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Assar Art Gallery Ahmad Morshedloo Apr 2014 Negative Space 02
Tehran

نگهی به خویشتن کُن

تردیدی نیست که دوازده چهره‌‌ای که به عنوان آخرین آثار احمد مرشدلو در اینجا به صورت یک مجموعه به نمایش گذاشته شده‌اند را باید ابتدا در تداوم با روند فعالیت نقاشانه‌ی وی در یک دهه‌ی اخیر مورد توجه قرار داد، و آنگاه در گسست. در این مجموعه نیز مانند سایر کارهایی که از او در ده سال اخیر به نمایش در آمدند طرفِ نگاهِ ما فرد است و نه جمع؛ در اینجا نیز گذر روزگار را بر چهره‌ها به روشنی می‌توان شناسایی کرد و در اینجا نیز– هر چند با تأکیدی بیش از پیش – فردِ ترسیم شده حامل تاریخ و احساسی است که با ضربِ قلمِ نقاش تصویر شده‌اند. با این همه، در این مجموعه  نه دیگر خبری از خود‌به‌خواب‌زدگانی است که گویا مرگ را بر زندگی ترجیح می‌دهند و نه چهره‌های مملو از شرمِ جوانانی که با جثه‌هایی نحیف، ناتوانی خویش را در رویارویی با جهان پیرامون‌شان فریاد می‌زنند. نه با جماعتی غریبه با خود و یکدیگر سر وکار داریم که بی‌حرکت، آینده‌‌ی تاریک و محتوم خویش را انتظار می‌کشند. نه از حیواناتِ سربریده اثری هست و نه از زنان و مردانی که ابدان نامتناسب‌شان فقط یکی از نشانه‌های فقدان تلاش برای معنادهی به زندگی روزمره‌شان است. 

اگر نبود آن تک‌چهره‌‌ی زنی که تأملش در خویشتن را نه در زخم‌هایی که گذر زمان بر چهره اش به‌جا گذاشته است بلکه در نگاهی همزمان به گذشته و حال و آینده جستجو می‌کند، ممکن بود به عنوان بیننده‌، این مجموعه را در تداوم تک‌¬نگاری‌هایی بدانیم حاصلِ  روایت نقاش از زمانه‌اش. تک¬نگاری‌هایی که مرشدلو در بازتاب دادنِ آنها معمولاً اغراقی چنان موفقیت‌آمیز دارد که مشکل بتوان فقط در مقام بیننده‌ی بی‌طرفِ آثارش باقی ماند و به دعوت نقاش برای جستجوی شباهت‌ها در سرنوشت مشترک بیننده و اثر نیندیشید. اما همان تک‌چهره‌، به سانِ تَلَنگری به ما یادآور می‌شود که اینجا دیگر نه با تک‌نگاریِ نقاش بلکه با اتوبیوگرافی یا همان زندگینامه‌ی خودنوشتِ یکایک چهره‌ها روبرو هستیم. اینجا ما با افرادی سر و کار داریم که گویی برای اولین بار جرأت و جسارت نگاه کردن به خویش را یافته‌اند. 

اولین نتیجه‌ی حذف نقاش در رابطه‌‌ی میان بیننده و اثر، بازیابی نقاشی است به عنوان هنری اصیل. هنری که از جمله به واسطه‌ی همین دوازده اثر می‌توان پی برد که در کشور ما هنوز و برخلاف روند هنرهای تجسمی در جهانِ غرب که نقاشی جایش را به رقبایی همچون ویدئو‌آرت و چیدمان و سایر خطابه‌های بصری داده‌است، حرفی برای گفتن دارد و کاری برای انجام دادن. کاری که کمترینِ آن ارائه‌ی تصویری است از سر زدنِ هرچند نه آسانِ فردیت در جامعه‌ای که با این مفهوم سرِ سازگاری ندارد. 

و در همین اولین نگاهِ به خود، آنچه جلب نظر می‌کند نه وجه تشابه آنها که وجه انفرادی‌شان است. یکی با نیشخندی به خود می‌نگرد که بیشتر از تعجب حکایت دارد تا از خرسندی و دیگری با پرسشگری از اینکه چرا پیش از این نگاهی به خویش نینداختی؟ در این میان نگاه دوگانه‌ی مردی را می‌یابیم که گویا هنوز بیشتر به ازخودگذشتگی عادت دارد تا توجه به خود؛ و زنی که چنان با اطمینان به خود می‌نگرد، گویی خود را همانگونه یافته‌ که تصورش را می‌کرد. 

اینک به نظر می‌رسد که دیگر احمد مرشدلو به آن دخترک کوچک که با چشمانی جستجوگر و زنده، گاه و بیگاه سر و کله‌اش در میان جمعیت به خواب رفته پیدا می‌شد تا بر وجود اندک شرری و بودنِ خاکستر گرمی جایی شهادت دهد و نقاش را از اتهام بدبینی و تلخ‌نگاری برهاند نیازی نیست. هر امیدی هست در همین بازیابی فردیت و هستی‌پذیری در نظام‌های دلالت فرهنگ و اجتماع و تاریخ است. در همین جرأت و جسارتِ نگاه کردن به خویش. حتی اگر آنچه بر ما گذشت را آئینه هم به خواب ندیده باشد.

مراد ثقفی

Take a Look at Yourself

The twelve exhibited portraits from Ahmad Morshedloo’s latest series, indeed, should be first considered as furtherance to his artistic pursuit throughout the past decade and then as a diversion.  In this series, as in all his other works exhibited in the past ten years, he has portrayed individuals and not masses. In these works, once more, the effects of time are clearly seen on the faces, and again, with his painterly skills, the artist has portrayed the history and emotion each individual carries, with a more accentuated tone this time. Nevertheless, one can neither see any of the figures who pretended to be asleep as if they preferred death over life in his latest series, nor the members of the younger generation who screamed their incapability to face the world around them with their frail bodies and ashamed faces. We no longer see a still crowd feeling alienated from itself and others while awaiting its dark and doomed future nor there is any sign of the headless cattle, or men and women whose disproportionate figures would be just one sign of their apathy to add meaning to their daily routine. 

If it was not because of the woman whose search within herself is noticed by her concurrent gaze into the past, present and future and not just the scars on her face indicating the passage of time, we could consider the current series in continuation of the portraits the artist had created in the past to narrate his era; the ones he generally depicts in such a successful exaggerated manner that viewers find it very difficult to remain unbiased and not become tempted to accept the artist’s invitation to look for what he has in common with the fate he shares with the artwork. But it is that very one portrait that acts as a fillip and reminds us we are no longer dealing with just some portrait painted by an artist, but autobiographies of several individuals we happen to be viewing their portraits. In this exhibition, we face individuals who seem to have found courage for the first time to look within themselves. 

The first consequence of eliminating the painter from the viewer/artwork correlation is reviving painting as a genuine form of art. These twelve paintings, indeed, prove the fact that this form of art still functions in our country and has its own say unlike in the Western world where it has been substituted with rivals such as video art and other visual media in the course of time. The least these paintings can do is to depict the not very smooth blossoming of individuality in a society that does not conform to such concepts. 

In their first self-contemplation, what stands out is their individuality rather than the similarities they share. One looks at himself with a grin which is more of his surprise rather than self-content and another has a questioning look as if he is asking himself why he had not looked within himself any sooner? We see the dual look of a man who is still more used to compromising rather than paying attention to himself, and a woman who looks at herself with such confidence as if she sees exactly what she imagined. 

Seemingly, Ahmad Morshedloo no longer needs that little girl who appeared among his still crowds every now and then with her attentive and curious eyes to remind us of a little spark of hope somewhere to save the painter from being accused of cynicism and pessimistic documentation of history. If there is any hope, it is in the revival of individuality and bringing systems of historical, social and cultural significance into being. It is in having the courage and bravery to look within self, even if mirror never even dreamt of what we each went through.

Morad Saghafi – Spring 2014

نمایشگاه آثار " احمد مرشدلو " با عنوان " فضای منفی " اردیبهشت 1393 گالری اثر

http://www.artin360.com/Assar.htm

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