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Seyhoun Art Gallery Dec 2012 Ario Farzi Winterreise 02
Tehran

Winterreise

زمستانه ها

شوبرت، مینیمالیسم و من

نمایشگاه نقاشی آریو فرضی 17 آذز 1391 گالری سیحون

I-

شوبرت:

فرانتس شوبرت، آهنگساز اطریشی، غم انگیزترین و دراماتیک ترین اثر خود

“Winterreise”

را زمانی نوشت که شدیداً از افسرده گی رنج میبرد.افسرده گی ای که ناشی از ابتلای او به بیماریی کشنده بود که هم بر جسم او حمله برده بود و هم سلامت روانی او را داشت ذره ذره از بین میبرد  

خود او در مورد این اثر گفته بود: هیچیک از آثارم مرا به این اندازه عذاب نداده است

Winterreise

مجموعه ای بیست و چهار قطعه ای آوازی است که بر روی اشعار

Wilhelm Müller

دوست شاعر شوبرت،که برای خواننده مرد و همراهی پیانو نوشته شده است. اولین آواز این مجموعه با این عبارت آغاز میشود

بیگانه آمدم و بیگانه خواهم رفت

Winterreise

سفر زمستانی و درونی روحی تنهاست که در روزی تاریک و زمستانی در امتداد رودخانه ای بی هدف قدم برمیدارد. سفر مسافری تنها که قدم هایش را یک به یک بسوی مرگ میشمارد 

Karol Berger

موسیقیدان میگوید : این اثر بیانگر انزوا و بیگانگی انسان امروز است 

گرچه شوبرت از نظر تاریخی آهنگسازی است متعلق به دوران رومانتیک، ولی این اثر او خالی از سانتیمانتالیسم معمول در موسیقی دوران رومانتیک است و نگاه مینیمال او به این مجموعه بخصوص در بکارگیری مینیمال عناصر موسیقیایی، این اثر را متعلق به همه ادوار کرده است. گواه این ادعا را در بکارگیری مینیمال او از پیانو در آخرین و غمانگیزترین قطعه ی این مجموعه

“Der Leiermann”

میشنوید. 

شوبرت آخرین روزهای زندگیش را مشغول تصحیح نسخه نهایی این قطعه بود ولی مرگ به او مجال نداد تا شاهد چاپ و اجرای این شاهکار ماندگار باشد


II-

مینیمالیسم:

مینیمالیسم در هنرهای تجسمی در اصل حرکتی بود که در دههی 1960 در نیویورک و در مقابل حرکت و مکتب

“Abstract Expressionism”

اتفاق افتاد و هنرمندانی چون

Frank Stella، Kenneth Noland، Ellsworth Kelly، Robert Ryman و

... پرچمداران آن بودند 

مینیمالیسم حرکتی بود به سوی نقاشی انتزاعی تر، هندسی تر و ساده تر از ادوار گذشته. ریشه های اروپایی مینیمالیسم را میتوان در مکتب

Bauhaus

و آثار

Malevich، Mondrian و Albers

یافت، با این وجود هنر مینیمال چتر وسیعی است که نقاشان گوناگونی با سبکهای مختلف از

Duchamp تا Picasso

را نیز در بر میگیرد. 

شالودهی هنر مینیمال در نقاشی و موسیقی بر پایه فلسفه "کم کافی است." و نگرش کاهنده و حداقلی استوار است. هنر مینیمال میکوشد تا با استفادهی حداقل از عناصر هنری پیام خود را به مخاطب برساند. 


III-

من:

نقاش این مجموعه به هیچ وجه سعی نداشته که اثری موسیقایی را به تصویر بکشد و راه خلاف جهت موسورگسکی

“Mussorgsky”

را طی کند که نقاشیهای یک نمایشگاه را به موسیقی در آورد، بلکه این مجموعه حرکتی است موازی با آنچه منجر به پیدایش مجموعهی

Winterreise

شد و آن سفری است درونی و زمستانی.

هر دو مجموعه، حسی ملانکولیک، بیگانه , تنها و تاریک را در شنونده و بیننده بوجود میآورند. هر دو مجموعه از سوژه به عنوان بهانه ای برای بیانی هنری استفاده میکنند و بیننده و شنونده را به لایه هایی عمیق تر از لایه سطحی سوژه میبرند

نگاه مینیمال به سوژه و استفاده مینیمال از عناصر هنرهای بصری، این آثار را به نقاشی هایی مینیمال تبدیل کرده است و همچنان، فضای سرد، تیره و تنهای سفری زمستانی را در ذهن و دل بیننده به جای میگذارد


آریو فرضی 

زمستان 91

Winterreise

Schubert, Minimalism & I

Ario Farzi’s Painting Exhibition 7-12th December 2102 at Seyhoun Art Gallery

Franz Schubert wrote his most dramatic and tragic song cycle “Winterreise” (D. 911, published as Op. 89 in 1828) at a time when he was deeply depressed because he was suffering from a fatal disease that was threatening not only his physique but also his mental sanity. He himself confessed that no work had tormented him more than this cycle.

Schubert’s “Winterreise,” twenty-four numbingly beautiful songs on texts by Wilhelm Müller, opens with the lines “I came here as a stranger / A stranger I depart.” The words seem to be a typical specimen of Romantic angst, but Schubert transforms them into a kind of philosophical motto. The first song, “Gute Nacht,” is in walking rhythm, with accents implying a determined stride. It is in D minor, the iconic tragic key of Mozart and Beethoven, although the steady pace suggests that tragedy has been internalized, made into a way of life. And the principal melody, which moves in steeply descending phrases, is positioned with extraordinary precision between ancient balladry and the questing spirit of the art-song tradition, which Schubert more or less invented. The absence of conventional sentiment frees the song from its Romantic context and takes it into the eternal present. The contentment of a solitary winter stroll mixes with a deeper, more abstract dread—that of a man proceeding through life in a disaffected trance, counting off the steps toward death. The musicologist Karol Berger has claimed, boldly but plausibly, that Schubert’s cycle is “our civilization’s greatest poem of existential estrangement and isolation”.

Schubert’s Winterreise is the internal journey of a solitary soul along a bleak wintery riverside. The dark, dismal mood of the piece and the minimal piano accompaniment (best portrayed in the last piece Der Leiermann ) give it a timeless property which transcends the historical period in which Schubert lived.

Schubert's last task in life was the correction of the proofs for part 2 of Winterreise, and his thoughts while correcting those of the last song, "Der Leiermann", when his last illness was only too evident, can only be imagined. However, he had heard the whole cycle performed by Vogl (which received a much more enthusiastic reception) even though he did not live to see the final publication.

Minimalism in visual art generally referred to as "minimal art” emerged in New York in the early 1960s. Initially minimal art appeared in New York in the 60s as new and older artists moved toward geometric abstraction; exploring it via painting in the cases of Frank Stella, Kenneth Noland, Al Held, Ellsworth Kelly, Robert Ryman and others.

In a more broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s.

As seen, historically and stylistically, Minimalism embodies a broad array of artworks in different styles all of which are under the umbrella of Minimal Art, yet the quality they  all share in common is a simplifying outlook to the subject-matter of the painting or the musical piece.

The cornerstone of the minimal philosophy in art and music is a reductive approach in which      “less is more”. Ad Reinhardt, an artist of the Abstract Expressionist generation, but one whose reductive nearly all-black paintings seemed to anticipate minimalism, had this to say about the value of a reductive approach to art:

“The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more.”

I, Ario Farzi, the painter of this collection, did not attempt to picture a musical cycle, in a reverse order as Mussorgsky did in his music “Pictures of an Exhibition”, nor did I intend to set new perspectives in minimal art. My paintings in this series are a parallel movement with the internal voyage as present in Schubert’s Winterreise in as much as the internal journey of a solitary artist is concerned. Both sets portray an internalized walk along a wintery set. Both evoke a solitary and melancholic atmosphere, and both transcend the surface layer of the object under scrutiny.

The paintings are true to a minimal approach in the sense that minimal elements of design, e.g., color, texture, value, and above all, outlook are minimally utilized. The reductive approach is prevalent in all the paintings herein, just as much as a solitary and melancholic mood is.

  Ario Farzi

  Winter 2012

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

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