

By meaning of my job (print supervisor) I am dealing with different types of printing machines.  Thousands papers of books magazines posters are printed without reading but there is a question that why is the level of consciousness so low although we are faced by a large amount of information?

I feel that this information has been managed, censored or deleted.

This work is about the text that was not seen, read and interpreted at the right time

Group5

Colonial body Islands and the strategic depth

Payam Mofidi
1980, TEhran
MA, Animations
Held 4 Solo & Participating in more
than 47 Group Exhibition and Festivals

Statement

Globalization has been portrayed as a worldwide interlinking of free markets and institutions, a global village interconnected by advanced communication technologies, social networks and deregulated travel. A new world order promises democratization and egalitarian participation in the society. Despite this utopian image, what sounds more realistic about this new order is the increasingly unequal accessibility to resources, and the rise of privileged few occupying multinational corporations and governmental positions, which resulted in the current era of crisis we are experiencing. In this era of growing economic inequality, we witness the increasing influx of migrants and refugees, escaping from repressive regimes, poverty and imposed conflicts, into more privileged geographies of the globe, seeking the minimum standards of leaving.the disappearing economical borders form around bodies of individuals, representing small consumption units in the post-capitalism era. The borders, which need to disappear to facilitate the flow of goods and trade exchanges, are henceforth drawn around the bodies of the marginalized social/racial/religious classes to separate such bothersome bodies from the borderless economical globe. These moving body-borders resemble Colonial Islands scattered in the oceans, floating towards more privileged geographies.

In 2017, 33000 Migrants drowned or missed in the Mediterranean Sea while struggling to reach the European union borders. Their body-borders were located in the blind spot of the contemporary political geographies. Geographies constructed on the basis of fear. In the failure or the lack of ideologies and the failure to ratify any form of common constitution, fear becomes the only unifying tool. Fear as a precious and controllable commodity is a gift in the hands of the post-capitalist mass medias, politicians and multinational corporations. In this pandemic fear of these intruders, these migrant bodies become the main core of fear, the ones who will come to ruin the bright future. These bodies are drowned in the realm of absolute senselessness, in a zone where no feelings are evoked.

 

These stipples, these body-borders, these islands, have been left behind the gates of globalization, not only in the Mediterranean Sea but also in the brightest spots of our mega-cities. Their voices are muted and their bodies are disregarded in an invisible geography.

“Colonial body Islands and the strategic depth” is a representation of the migrant’s body. The migrant on the boat with a life jacket, the migrant with his very stereotyped image in our mind, or even the only conception we have of him.

It is a statue made of resin, its body is drilled to implant metal pin bars. The pin bars are positioned in specific spots to play a specific music piece once they touch the steel prongs next to it. The rotational motion of the statue in its horizontal axis is set out, tuned and controlled with the help of three cogwheels. The spectator is allowed to interact with the installation piece by turning a rotary crowbar secured to the axis of the statue to play the music. However,  the tunes won’t be heard as the whole body of the statue is placed in an aquarium filled with water. All can be heard would be the metallic sound of the moving gears, the lever, and the swash of water.

Group6

The Absurd land

Aghil Mardani
1992, Esfahan
MA, Visual Communication
Participating in group exhibitions

Emad Mardani
1992, Esfahan
BA, Painting
Participating in more than 5 Group Exhibition

Statement

Petroleum and water are the two substances of which a spectrum of interpretations and events strikes every individual’s mind when thinking about them. Predominantly, petroleum plays the main role in fields of economy, dominance and politics while life continuance on earth depends on water. The two said substances have some physical similarities but their contrast, be it in physical shape or their effect on earth and existence, is quite a significant subject.

Water has been the key role to the vitality making its way through earth since the world’s genesis. The loss and lack of water causes a considerable crisis for nature and its inhabitants alike, regardless of the region. On the contrary, Petroleum has brought more corruption, death and harm to human and nature than bringing progression or being beneficial ever since it was exploited. A wide range of these ruins can be observed in numerous war outbreaks due taking over regions containing petroleum, as well as tremendous and irreversible environmental pollutions. These statements may be more tangible and sensible to people of Middle East region.

The Middle East, having undoubtedly experienced most oil related crises, is now encountering water crisis more than any other part of the world. Nowadays there’s no country found in said region to not be on a disagreement of some sort with one of its neighbor nations over water or petroleum. Thirty seven international conflicts over water have been reported over 50 years of which thirty of them happened in the Middle East. All the cases mentioned above indicates the importance of water issues and its significant role in lives of Middle Eastern people. According to what the future holds, water will be in some way play the similar role in Middle East as oil did; a valuable and draining element that countries will do anything to take over its resources.

The main objective of this project is to demonstrate a sample of destruction and recreation, using the chemical and physical properties of both water and petroleum. While having the project turn into its final form, its visual and dynamic effects act as an intermediate to manifest a sense of impurity and corruption to their viewer as a considerable amount of water is dammed inside. That being said, the finalized project will serve as a memento of vile destruction, as was the purpose of the exhibition of this project.

Group7

 

The Mothers Room

Maryam Farshad
1984, Tehran
MA, Painting
Held 1 Solo & Participating in 24 Group Exhibition

Statement

“The mother’s room” project is a conceptual representation of the challenges and position that a patient with a rare disease is involved with. a patient that is unable to speak and move, but her mind and memory are very precise in her own parallel world. The project create a Heterotopia space of the patient’s room by collecting and archiving the main elements, and describes her own emotions and invites the viewer to her private world experience.

CADASIL SYNDROME is a rare disease and a type of stroke disorder, the stroke that is caused by a mutation on chromosome 19. This disease occurs at the age of 40 to 50, and in my mother was diagnosed for the first when she was exactly 40. Cadasil is associated with intermittent stroke and so far no cure for it has been found. The progression of this syndrome leads to numbness and muscle paralysis, speech disability, urinary incontinence, and ultimately dementia. This process has lasted 15 years for my mother so far as she lost her speaking ability and movement. But the point that matters here is her memory and mind, which has a strange struggle to remember the things and record them in her mind.

My personal tendency towards scientific subjects made me examine the project scientifically along with its emotional and psychological aspects and in the open path, I will design the space with two completely opposite views of science and the representation of feelings. Ultimately, the gathering of these two views will help the viewer to face a new philosophical challenge that I believe we all have part of it hidden in our minds and we can communicate with it.

Communication with viewers and involve them as part of the work is important in this project, which can be achieved with simple spaces and the use of effective visual elements.

In this project, the gallery space will be rebuilt in the form of a symbolic Installation of the patient’s room. As the main elements of the room, such as beds, desks, pillboxes, etc., appear in a simple and conceptual form. A room with brief white items and scatter tips and clues that shape the relationship between the viewer and the work. The main elements are as follows:

The patients writing archive is one of the most important parts of the project. From the beginning of the illness, My mother began to write. About herself, the children, her relationship, and especially the letters that she wrote to me or her close friends. Over time, with the loss of speaking ability, she found writing a new tool to express even her simplest needs. I have archived her notebooks all the time, the archive process show how the writing ability and even holding the pen is lost. Old writings are legible and tidy, expressing past memories and feelings, but later notes have become intertwined and illegible forms that are hardly recognizable. In addition to the notebook archive, a collection of crossword puzzle magazines are used in the installation of the room.

Photos and memories are used as another dramatic part of the room installation. For this purpose, a series of photographs, family memories, small cards and photos of her room, her  flower pots and play of light at different times of the day are stuck on the wall in front of the entrance. Scattered and untidy. Some of them are covered on another, and the viewer can see that photos and enter in her mind.

Bed is another element of this space. Since the most hours of patient per day are spent on the bed, a simple bed is located in the form of a white sleepy mattress with a bright bedcover in the corner of the room. At the top of the bed on the ceiling, the place that patient gazes on for hours each day, some photos will be shown with video projection. Pictures of the patient herself in her past, like photos of her running, playing and the rest of the things that have been documented from the past. viewer can lie down on the bed and see the patient’s memories and wishes. you can place yourself for a moment and without seeing her directly, you can connect with her for a moment.

TV is located in the other corner, which is rolled over in its channels. The choice of a TV or a small LCD is because for some time one of the only things the patient was able to do was changing the channels and turning around in a world that was very contradictory with the fact that she had touched it.

Scientific Part/ Cadasil ArtistBook:

Along with all of these elements in a cozy corner of the room there is an artistbook on the table. A book titled Cadasil, in the form of archiving of purely scientific examples and explanations and shows another face of disease. This part will be conducted with expert advice from doctors. this will help viewers to analyzing the disease with a series of information, scientific pictures, MRI images, and patient medical records.

Group8

The Unnameable 

Marjan Madani Razaghi
1983, Tehran
MA, Painting
Participating in 7 Group Exhibition

The Introduction and Idea Development

Presenting an installation of hybrid fetuses floating in suspension amidst containers filled with preserving liquid; half-human half-animal fetuses, made of ceramics with an utterly realistic touch. The purpose behind it is making the audience participate in an experience taking to that of visiting a museum of natural history. To this end, and for the purpose of simulating the atmosphere in question as much as possible, the containers holding the fetuses will be arranged on a long table or in shelves within the gallery’s interior space. The audience then walks along these shelves, as if he were in such kind of museum, and beholds the bizarre-looking fetuses held in suspension in those containers, as if he were looking at a new human species; a creature with an identity of another sort, placed somewhere in-between two conflicting domains, neither human not able to be recognized as not entirely non-human.

 

The Conception and Statement of The Work

The installation in question orbits and is formed around the concept of the Hybrid. The Hybrid is the result of the juxtaposition of two or more different and sometimes conflicting or contradictory phenomena. Whether the offspring of this mixture be a living being, tool, or a mental or internal state, it nevertheless holds an in-between and fragmented identity. It is neither this not that and at the same time a bit of both. The most principal image of the hybrid is a creature formed by the synthesis of human and non-human, a monstrous creature that surpasses the boundaries of the normal and normative.

Gorgio Agamben, in a section in his book, The Open; Man and Animal, 2002, with regard to the combination of man and animal and the synthesis of these two ends, writes the following;

Probably, not only philosophy and theology, but also politics, ethics, and rights are under tension and suspension within the context of the difference between the man and animal. The epistemiological test that is at issue in the context of such difference, in the last analysis, is related to the nature of man, or, to be more precise, the production and definition of such nature; … when such a differences is eliminated, and these to ends overlap – what apparently has taken place today – the difference between being and not-being, legitimate and illegitimate, divine and demonic, too, disappear in their own way and, in from their absence, something emerges that seemingly we cannot even properly choose a name for. Perhaps, the concentration and death camps, too, are cases of such a test and trial; a sort of horrendous attempt and a limit or extreme for determining – or deciding between – the human and non-human which, eventually, results in the total annihilation of the possibility of making such a distinction all together.

Here, Agamben is referring to the elimination of the distinction between the human and non-human and their overlapping of these two ends onto each other and their consequent synthesis at our time which is expandable to the entire aspects of our lives including the ethical, political, social, identity-related, and also corporeal ones.

At the cotemporary era, human’s body is not a united and uniformed whole; but rather, a changeable, indeterminate, and instable being. Our bodies, nowadays, are like a configurable raw material not only whose physic, but also its gender and identity can be reshaped and transformed. In contemporary arts, the bio-artists and post-humanist artists have come to attest this fragmented situation by removing or understating all boundaries and previously defined distinctions between human body through integrating them by various means and with various other species of the animal kingdom.

Such a distortion, in addition to being liberating, is also anxiety-bearing and terrifying. Since, more than anything else, such boundaries and classifications were brought into existence with the aim of organizing being itself in form of a clear, distinguishable, and united whole. Perhaps one can recon a similarity between the image of the contemporary body and that of the monstrous frank stein; a collage-based body whose different parts not only are fetched through other living or dead humans – in the surgeries related to organ transplant – but also from artificial constructs – arterial organs, prosthetics, and all sorts of cosmetic additives and even from virtual and cybernetic organs.

On the other hand, in terms of ethical, political, and social relations, too, one can recognize the conflation and collapse of the boundaries between the human and non-human. At the time of terror, massacre, and injustice, at a time when, according to Agamben, the very possibility of creating such a distinction is totally annihilated, we are exposed to a situation in which the very essence of human nature and identity is lost and the boundaries between animality and humanity, or the human and non-human, are effectively distorted.

Now we are faced with a world that is always on the brink of becoming; inevitable and never-ending becoming’s, between man and animal, between man and machine, between man and woman, beauty and ugliness, monstrosity and normality, between human and other forms of being. Thus, is the image of our contemporary life understandable and interpretable at all without the keyword of the Hybrid.

Group9

 

The Elephant in the dark

Majid Tabrizi
1989, Tehran
BA, Architecture
Participating in 5 Group Exhibition

The Question

  • The Nature of a Phenomenon
  • The Manner in Which the World Would Appear to Us
  • An Inspection of Our Illusions’ Reality – The Way We Accept Them
  • What is Truth and What Else It Can be?
  • Distinction between Representation and Reality- Signifier and Signified
  • Identity with an Absent Image and Metaphysics of Presence
  • The Domination of Images and Multimedia
  • The Role & Limitations of Human Beings to Achieve Aletheia
  • Perception of an Aspect of the Truth and Absence of Other Aspects
  • Difference Between Subjectivity and Objectivity and Living World
  • A Survey In “Being, Appearance, Representation and Simulacrum “
  • Understanding and Experiencing the Absence
  • How to Convert Objects to Subjects
  • How Meanings Appear in Phenomena
  • Can We Transfer the Truth as a Cultural Heritage?

I was searching for something between book’s paragraphs; it was a long-term process resulted in not-finding and not-obtaining

My confusion reached to a sentence in the book

Which assumed obtaining at very beginning.

How to make development ground for the audience from what I did, will be focus of our consideration in the rest.

Just I say I do not have any claim on creating and development self-constructed reason and I am going to breed paraphrase from among the audiences

I made use of all prepared thoughts that I have read and learnt in this way

And I will born the child through collaboration with them

I will born him, even his corpse.

Creator’s individual reading of the work

Elephant

The sign of reality – When a person touches, understands and recounts a portion of the reality.

Human’s self-duplicity in assuming to have reached to a comprehensive image of reality – deficit of sensory detection.

Shadows of the Cave

Confusing image of shadows and transcripts

World’s distinction as it is shows to us and as it is.

Simulacrums

Image as murders of real action will kill the patterns, as the icons of Byzantine kill the Rabbinical identity.

Increasing flow of signs, domination of signs and their deployment as real action.

Braille

A touch phenomenon – a sign of blindness (not-seeing) – Being in darkness

Video Projector

Virtual, shadowlike, reaction, fantasy and illusion

Projected braille

Not touching (shadow-like, virtual) not a visible phenomenon (brailed)

The projected shadow of a reality (Elephant)

The elephant itself (reality, real action) a shadow and transcript of a reality.

Border line

The border between audience and work – audience and concept – audience and reality, the border between me and me, self-consciousness and unconsciousness, action and watching.

Reality in 2 dimensions – Black plexiglass sheet

Pierre Levy resembles the post-modern to ghosts and shadows (virtualization of the most tangible things)

Convertible of signs – black plate to (mirror, cinema plan, painting panel, etc.)  any two-dimension object which creates the fantasy of being real.

Mirror stage

The child is compatible with its image and separates it to change to its image.

Any type of endeavors of the subject from now on will be interpreted as wrong knowledge or fantasy knowledge.

Lacan claims that all of us are prisoned to reasons world’s mirror saloon and not reality observer.

Black mirror (Cinema)

Jean-François Lyotard believes that the Lacan’s mirror has identical action with the cinema.

Jean-Louis Baudry: Preparing different items (projector, dark saloon and scene), together with recreation of Plato cave scene, recreating required position for publishing mirror state of Lacan.

Reaction and Cinema

Cinema does not reflect the reality, the cinema is reflected reality (Jean-Luc Godard)

The image does not have any compatibility with the reality. The reaction is a pure image of itself (Jean Baudrillard)

Role-playing (work’s audience)

The observer (audience) is actively reading several different sign systems in the process of decoding and concept creation stage.

He will be player and performer of several roles in this way (cave prisoner, mirror saloon’s prisoner, cinema observer, attendant of virtual reality, etc.)

Statement

The ready things are not just (routine, commercial or mass production of cultural issues of objects)

We can fund the ready things between traditions, allegories and beliefs.

The purpose of arrangement of this artistic work is assessing or valuating as to each of them

The aim of the art and statement is not to validate them.

Indeed, I attempt to make such a kind of dialectic process and also discourse at great length over this analysis.

Examples and allegories will and will not co-ordinate with each other.

Certainly, their role is either supposed to show us transparency and truth or to mislead us.

They verily give us the translation or interpretation of the truth but not the truth itself as if they are the simulacrums which represent the truth.

Title of a work changes our mind while it is attributable with its title.

On one hand; hints, allusions, direct and indirect speeches, the great effective power of environment, and dramatic principles, on the other hand, authorship, thematic art next to conceptual power of the statement, made me create a work of art. Thus, the work is the mixture of them above.

A Midsummer Night’s Dream has been interpreting more and more. It can be a type of donation and existence which seeks paraphrases among historical and allegorical provided things.

None of taking photos, paintings, statues, and philosophy was not adequate for the discourse to express my technique.

There are selection, interstitial, uncertainty, lack of meaning and even my disorientation have been observed following disorder of meaning.

In the meantime, there was a sentence of a book which made me calm down.

The Restaurant at the End of the Universe by Douglas Adams:

“A famous theory states that whenever someone finds how and why the world was created, at this time, it disappears in order to substitute a new world which will be certainly more and more complicated and exotic.”

“Another theory has said that this has happened before.”

Invisibility

  1. Something has vanished.
  2. Images which stand for the real murderer kill their samples’ images. As Byzantine’s images killed the Rabbinical identity.
  3. Plato discovers and finds that simulacrum is not simply like a false manuscript; rather he inquires all the ideas and samples of the manuscript.
  4. It is so dangerous to remove the masks, because they pretend nothing is beyond them in order not to show the pure truth and reality.
  5. Image and simulacrum are the same, it actually mirrors simulacrum.
  6. Metaphysics destroys. It is said that there is no mirror in front of the real entity and existence.
  7. Illusion or delusion is impossible, because any real existence is impossible anymore.
  8. The era of mechanical duplication and production
  9. Simulacrums duplicate increasingly.
  10. An occurrence is considered as a unified item to make anybody think one is prior to the other; but, the truth is that one omits the other to reach the zero point in the end. There will not be any exemplified and image reference.
  11. The world passes the images one by one so fast.
  12. Mirrors reflect each other and then transfer next image into the previous one which has come from the simulacrum.
    1. The distinction between the appearance and the reality:
    2. The distinction ruins between the signs and whatsoever it is related to.
  13. The power of truth transfer?
    1. The power of disasters transfer?
  14. What we create is a untruth; in fact, any image is incomplete for showing and it covers the real truth.
  15. Something has disappeared within the background of an image; actually, the truth has vanished within the background of all forms of any virtual reality.
  16. The flow of the increasing signs, signs authority, and then their replacing instead of the real entity
  17. The irrelevant of images which are gradually mass-produced in the society.
  18. Mass production of unrelated information
  19. The bulks which have been stuck in a simulation will be sunk in a mass of nonsense media.
  20. As the society is going to be saturated, it will surely cause to endocrine explosion.
  21. Human exists in return for mortality and will reach to immortality in return for vanishing into technology and deploying in digital system.
  22. Work of art does not have its ritual function as before and will have its display value.
  23. Process of duplicating destroys the originality; consequently, it leads to change the situation of the originality observation.
  24. Staying away from the originality-impossibility of the access and touch

Everything imitates each other.

The originality ruins.

Borderlines decay.

Boundaries appear.

  1. Whatever exists in the past is not understandable at all.

And whatever exists now, will be comprehensible via a dialectic flash.

  1. We are unfamiliar with the past and at last, we have to translate and interpret it.
  2. Is it possible for us to carry and transfer the truth as a cultural storage?
  3. Shall we need any simulacrums or not?

Let’s talk about the world where the human has vanished.

Let’s take a look at the subject disappearance that more or less mirrors the evanescence of the real entity.

Contemporary Art

  1. Spectator acts as an experiencing party against the contemporary art not as a viewer.
  2. An image with one definite meaning does not present itself independently.
  3. Well and healthy eye and wisdom are not quite enough to comprehend the artistic work.
  4. Our observation cannot clarify and make plain the answer very simply.
  5. The meaning and concept of a work of art does lie in its presence.
  6. An image reading needs a thoughtful phenomenon.
  7. The relationship between the past and present is dialectic.
  8. Our experience of/about all images acts like the words of the species; in fact, we are not able to see the reality and truth and we are also blind.

Moreover, our vision is not pure, because we talk about the work of art.

It is said that we read an artistic criticism in order to interpret the work.

  1. Nowadays, we conceive the ancestors’ work more differently. While, the posterity will translate and interpret our work of art.
  2. We constantly observe what an artist refers to.
  3. It can be a type of donation and existence which seeks paraphrases among historical and allegorical provided things.
  4. The complementary criticism of the art on one hand and its audience on the other hand, take the phenomenon.
  5. Spectator is not a crystal clear mirror because he or she is a member of the knowledge that he or she is influenced by former field of study.
  6. In contemporary art, we encounter modern post-text instead of modern text.
  7. The tests will display extra parts of concepts and we always think about external parts of text and structure of the work.
  8. We need contemporary thoughts in order for better understanding of work and think about creating dialogue.
  9. We shall regularly pas the route of now and past in artistic history and asses the past formulas.
  10. The artist shall be answerable against the history.
  11. The artist is not just a personalized and internal speaker but he is an answer. An answer to the art itself and a dialogue with other artists.
  12. Finally, demolishing of modernism will be analyzed as a stable paradigm (executive skill, determined media, globalization of image language, etc.)

Winner

Colonial body Islands and the strategic depth

Globalization has been portrayed as a worldwide interlinking of free markets and institutions, a global village interconnected by advanced communication technologies, social networks and deregulated travel. A new world order promises democratization and egalitarian participation in the society. Despite this utopian image, what sounds more realistic about this new order is the increasingly unequal accessibility to resources, and the rise of privileged few occupying multinational corporations and governmental positions, which resulted in the current era of crisis we are experiencing. In this era of growing economic inequality, we witness the increasing influx of migrants and refugees, escaping from repressive regimes, poverty and imposed conflicts, into more privileged geographies of the globe, seeking the minimum standards of leaving.the disappearing economical borders form around bodies of individuals, representing small consumption units in the post-capitalism era. The borders, which need to disappear to facilitate the flow of goods and trade exchanges, are henceforth drawn around the bodies of the marginalized social/racial/religious classes to separate such bothersome bodies from the borderless economical globe. These moving body-borders resemble Colonial Islands scattered in the oceans, floating towards more privileged geographies.

In 2017, 33000 Migrants drowned or missed in the Mediterranean Sea while struggling to reach the European union borders. Their body-borders were located in the blind spot of the contemporary political geographies. Geographies constructed on the basis of fear. In the failure or the lack of ideologies and the failure to ratify any form of common constitution, fear becomes the only unifying tool. Fear as a precious and controllable commodity is a gift in the hands of the post-capitalist mass medias, politicians and multinational corporations. In this pandemic fear of these intruders, these migrant bodies become the main core of fear, the ones who will come to ruin the bright future. These bodies are drowned in the realm of absolute senselessness, in a zone where no feelings are evoked.

These stipples, these body-borders, these islands, have been left behind the gates of globalization, not only in the Mediterranean Sea but also in the brightest spots of our mega-cities. Their voices are muted and their bodies are disregarded in an invisible geography.

“Colonial body Islands and the strategic depth” is a representation of the migrant’s body. The migrant on the boat with a life jacket, the migrant with his very stereotyped image in our mind, or even the only conception we have of him.

It is a statue made of resin, its body is drilled to implant metal pin bars. The pin bars are positioned in specific spots to play a specific music piece once they touch the steel prongs next to it. The rotational motion of the statue in its horizontal axis is set out, tuned and controlled with the help of three cogwheels. The spectator is allowed to interact with the installation piece by turning a rotary crowbar secured to the axis of the statue to play the music. However,  the tunes won’t be heard as the whole body of the statue is placed in an aquarium filled with water. All can be heard would be the metallic sound of the moving gears, the lever, and the swash of water.

Payam Mofidi
1980, TEhran
MA, Animations
Held 4 Solo & Participating in more
than 47 Group Exhibition and Festivals

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