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Assa Art Gallery Oct 2018 Elahe Heidari Stills 01
Tehran

"ساکن"ها

انتظار از میزهای تو آغاز شد. پشت میزهایت نشستم. روی یک صندلی که پایه‌هایش باریک بود. اگر دست بلند می‌کردم که تو را به نشستن دعوت کنم صندلی می‌شکست. این بود که تنها ماندم. تنهایی اینطور موقع‌ها یک انتخاب نیست. یک اجبار است. پشت میزی که بیشتر از حضور یک نفر را تاب نمی‌آورد و روی صندلی‌ای که هر آن ممکن است بشکند تنها می‌توان ساکن شد. آیا دیگری می‌آید؟ اگر بیاید چه اتفاقی می‌افتد؟ آیا جایی برای او هست؟ آن‌وقت تنهایی چه؟ و انتظار؟ و سکوت؟ و سکون؟ اینگونه بود که همه‌ی لحظه‌ها یک لحظه شدند، نگاه یخ زد، همه چیز متوقف شد و ما ساکن خود شدیم.

در مجموعه‌ی "ساکن"ها فیگورها همه نشسته‌اند. زن‌هایی بدون دهان. فیگورها زن‌اند چون الهه حیدری اینطور خواسته وگرنه اگر مرد هم بودند حتماً در چهره‌شان دهانی برای حرف زدن نبود. حرفی برای گفتن نیست. "مرا از ترس‌هایم دور کن. نه با حرف. که حرف خود، خود ترس است."

صورت فیگورها ظریف نیست. زیبا نیست. زشت هم نیست. نمی‌توان برای چهره‌ها کاراکتر مشخصی را در نظر گرفت. همانطور که یک میز قبل از آنکه گرد یا مربع باشد یک میز است. رنگ‌ها تیره و ملایم‌اند و  جز در یکی از فیگورها که پیراهنی قرمز به تن دارد، تنش و انقباضی در اندام‌ها به چشم نمی‌آید.

در یکی از نقاشی‌ها که شامل دو کار متصل در قطع بزرگ است زنی تنها پشت میزی دراز نشسته است. میزی سفید با پایه‌هایی انگار لرزان. زن دست‌هایش را روی میز گذاشته و خیره نگاه می‌کند. دیگر انتظار تمام شده و یقین جای انتظار را گرفته است. از این پس تنها می‌توان نشست و خیره شد بی‌آنکه منتظر ماند.

به نظر می‌رسد که در مجموعه¬ی "ساکن"ها نقاش در ذهن خود به چفت و بست بهتری نسبت به جهان رسیده است. "ساکن"ها را می¬توان ادامه‌ی تفکر دو مجموعه‌ی قبلی یعنی صندلی‌ها و حوالی اجسام دانست. در صندلی‌ها ، صندلی‌ها بودند و از میزها و از آدم‌ها نشانی نبود. گویی همه صحنه را ترک کرده بودند. در حوالی اجسام آدم‌ها به دور میزها بازگشتند اما ناتمام. تنها قسمتی از آدم‌ها. دست‌ها. پاها. تنه‌هایی بی‌چهره. در قسمت سوم این تریلوژی اما همه هستند. هم اشیا هم آدم‌ها. همه با هم به کلیتی رسیده‌اند. مثل این است که الهه حیدری به انسجامی در کارهایش رسیده باشد. دیگر کلنجار با اجسام و حضور آدم¬ها فایده ندارد. این‌بار کنار هم می¬نشینیم و به عبور جهان نگاه می‌کنیم.

                                                                           آزاده طاهائی

                                                                            مهر 1397

 

The “Still”s

Suspense started from your tables. I sat at your tables; on a chair with slender legs. If I would bring up my hand to invite you to sit, the chair would break. That’s why I was left alone. Solitude is not optional at such times, it is compulsory. At a table that doesn’t bear the presence of more than one person and on a chair that is to break anytime, one can only sit alone. Will another person come? What happens if s/he comes? Will there be some space for her/him? Then what about solitude, suspension, silence and stillness? This is how all moments became one, the glance was frozen, everything came to halt and we became still.

In The” Still”s series, all figures are seated: some mouthless female figures. Figures are women because Elahe Heidari wants them to be women, otherwise, even if they were men, still, their faces would be mouthless. There is nothing to talk about. ”Detach me from my fears, not with words though, as words are the fear itself.”

The faces of the figures are neither beautiful nor ugly. One cannot think of a particular character by looking at the faces: like a table, which is a table in essence before being round or square. Her palette is dark and soft and except in one figure with a red blouse, no tension or stiffness is seen in the bodies.

In one of the paintings, the diptych that is, a woman is sitting alone at a long white table with seemingly unstable legs. The woman has put her hands on the table and stares at somewhere. Suspension is gone and certainty has taken over. Now one can sit alone and stare without expecting anyone or anything.

It seems that in The “Still”s series the painter has achieved a more consistent outlook on the world. The “Still”s could be the continuation of the painter’s vision in her last two series: The Chairs and Around Objects. In the Chairs series it was just chairs with no individuals or tables as if everybody had left the scene. In the Around Objects series, individuals returned to the tables but partially: with their hands, legs and some faceless bodies. In the third part of this trilogy, however, everyone is there, both objects and individuals, all as a whole. It seems that Elahe Heidari has achieved consistency in her body of work. Human presence and challenging the objects is not the matter anymore. We sit next to each other this time and watch the passing of the world. 

Azadeh Tahaie

September 2018  

نمایشگاه آثار " الهه حیدری " با عنوان " ساکن‌ها " مهر 1397 گالری  اثر

Copyright: Majeed Panahee Joo
Type: Spherical
Resolution: 12800x6400
Taken: 30/09/2018
Uploaded: 02/10/2018
Updated: 06/01/2019
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Tags: elahe heidari; stills; assar art gallery; assar gallery; omid tehrani; maryam majd; tehran; iranian artists; gallery in tehran; artin360; majeed panahee joo; majid panahi; iranian professional photographer; industrial photography; architectural photograph
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