Nazgol Ansarnia

Parisa  Pahlavan

Hamid Severy

Rozita Sharaf Jahan

Behrang Samadzadegan

Behnam Kamrani

Review session

The Vista Contemporary Art Awards aims, as with the previous years, to discover and introduce top ideas in visual arts and is now in the later stages of its 3rd annual run. A belief in the importance of the process of developing unique, creative ideas which lead to artworks that are authentic, valuable and, at the same time, contemporary and in harmony with world art approaches and trends forms the foundation of the cash prize competition/cultural support. Holding an exhibition showcasing the top 10 ideas, preceded by the juries selecting from the countless submitted proposals, and followed by providing the means for the top winning idea to be realized in the gallery, bear witness to the fact that the Awards’ founders value the unrivaled place of idea generation processes and point of view creation mechanisms leading to creative actions in the form of contemporary artwork and wish for the growth of this essential notion that helps Iranian art survive and flourish. The Vista Contemporary Art Awards is hopeful that it has succeeded, as it has in the past, in achieving its three primary goals, namely, (1) identifying and introducing top, innovative ideas in Iranian contemporary art, (2) valuing the writing of project proposals and artist’s statements and the processes of art creation, operational planning, and budget estimation, and (3) content creation and media coverage for top ideas with the goal of enriching the Iranian knowledge and culture. The 3rd Vista Contemporary Art Awards juries, Nazgol Ansari-nia, Rozita Sharaf-jahan, Parisa Pahlavan, Hamid Severi, Behnam Kamrani, and Behrang Samadzadegan, evaluated the submitted proposals based on criteria such as contemporaneity, theoretical basis, practicability, and having cultural potentials. No theme was specified for the competition and contestants were free to submit works done in any medium and with any subject matter. Following this year’s call for entries, the juries received a total of 187 proposals, 19 of which were selected after dozens of specialized review and discussion sessions and their artists were invited to separately defend their proposed ideas before the jury panel. The interview sessions resulted in the selection of 9 proposals from 10 artists to enter the semi-final stage, be featured in the exhibition showcasing the top ideas, which is to be held at Vista Art Gallery in the winter of 2020, and compete for the place of final winner. The finalists are: Oldouz Nabizadeh, Iman Jesmi, Aysa Rashidi, Hamidreza Azad, Sanahin Babajanians, Samira Rahbani, Shauna Abdullahian and Ehsan Alizadeh, Kolsoum Salehi, and Houfar Haghighi. It should be noted that although proposals in every contemporary visual art form, such as painting, photography, sculpture, video art, and installation, were welcomed by the Vista Awards and eligible for consideration, most of the submissions were installation ideas.



Symphony of Despair

Symphony of Despair

Hamidreza Azad

Hamidreza Azad
1993, Amol
His paintings and videos are shown in a number of group exhibitions


The sound is a kind of energy which is made by the action of particulate matter, in such a way that a particle makes sound waves by hitting another one. By this action sound will be spread.
The sounds like other energies are always around us and have a necessary role in recognition and vividness of our surroundings. By saying vividness, we mean to emphasize more on concepts transmission, process and perception of feelings confronting with phenomenon. If we put our assumptions on the origin of the survival of the energy, we can almost say that the sounds around us will never be destroyed. Now we suppose a place that all the sounds gathered there and all doomed to an eternal repetition. One can receive irregular pattern of sound which is formed by the sounds of all things that are able to produce sound. In this set, the aim is to bring about the experience of being in a place that by sound, an archived history will be spread for audience; either nonlinear or artificial. Among other facilities of this work, we can mention a microphone which will be turned on a few hours of the day and the sound will be disconnected and the general light will come back to the auditorium. In this moment the audience can add their voices to the record in the microphone in order to be played on the next level. The historiography of this work contains the turning points of history which included human beings errors, successes and adversity. For instance, moments like launching a spacecraft for the first time, the speeches for war announcements, human rights statement, the extinction of a special kind of animals, etc. the sound file will be started from a spot that human being is not able to talk and is leading to intelligent human with a evolutional rhythm. In all stages, sounds from the nature will grieve in the lamentation of human beings decline.



Sanahin Babajanians

Sanahin Babajanians

Sanahin Babajanians

1991, Tehran
MA in painting

Group Exhibitions:

Kamaloldin Behzad Art Gallery- Tehran 2010
Mokaab Art Gallery- Tehran 2010
Khorshid Art Gallery- Tehran 2011
Zarna Art Gallery- Tehran 2011
Kamaloldin Behzad Art Gallery- Tehran 2012
Idea Parsi Art Gallery- Tehran 2014
Alzahra university- Tehran 2016
Mah Art Gallery- Tehran 2019
Solo Exhibitions:

Farmanfarma Art Gallery – Tehran 2019

Art Festivals And Awards:

Jokal Art festival- Pardis Mellat Art Gallery- Tehran 2017
Jokal Art Festival- Pardis Mellat Art Gallery- Tehran 2019
Winner of Mohsen Projects- Mohsen Art Gallery- Tehran 2019


The presented work is a structure designed by elements derived from Islamic-Iranian and Christian-Armenian architecture which represents the inevitable duality Armenians have to tackle in Iran. This so-called twofold sensation (thousand fold in actuality) that the work is trying to depict is a challenge felt not only by us Armenians but anyone living in the modern world, the consequences of which are undeniable.

This is a single wooden structure with a hexagonal[1] base, arched walls and a rib vault [2]designed with decorative elements spread around it. The hexagonal basis is 470×470 mm, each wall 1009×740 mm and the dome 110 mm high, which makes a structure of 1200×1480 mm. The whole piece will be made of ply wood of different thicknesses, between 9 and 18 mm relating the requirements. The inner part of the work is going to be supported by six triangular cutouts of the same material. Lastly some textures will be applied on the whole surface preparing the grounds of the paintings which will be eventually added to the work, thereby supporting the general concept.

For the work to be made there will be the need for the wooden pieces to be cut by CNC machines of different dimensions. The pieces will be put together using different glues which have been selected accordingly to the general material, height and weight. To make sure of the stability of the work some metal supports will be added to the inner part of the piece.




iman jesmi

Iman Jesmi
1984، Mashhad
MA, Composing


So many sounds that were silenced by our presence, so many conversations disrupted by our being and all the lives destroyed by our passage. Being is not always life-giving. At times, being can be an end to the life of what was once there. A life ended as a result of our passage. 

‘’Craze’’ is attempting to create a space for finding one’s self and eventually getting lost in it. A journey to reach what is longed and idolized. In this journey however, all on our path cease to exist due to our very presence and fall victim to the seeker’s presence and ambitions. This presence, albeit in the form of a mystical journey, has certainly been a harmful and disappointing one. 


Ninety Two Pages 

Emad Anoshirvani
1991, Mashhad
print supervisor


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


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


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.


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


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.



The Mothers Room

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


“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.


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.



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


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.


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.


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.)


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.”


  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.)