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Abad Art Gallery Oct 2016 Group Exhibition Going Beyond Fantasy 01
Tehran

درنوردیدن فانتزی

 از آنجا كه تعاريف و مرزهاي هنر نامشخص، ناهمگون و بحث انگيز است، آيا ميتوان صنايع دستي را شاخهاي از هنر قلمداد كرد و براي آن جايگاه زيبايي شناسي قائل شد يا اساساً صنايع دستي به واسطهي ماهيت جامع و پويايش في نفسه هنر است؟ شايد نه هنر است و نه صنعت بلكه به واسطهي جنبهي كاربردياش همواره در مرز و در تبادلي دوسويه ميان صنعت و هنر قرار ميگيرد! اساساً تضادِ غريبي در ماهيتش به چشم ميخورد، از يك سو تأكيد بر لزومِ كاربردي بودنِ مصنوعِ دستي و جنبه‌ي فايده گرايش آن را به سمت تكنيكي شدن و نوعي خصلتِ صنعت‌گونه سوق مي‌دهد و از سوي ديگر تأكيد بر جنبه‌ي زيباشناسانه‌ي صِرف و مفهومي شدنش، آن را به هنر بدل مي‌كند. تا حدودِ زيادي داوري منفي در خصوصِ صنايع‌دستي و قائل شدن به جايگاهي فرومرتبه براي آن، به علتِ كاربردِ فايده گراي روزمره‌اش در يك برهه از تاريخِ حياتِ بشر، بوده است. همانطور كه سابرينا گشوانتنر نيز خاطر نشان مي‌سازد، "بزرگترین نقطه‌ی قوت صنایع‌دستی، بزرگترین نقطه ضعفِ آن نیز به شمار می‌آید، صنایع دستی می‌تواند به شیوه‌ای که هیچ گاه نقاشی قادر به انجام‌اش نیست، فایده‌گرا باشد". هر چند كه به نظر مي‌آيد ماهيتِ صنايع دستي پس از انقلاب صنعتي دچار تغيير و تحولاتي شده است، امّا، همچنان منتقدين و هنرمندان با استناد به جنبه‌هاي توليد و كاربرد فايده‌گراي صنايع دستي، براي آن جايگاهي فرومرتبه و بيرون از حيطه‌ي هنر، قائل شده‌اند!

مسئله اينجاست كه آيا خصلتِ كاربردي يك ابژه منافاتي با هنري بودن آن دارد؟ آيا ابژه‌ي صنايع دستي، صرف داشتن پتانسيلِ توليد، از هنري بودن تُهي و در زمره‌ي اشياءِ صنعتي قرار مي‌گيرد؟ پس چگونه است كه دوشان اشياء حاضر و آماده‌ي صنعتي را بدون كوچك‌ترين دخل و تصرفي در آن‌ها، در بستري ديگر كه همان بسترِ نمايشِ آثار هنري است، قرار مي‌دهد و شيءِ صنعتي بدل به اثري هنري مي‌شود! همين‌طور هنرمنداني كه عناصري را از حيطه‌ي صنايع دستي وارد آثارشان كردند، و در آخر فرآورده‌ي نهايي، هنر محسوب شد! پرسش اينجاست كه اگر اثر هنري را هم در بستري صنعتي قرار دهيم آيا آن اثر بدل به محصولي صنعتي مي‌شود؟ امروزه بسياري از آثارِ هنري در مقياسِ انبوه توليد مي‌شود، پس چرا در اين مورد خصيصه‌ي توليد، اثر هنري را تبديل به محصولِ صنعتي يا دست كم ابژه‌ي صنايع دستي نمي‌كند! آيا فرآيند است كه فرآورده اي را به هنر و ديگري را به صنايع دستي بدل كرده؟ به واقع  صنايع دستي چيست و چه بايد باشد؟ 

به صورت فرمال در هر سيستمي يك حذف شدگي وجود دارد و يك سري مسائل، حل نشده و مبهم باقي مي‌ماند، كه همين امر زمينه‌ي انسجام آن سيستم را فراهم مي‌آورد. در داخلِ گفتمان هنر، وجود صنايع دستي به منزله‌ي ابژه‌اي هنري پذيرفته نيست، و اين‌طور به نظر مي‌آيد كه صنايع دستي مسئله‌ي حل نشده و خلاء موجود در هنر است. يك جور امر واقعي كه درون واقعيت و حوزه‌ي نمادين هنر صورت‌بندي نمي‌شود. جدا شدن صنايع دستي به صورت انتزاعي از گفتمانِ ارتجاعي و محافظه‌كارانه‌ي سنتي‌اش، در وهله‌ي نخست مستلزم ايجادِ شكاف در درونش است. ابتدا لازم است عليه جايگاهِ فرومرتبه‌ي خودش حركت و آن را نفي كند. هنر تلقي شدن صنايع دستي، تنها خود را در قالب يك شكاف در درون نشان مي‌دهد، به بيان ديگر مسئله معطوف به امري در بيرون نيست بلكه اصلِ قضيه يك ديالكتيكِ دروني و يك كنده شدن و ايجاد تفاوت در درون است. تفاوت در بخش‌هايي از آن كه تمايل به هنري شدن و بخش‌هايي كه تمايل به ماندن در همان گفتمان ارتجاعي و نهايتاً ميل به صنعتي شدن، دارند. 

با وجود تمامِ پرسش‌هاي موجود بر سر راهِ چيستيِ صنايع دستي، نمايشگاه حاضر بر آن است تا با نگاهي راديكال به تلقيِ رايج از صنايع دستي و با هدف كم رنگ كردنِ مرزهاي برساخته شده ميان صنايع دستي و هنرهاي زيبا با استناد به تعاريف رايجِ سنتي از آن، و همچنين با دور شدن از خصلتِ فايده‌گراي صنايع دستي و تأكيد بيشتر بر جنبه‌ي زيبايي‌شناسانه و تفكر مفهومي، خوانشي متفاوت از آنچه تا به امروز از صنايع دستي انتظار مي‌رفت، به دست دهد. هنرمندان با وارد كردنِ عناصري از هنر بومي كه برساخته‌ي خرده فرهنگ‌هاي ادوار گوناگونِ مناطق مختلفِ ايران است و تلفيق مناسب و آگاهانه‌ي آن در بستري نامأنوس، با شيوه‌اي متفاوت از شيوه‌هاي سنتي خلقِ هنرهاي كاربردي، دست به خلقِ زيباشناسانه‌ي ملانكوليكِ اين خاطره‌هاي فرهنگي در بستري ديگر مي‌زنند.

نمایشگاه حاضر بر اساس خوانش هنرمندان برگزیده از بیانیه‌ای که شورای سیاست گذاری "گالری اَبَد " برای این رویداد تهیه کرده است، برگزار می‌شود.

"GOING BEYOND FANTASY"

Art has no clear-cut borders and the definitions given for art are not consistent with one another, and therefore it is liable for debate. In this situation, could we consider ‘handicrafts’ as a branch of art, with an aesthetic position? Since handicrafts possess a comprehensive and dynamic nature, could they be regarded as ‘art’, per se?

We might even embark on the assumption that handicrafts are neither art nor craft or industry, but resting on the borderline of the two, due to their functional property, and thus establishing a bilateral interaction between art and craft. There is a strange paradox in the essence of handicrafts. On one hand, emphasis is laid upon the necessity that an object crafted by hand should be something that can be used in daily life, and hence this utilitarian aspect leads it toward technicality and enjoyment of industrial characteristic. On the other hand, underscoring the fact that there should be a mere aesthetic aspect for crafts and they are to be conceptual actually transforms them into an art. Negative attitude and judgment about handicrafts, so to give them an inferior position compared to art, are to a great extent related to their utilitarian aspect and application in daily life of mankind in a certain era of history. Sabrina Gschwandtner mentioned the fact that the strongest point of craft is simultaneously its weakest point, and it can be utilitarian in a way that a painting can never be. Though it seems that the nature of crafts has transformed and experienced changes after the industrial revolution, the artists and art critics still consider an inferior state for them, out of the domain of art. This treatment is only because of the utilitarian application of crafts and the method of their production.We should therefore ask if the functional attribute of a certain object contradicts its being regarded an art. In other words, is an object of handicrafts empty of any artistic aspect and should be placed among industrial objects, only because of its potential for production? If it is so, then how did Duchamp place a readymade industrially made object in the same context used for exhibiting artistic works, without even making the least alteration in it, and hence turning that product into an object of art? Similarly, the other way around, there are artists who have merged certain components that are found in the domain of handicrafts into their works, and the final products made by them are considered art works.

Therefore, another question arises and becomes inevitable. In case an art work is put in an industrial context, would it be changed into an industrial product? Today, many art works are likewise produced in a large scale. However, their quality of being produced does not make them industrial products, nor are they objects of craft. Is it the kind of production process which makes a product an art work and the other a craft? What is eventually a craft and how should it be?

As far as the form is concerned, there is a void in each and every system, plus some unresolved or ambiguous issues which nonetheless pave the way for this very same system to remain integrated. In the dialogue of art, the existence of handicrafts as objects of art is not accepted. Hence, crafts seem to be an unresolved case and a vacuum in art. Crafts are somehow ‘the real’ in the reality and symbolic sphere of art which could not take form. Abstract separation of handicrafts from their conservative and recessive traditional dialogue requires, in the first place, the making of a gap within this same dialogue. Therefore, above all, it is needed that crafts act against their own inferior state and deny their current position. For handicrafts to be considered as art, they should manifest themselves as a cleavage created within. In other words, it is not a case to be treated as external. It is, on the contrary and in essence, an inner dialectic: a separation and difference that occur inside the above mentioned dialogue. The distinction is to be made between the parts and components that have the tendency to become art and those that are prone to stay in the same resilient dialogue and are finally susceptible to become industrial.

In spite of all the questions that exist about the nature and essence of handicrafts, this exhibition seeks to take a radical look at the prevailing view to the crafts, so to make the borders between them and the fine art less obvious; the borders which were established as per the traditional definitions that are still found in our time. In this way, that is, by putting the utilitarian disposition of crafts aside, laying more stress on its aesthetic aspect and through adoption of conceptual thinking, we aim to render a different reading of what has so far been expected from handicrafts. With the importation of elements of indigenous art, constructed by sub-cultures in different periods of time and in various locations of Iran, along with a proper and conscious merging of same into an unfamiliar context and through a method of creation different from the traditional ones used for functional arts, the artists have ventured an aesthetically melancholic creation of their past cultural memories and recollections in a new context.

***********************************************

 نام هنرمند : یاسر رجبعلی

نام اثر: چرک و چشم زخم 

مواد و متریال : لیف سنتی حمام - خرمهره

اشاره به وجه کاردستی گونه‌ی اشیا، تاکید بر فرآیند تولید است، وجهی که در کار کردن دست را به مثابه‌ی وجه هنری اشیا نمی‌نمایاند و حاصل تکرار در آن فرآیند، استادکاری در تولید دست ساز است. اشیایی که چیزی نیستند جز خودشان.

لیف ها و خرمهره‌ها استادانه تولید شده‌اند تا چیزی نباشند جز لیف و خرمهره همراه با بازنمایی تکرار استادکاری و اما همنشین شده‌اند تا تولید گفتمانی دیگر کنند، گفتمانی که حاصل انطباق کارکردشان است، کارکرد هر دو آن‌ها زدودن است. زدودن چرک و چشم زخم با نمایش ضمنی خلوت، زخم، برهنگی و درد. درد حاصل از زدودن لایه ضخیم تکرار.

Title: Fester & the Evil Eye

Material: Traditional bath fiber sponge & glass beads

Pointing to the handmade aspect of the objects serves an emphasis on the production process. Working with hand does not necessary grant the object an artistic dimension. Repetition of this production process leads to the craftsmanship in the production of handmade objects. The objects are nothing but themselves.

Fiber sponge and Khar-Mohreh [glass beads] have been produced masterfully, so to be nothing but the fiber sponge and the glass beads, and also to represent the repetition of craftsmanship. Together, they have nevertheless produced another discourse. A dialogue resulted from their functionalities. They both function as “effacement”. It is the effacement of the fester and the evil eye, with the implied showing of the privacy, wound, nakedness and pain; the pain of effacing the thick layer of repetition.

************************************
 نام هنرمند : بابک کاظمی
نام اثر: تراشیدن
تکنیک : چاپ ژلاتین 
نام اثر: اندرونی 
تکنیک : چاپ سفیده تخم مرغ 
تراشیدن، کدام قسمت از تپوگرافی مفهومی پوسته را هدف قرار می‌دهد؟
-آیا کشتن، بخشی از درمان نیست؟
Work title1: shave
Technique: Gelatin Print
 Work title2: Herem
Technique: Albumen Print
Which conceptual topography of the crust is aimed by shaving? Isn’t killing a part of remedy?

نمایشگاه گروهی با عنوان " درنوردیدن فانتزی " مهر 1395 گالری ابد
http://www.artin360.com/Abad.htm 

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More About Tehran

Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.


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