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نمایشگاه انفرادی حجم وچیدمان
ا 5 دی ماه 1393
مجید بیگلری اشتیاقی سیر ناپذیر برای درک اینکه اشیا چطور ساخته میشوند دارد، رمز و رازی دست یافتنی. مجموعه جدیدش آثاری هستند که احتمالات را پیشنهاد می کنند. بخشی از تجربه ی جدید برای این هنرمند جوان و تمرینی در بکار گیری تحلیلی هوشمندانه و جسور
این هشت اثر "ابتدائی" هستند به این مفهوم که تهی شده اند تا سرحد برهنگی . هنرمند رنگهای و توانائیهای ساخت و ساز قابل توجه اش را کنار گذاشته و به اختصار روی آورده است .عناصر در این مجموعه یکسان و پیش ساخته میباشند و غیاب رنگ در قلب داستان جای دارد
فرآیند ساخت، بخش مهمی از این آثار است و نتیجه نهائی مورد تمرکز نیست. الگوسازی، جداسازی، و الحاق قطعات – با دقت میلی متری- برای تکمیل هر قطعه، بخشی از اثر نهائی هستند. به جهت استفاده از آهن زنگ زده در طی زمان، تجزیه و نااستواری ماده خود پوشش اضافه ی بر اثار خواهند بود. زمان، جاذبه زمین و شرایط آب و هوائی هریک لایه های خود را اضافه خواهند نمود آثار هنوز فرم هستند ولی مخاطب را تشویق به برداشت منطقی و یا غیر منطقی می کنند، و این نکته اصلی این مجموعه است : پیشنهاد و احتمالات، فقدان در عین بودن
استفاده از انظباط ساخت بعنوان یک روند و تاکید بر تکرار (با جفت و جور کردن صدها پیج و مهره و یکدستی ماده) نشانه های اهمیت فرآیند ساخت هستند. فرآیند حذف که هنرمند طی پیدایش اثار تجربه کرده، مخاطب را با پیشنهاد "ناتمامی" مواجه می سازد: سرپیجی از مفاهیمی چون داخل/خارج، فضای خصوصی/عمومی، زن/مرد، خودنمائی می کند. ایده هائی نظیر قدرت، تهاجم، خطر آنی، جداسازی جنسیتی، برانگیخته می شوند و همزمان چیزهای غیر انسانی، صفات انسانی نظیر زن و مرد،کوتاه و بلند...پیدا می کنند
این پروزه پایانی باز دارد، قطعات برای خود فضا می سازند و از زوایای مختلف دیده میشوند. رابطه ای همانند صور فلکی قطعات را به هم متصل می کند و تداعی معنی برای مخاطب بخش مهم این مجموعه می شود. زبان شخصی این هنرمند جوان و جستجوی مداوم وی برای دستیابی به حدود و مرز فرم و مفهوم، یادآور آن است که هرآنجه که هست تنها یک خاصیت ندارد و هیچ چیز ماندنی نیست
The Feast of the Day of No Return
Solo exhibition of Sculpture and Installation
Opening on Friday 26th December 2014
Majid Biglari has an inexhaustible curiosity about the way things are made, a sacred mystery but attainable. His new series seem to be suggestions for probabilities. They are part of a new era of experience for this young artist and a practice in bold analytical intelligence.
The eight piece series are primary, in the sense that they are stripped down shapes, stripped to almost nakedness. Artist has shed his colors and his considerable ability in producing immaculate pieces, and has reduced the pieces to bare minimum. The elements in these series are identical, they are prefabricated pieces. And the absence of Color is at the heart of the work.
The process has become part of the art and the end object is not the principal focus. Patterning, sorting, collating, and the whole process of pulling together the tiny pieces-to extend of millimeters- and ascertaining that all pieces fit to perfection, have defined every single piece. With time, decomposition and the instability of rusted metal, aging and degradation, will show the forces of nature. Time, gravity and weather will be allowed to add their own layers.
The works are still shapes but leave the audience free to form their own rational or irrational perception of the pieces, and here is the core; the suggestion, the probabilities and absence as much as presence.
The use of order as a strategy and persistence on repetition,- by screwing hundreds of nuts and bolts and the uniformity of material- are precursors to the importance of the process of production. The elimination process that the artist has gone through is relayed to the viewer leaving them with a suggestion of incompleteness.
There is also a rejection of notions of outside and inside, private space or public one, male or female. The works also incites ideas such as power, aggression, eminent danger, gender segregation, and at the same time ascribes human characteristics (tall, short, male, female, ..) to nonhuman things.
This is an open ended project, where pieces carve their own space, and can be looked at from different angles. The constellation like relationship of pieces to each other, and the association with viewer becomes an important part of the sculptures. The personal vocabulary of this young artist and his relentless search for the limits of form and concept, aim to remind us that not anything that exists has only one property and nothing is permanent.
Overview and HistoryTehran 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."Getting ThereMehrabad 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.TransportationTehran 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 CultureMore 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, RecommendationsTake 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 Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand 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.