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Etemad Art Gallery Dec 2013 Ghazaleh Avarzamani Utopia 02
Tehran

سبک روکوکو در اروپا شامل دوره ای می گردد که به عنوان عصر ”در جستجوی خوشبختی“ یاد می شود. سردمداران سبک روکوکو در زمینه ای از هرج و مرج سیاسی و اقتصادی و آشفتگی سلسله پادشاهی در فرانسه قرن هجدهم و در فضایی که در آن نوشداروی تمام مصائب دنیوی در بی توجهی آشکار و بی تفاوتی منحط جستجو می شد، سعی در ترسیم جهانی رها از یوغ دینداری و بند ستیزه جویی داشتند. 

این آرمانشهر چند قرن بعد از روکوکو در زمان و مکان دیگری که باور آن سخت به نظر می رسد دوباره ظهور کرد: در خانواده امروزی ایرانی. دهه ها کشمکش داخلی و قرن ها مداخله اجتماعی و سیاسی جهان غرب در ایران تا اواسط قرن بیستم، جهان غربی را به یک اندازه برای آنها قابل ستایش و هراس انگیز کرده است. 

یکی از رایج ترین، و از نظر زیبایی شناسی درخشان ترین، جلوه های آنچه که بعدها «غربزدگی» نامیده شد «دیوارآویزهای قالیچه نما»  بود. این فرشینه های محبوب ولی کم ارزش، که با تصاویری از زندگی روستایی یادآور نقاشی های سبک روکوکو بودند با قاب های طلایی خود، خانه هر ایرانی از هر قشر و طبقه ای را زینت می بخشیدند. این تزیینات نسبتاً ارزان قیمت و بی کیفیت حاکی از برداشت ظاهری افراد از ذائقه پرتجمل اروپایی بود. این آثار تزئینی همچنین پنجره ای به سوی جهان به اصطلاح برتری بودند که در آن وفور نعمت و توازن موجب کم رنگ شدن فراز و نشیب های زندگی گشته، و مجال ارضای لذات جسمانی را فراهم می آورد. اما فرشینه های ایرانی با وجود تمامی جذابیت های آرمانی خود، تلاشی بی شرمانه، بی اصالت ونسبتاً مضحک برای ترسیم تصوری از یک منظره  غربی بودند و همین تلاش است که هسته مرکزی آثارغزاله آورزمانی را تشکیل می دهد. 

نیما ساغرچی

خرداد 1392

The European Rococo is chiefly considered as an age defined by the search for happiness. Against the backdrop of political, economic and dynastic turmoil in 18th century France, the protagonists of the Rococo sought to portray a world liberated from piety and free from strife, in a landscape where the antidote to earthly woes was sought through flagrant indifference and decadent apathy.

The snapshot of Utopia, those centuries after the Rococo, was to find a derivative in the most unlikely of settings; within the modern Iranian household. By the mid-20th century, Iranians had been embittered by decades of internal strife and victim to centuries of social and political interference from a Western world they feared and admired in equal measure.

One of the most prevalent and aesthetically vibrant manifestations of what later revolutionaries dubbed “gharbzadegi” came in the form of “Gobelins”; these kitsch tapestries depicting idyllic pastoral scenes reminiscent of Rococo paintings, set in ornate gilded frames, embellished Iranian households of all classes. Whether in sprawling villa in the gentrified districts of Tehran or poor working house homes, these relatively cheap, low quality decorations were an aspirational ornament, demonstrative of the householders purported familiarity with luxurious European tastes. They also served as a window into an allegedly “better world”, one where abundance and harmony had muted the vicissitudes of life and allowed for the fulfillment of sensual pleasures. Yet for all their aspirational appeal, Iranian gobelins were rude, derivative, near comical attempts at picturing an imagined Western idyll, and it is this attempt which has formed the center of Avarzamani’s work.

Nima Sagharchi

June, 2013

نمایشگاه آثار " غزاله آورزمانی " با عنوان " یوتوپیا " دی 1392

گالریاعتماد

 http://www.artin360.com/Etemad.htm

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