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Henna Art Gallery Jan 2014 Shohreh Bayatipour Samaneh Pourramezan 02

 Shohreh Bayatipour Statement

از آنجا که بحث از انسان (موضوع نقاشی) است و قرار است انسان (نقاش) درباره ی انسان نظر دهد این انسان دوم به ناچار یا خود را از انسان بودن معاف می دارد و بنابرین به راحتی ذاتی ثابت یا متغیر به انسان ِ ابژکتیو ( انسان اولی ) نسبت خواهد داد یا خود را نیز در مقام انسان درگیر خواهد کرد . بدینگونه تا حدودی از سوژه ی دکارتی دور می شود چون نقاش (از آنجا که به وسیله ی رنگ و شکل می اندیشد) با آنچه نقاشی می کند یکی می شود . ذات ِ متغیر به عنوان واپسین پناهگاه ِ ذاتگرایی می خواهد آنچه از انسانیت باقی مانده را همچنان حفظ کند و در عین حال میان ثبات و تغییر (که به ترتیب خوب و بد نام گرفته اند) شدیدا تردید دارد . آشکار کردن انسان متغیر گویی اینبار می خواهد این را  بپذیرد که تغییر ذات انسان است . اما این جنبه ی پیشرویی نیست بل جالبیش در این نهفته که تا حدی این تغییر را به زندگی روانی و اجتماعی مولف و مخاطب گره می زند . اگر آشنایی زدایی را به عنوان معیاری برای تمیز هنر از غیر هنر بشناسیم می توانیم بگوییم که این آثار هنری اند و از این نظر در گرایشهای صوری خود موفق بوده اندکه توانسته اند کارکرد هنری داشته باشند و در نتیجه چند معنا به شمار آیند . شاید این پیش درآمدی باشد برای ورود به کارهای شهره بیاتی پور .                                                                                                     یحیی پوررمضان

In as much as the argumentation is a propos of man (painting subject matter) and it is supposed that man (painter) gives comment on man, this second man whether ineluctably exempt himself from being man and thereupon it will attribute effortlessly a static or a dynamic nature to the objective man (the first man) or involves himself as the position of man. Thereby he keeps away from the Descartesian subject since the painter (as contemplates through paint and shape) unites with what he paints to a large extent. The dynamic nature as the latter harborage of nativism desiderates to still preserve what remains from humanism and in the meantime it scruples exceedingly between constancy and changing (that respectively are named good and bad). Revealing the dynamic man seems that this time it wants to admit it that changing is the nature of man. But this is not the advancing aspect; rather its delight is to some extent occult in that it trusses this changing with the psychic and social life of author and addresser. If we regard defamiliarization as the criteria of distinguishing between art and non-art; we can indicate that these works are artistic and from this point of view they have been prosperous in their external tendencies that they have been able to have artistic function and consequently they can be considered multiple meaning. Perhaps this is a preface for entering Shohreh Bayatipour’s works.

Yahyah Pour Ramezan

Samaneh Pourramezan Statement
ابژه‌ی میل، خود میل است.
ژاک لکان
زمانی انسان به عنوان «سوژه‌ی شناسای خودآگاه» تلقی می‌شد، اما با برجسته شدن بحث «ناخودآگاه» تأثیر رانه‌ها و امیال انسان بر او هر چه بیشتر آشکار شد. این سؤال که میل ما تحت اختیارمان است یا ما تحت کنترل میلمان هستیم، همیشه باقی است.
هنرمند در این مجموعه فیگورهایی از زنان، پیچیده در روبان‌های رنگی پر زرق و برق و فانتزی را به تصویر کشیده است. فانتزی‌ای که به جای نشاط و سرخوشی، گوئی رخوت و رنج را با لذت همراه کرده، فانتزی‌ای که ما را درگیر خود می‌کند و همچون میلی غریزی از ما جدائی‌ناپذیر است.
The object of the desire is the desire itself.
Jacques Lacan
Sometimes human was considered as “the knower self-conscious subject”, but by increasing the meditation on “unconscious”, the influence of human’s drives and desires on him/her was distinguished more and more. And the question regarding the fact that we run our desire or we are controlled by it will be remained.
In this collection, the artist has depicted figures of women wrapped in color glittering fantasy ribbons. A fantasy which seems to has associated numbness and suffering with joy, instead of being cheerful and joyful. A fantasy which engages us with itself and it is as an instinctive desire with us.

نمایشگاه آثار " شهره بیاتی پور و سمانه پوررمضان " دی 1392 گالری حنا


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More About Tehran

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