Etemad Art Gallery Jan 2013 Mostafa Choobtarash 02
شمایل های تاریخی را برساختن و همزمان به بازی گرفتن؛ کاری که چوبتراش میکند را میتوان در نگاه اول چنین توصیف کرد. اما او میسازد و به همان زیبایی تخریب میکند.این تخریب در ساحت نقاشیاش نوعی تکامل است.مثل واکسن که تن را میشکند تا آزموده شود ،نقاشیهای چوبتراش هم همینگونه قوّت میگیرند در برابر
آکادمی ،تاریخ و خاطره.گوئی که خاطرهای را با اشک کامل کنیم. چهره در هم میرود ولی آنچه در صورت گریان میبینیم یک تجربهٔ کامل است از یادآوری.یا حتا میتوان گفت انرژی فراموشی که ناگاه آزاد میشود.
.انگار گـُلی که یخ را میشکند و سردی را بازیچه میگیرد ؛ ما را به همان اندازه هشیار میکند که بازی کودکان
در کوچه وقتی که خوابیم.نمیخواهم بگویم که به نظرم دارد نقدی میکند بر آنچه وآنکه از دست رفته است.آنچه از دست رفته و تنها تصویری از آن داریم به همان اندازه اهمیت مییابد که بازیچه قرار دادن آن.هردو در یک سطحند. گاهی خانهای مجلل با یک رعدو برق زیباتر میشود.این همان تصویر است،هم در لحظه ی برق و نور هم وقتی سکوت آن را فرا میگیرد و صبحِ غم انگیز و زیبائی را برجای میگذرد.نمیخواهم از زیبئیی مصیبت وقتی کاری از ما ساخته نیست حرف بزنم.میخواهم از لازمههای تصویر زیبا بگویم که گاهی تخریب آن را کامل میکند.همانگونه که "چَپمن"ها بر نقاشی های هیتلر کار کردند همانگونه که حتا "راشنبرگ" با پاک کن اثری از" دکونینگ" را پاک میکند و کاری تازه خلق میشود.دردی حس نمیشود،آب از آب تکان نمیخورد تنها اثری
تازه و تصویری مانده گار برجای میماند.به عبارتی روشن تر نمیخواهم کارهای چوبتراش را به قضیهٔ تخریب آثار باستانی و نقدی ازین قبیل ربط دهم و با این جنس مقولات به حاشیهی هنر بکشانم.میخواهم این اثر را پیش و بیش از هرچیز نقاشی ببینم.و فکر میکنم هنرمند هم بیش از هرچیز نقاش است اگر نه با دقت و مهارت تصویری را نمیساخت که خودش آزادانه با چند لکه رنگ تخریبش کند و یک نقاشی خلق کند و البته این را فراموش هم نمیتوان کرد که این اثر با هر خوانشی به هر مخاطبی میتواند جوابگو باشد؛چه سیاسی باشد،چه نقاش باشد و چه مثل من شاعر.
Remaking historical icons and poking fun at them at the same time;
This is the initial description of Choobtarash’s work, first glance.
Yet he destroys as beautifully as he builds.
This demolition is a sort of evolution in its self in his realm of paintings.
Just like a vaccine that breaks into the body to be tested, his paintings are thus enabled to oppose the academy, history and sentimental reminiscences, like a tear that compliments a memory. Faces might have a displeased look on them, yet it’s a mark of a complete experience from recollection or, could even be called the sudden energy release of remembrance.
It awakens us like a frozen flower that plays with the cold, such as when we are brought to awareness by the sound of children playing in the street. I don’t wish to say that he criticizes the loss; what we have lost and the only image of it that remains with us, are of the same level of importance as having them as playthings.
Sometimes a magnificent house seems even more translucent in thunder and lightning, this is the image, both at the times of lightning and also when it is surrounded by silence, the next sad and beautiful morning.
I do not wish to speak of the elegance of disaster as it falls upon us, since it is out of our hands. I wish to speak of the necessities of a beautiful image, and how sometimes destruction completes it, as so did the Chapman brothers who worked on Hitler’s paintings or when Rauschenberg erased De Kooning,
then lo and behold a new piece is created.
No pain is felt and nothing is changed, only a new and permanent piece is left.
To bring more light on the matter I wish to avoid considering Choobtarash’s work as a kind of demolition of ancient art and criticism of such sort, and pull it towards the art margin. First and foremost I desire to see his works as paintings and think of the artist as a painter, otherwise he would not create an image with the utmost precision and skill only to spoil it by himself afterwards with a few paint stains and create a painting, and of course we cannot forget that each painting can have a different interpretation to each viewer; whether they are politicians, painters or poets, such as myself.
Vahid Sharifian, December 2012
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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.