Assar Art Gallery Oct 2013 Mohammad Hossein Emad Lit Shadow 01
به واسطه ی تاریکی ...
محمد حسین عماد در کارش تثبیت شده است. این جمله را هم می توان در ستایش از او گفت هم در نقد او. چرا که گام بزرگ در کار هنری رسیدن به اسلوب شخصی و تثبیت آن است و به گمانم بزرگ تر از این؛ پیش رفتن با آثار و تکرار نکردن خود. کم نیستند افرادی که در مرحله نخست کار خویش ثابت مانده اند. به همین دلیل نمایشگاه آثار هنرمندان نام آشنا قبل از دیده شدن، به اندازه خودشان آشناست. مخاطب می داند در کل با چه آثاری رو یا رو خواهد شد. انگشت شمارند از آنان که بتوانند بر روش خود بشورند و یا وقتی عزم بهم ریختن و گذشتن از خود را دارند کارشان به پراکنده کار ی منجر نشود .
عماد اما در این نمایشگاه به جرات توانسته از یک سو از ذهنیت مخاطبانش آشنایی زدایی کند. و از دیگر سو استدال های محکمی برای گذر از خویش بیابد. آثار ارائه شده در این نمایشگاه جسورانه از کارهای پیشین او بریده اند. گو اینکه غرابت های شکلی این آثار با آنها پا برجاست. او هوشمندانه در فرم، آنها را به کارهای پیشین اش گره زده است . به بیان ساده تر از منظر شکل شناسی؛ این آثار مشابهت فراوانی با حجم های چوبی او دارند. فرم های کار آزموده ای که عماد به طرق متفاوتی با چوب به عنوان ماده اصلی کارش ارائه کرده بود. اما این متریال است که حساب این آثار را با آنها جدا می کند . احساس نوستالژیکی که از چوب ساطع می شد جایش را به فضای پلاسمایی از سرب و پلاستیک داده است. گذار حسی از فشردگی کارتن پلاست ها ، پلی کربنات و ورق آلومینیوم بکار رفته در حجم ها برای مخاطبانی که به واسطه ی جنس چوب کارهای عماد را می شناختند، ساده نیست. آنانی که با آنها به گذشته کشیده می شدند ، در مواجهه با آثار جدیدش می بایست در حال و آینده تامل کنند. با آن که خشونت مواد در فرم های تثبت شده عماد رام شده اند، اما این آثار بسان حجم های چوبی او آرام نیستند. همچنان هول زندگی معاصر را با خود دارند. مواد بکار گرفته شده در ایجاد این زمینه ی معنایی نقش کلیدی ایفا می کند. همین امر امکان جابجایی زمان را در خوانش آثار فراهم نموده است، حال و آینده بجای گذشته. و این دستامد نقطه عطف کار او در این نمایشگاه است. با این همه حجم ها به قدرت کارهای قبلی او رازورزانه اند، گو اینکه در اینجا فرایند درک و دریافت این رازوارگی به شیوه کاملا متفاوتی تجربه می شود. در حجم های چوبی به واسطه جنس چوب مخاطب از سطح بیرونی به درون حرکت می کرد، اما در این آثار او این روند را معکوس می کند. نوری که درون حجم را نشانه رفته است حواس مخاطب را بدانجا متمرکز کرده و یا وا می دارد تا مخاطب نیز از آنجا آغاز کند. حالا نوری که به واسطه حجم از روزنه ها بیرون ریخته است سایه های معنایی خود را می گستراند. روشنایی به واسطه ی تاریکی دیده می شود و بیرون به واسطه ی درون معنا می گیرد... شاید، راهی برای عبور از خشونت فضای سربی و گاه تاریک این زندگی ... و شاید نمایشگاهی از تاریکی در پاسداشت روشنایی ...
Mohammad-Hossein Emad has become well established in his career. This is a statement that could serve either as a compliment or a criticism since finding a personal language and establishing that language is a significant step in any creative process. But more important, in my opinion, is to maintain the process without repeating oneself. Not many outgrow this first stage of their artistic practice. That is why the exhibition of renowned artists feels to be as familiar as the artist is, even before it is on view. The audience knows what to expect as a whole. There are only a handful of artists who get to rebel against their usual pattern or succeed in keeping their eye on the ball once they decide to surpass themselves.
In this exhibition, however, Emad has succeeded to defamiliarize his audience’s approach on the one hand and to find solid reasoning to transcend himself on the other. The works on exhibit are audaciously disconnected from his previous works while the forms are still comparable. He has cleverly connected the recent works to the older ones through shape. To put it more simply from a morphological standpoint, the works on exhibit are very similar to his wooden sculptures - the practiced forms he has previously presented in various ways, always using wood as his primary substance. It is the material, in fact, that sets the two periods apart. In his latest works, the plasmic feel of metal and plastic replaces the nostalgic feel of wood.
For those who knew Emad through his wooden sculptures, it is not easy to undergo the emotional transition that results from the feel of the condensed sheets of cartonplast, polycarbonate and aluminum.
Those who were drawn to the past by his previous works must now ponder in the present and the future when seeing his new creations. Although Emad has refined the roughness of his used material, his recent artworks, still, are not as restful as his wooden sculptures were. They carry within them the haste of modern life. The materials he has used play a key role in generating a semantic context as such. This has made it possible for time to shift in the reading of his artworks: the now and the future instead of the past. And this is what proves to be the turning point of his recent exhibition. Still, his latest works are as mysterious as the older ones were, even though the audience experiences and perceives the mystery in an entirely different way. In his wooden sculptures, the audience travelled from the outside to the inside whereas this process is reversed in this latest series. The light targeted at the heart of the sculpture grabs the attention of the audience or makes them start from that point as well. When it radiates outside the sculpture through the cells, it casts its meaningful shadow on the floor. Light is seen through darkness and the outside becomes meaningful through the inside… maybe a path to leave behind the viciousness of the livid and the sometimes dark aura of this life…and maybe an exhibition of darkness to express gratitude for light…
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Overview and History
Tehran 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."
Mehrabad 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.
Tehran 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 Culture
More 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, Recommendations
Take 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 Museum
the Abghine Musuem (glass works)
the 19th century Golestan Royal Palace museum
the museum of carpets (!!!)
Reza Abbasi Museum of extraordinary miniatures
and 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.