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Assar Art Gallery Dec 2014 Mohammad Hamzeh Crumples Iv 04
Tehran

این پرتره ها، اشراف و زیبارویان و نخبگان عصر رنسانس که با شکوه و وقار از پس قرن¬ها به ما فخر می فروشند، از جهان خود جدا شده اند تا زیبایی و جلال شان در پس زمینه ای بی مکان و بی زمان، تنها بمثابه اوج فردیت شان و کمال زیبایی و جبروت شان بدرخشد. این ها نمایش بی واسطه ی کمال و شکوه اند. اما ذهنیتی، نه آکنده از غیظ و خشم و نه فقط از تشویش سالیان تلخی زیست و تنفس در هوایی مسموم که در کنترل شدگی آگاهانه ی غیظ و تشویش بر آمده از آگاهی و پختگی مدرنیسم مچاله شده-اند، ترک خورده اند. خدشه دار شده اند. این غیظ و خشم تلنبار شده از تشویش مدرنیسم با دقتی وسواس گونه همه ی زیبایی و وقار و جلال شان را در چینشی جدید، در سبعیتی آمیخته به شیطنت و هزل حفظ کرده است. شوخ طبعانه به متانت و جبروت شان تلنگر زده اما ابهت و فردیت یکه شان را تشدید کرده است. از فردیت و ابهت شان آشنایی زدایی کرده است. بر آن نه فقط مهر تایید زده که عظمت و کمال شان و فردیت شان را موکد کرده است.

این تنها زیبایی شناسی مبتنی بر خلق یا جست و جوی زشتی نیست. او از پس زشت کردن ظاهری این کمال زیبایی به زیبایی شناسی جدیدی رسیده است. زیبایی نه مبتنی بر زشتی، که بر پایه ی رهایی و صداقت و سلوک مدرنیسم. هنرمند نگاه و تفکر و تشخص و فردیت مبتنی بر آگاهی را، در این غیظ کنترل شده، در این خشم تلنبار شده از زیست اجتماعی و فردی خود، و در این درک از رهایی و آزادگی مدرنیسم، بمثابه کشف فردیت و منیت خود به نقطه ای اوج از کمال و هنر در یک نجوای شوخ طبعانه فریاد زده است. او فردیت خود را باشکوه و عظمت نجوا کرده است.

امید روحانی- آذر 1393

These portraits, the noble men and women, the elite and the beautiful people of the Renaissance era who are still ostentatious after centuries, are removed from their universe so that their beauty and glory glow excessively in a timeless and spaceless setting with an emphasized individuality and eccentricity. This is an immediate exposition of splendor and majesty. The portraits are not crumpled, cracked and distorted because of the anger and fear one might feel for living through bitter times and breathing poisoned air, rather they are created determinedly with full control over the wrath and anger modernism brings about. The amassed resentment generated by modernism’s anxiety has resulted in an obsessive preservation of the beauty, dignity and glory of the portraits in a new arrangement and a ferocious but satirical and ironic tone. The artist has fooled about the serenity, greatness and dignity of the portraits, yet underlined their grandeur and individuality. He has defamiliarized their individuality and majesty yet favored them and even endorsed their splendor.

This is not an aesthetic language only to seek ugliness or to create it. By deforming beauty outwardly, the artist has achieved a total new aesthetics of his own with roots in the liberation, integrity and conduct of modernism. With his controlled wrath and the amassed resentment resulted from his social and personal life, in addition to his understanding of the liberty and magnanimity that modernism generates, the artist has used his perceptive outlook, opinion, eminence and individuality as to discover his own individuality and egotism and cry it out in a sardonic whisper at the zenith of perfection. He has majestically whispered his individuality. 

نمایشگاه آثار " محمد حمزه " با عنوان " دوره چهارم از مجموعه مچاله ها " دی 1393 گالری اثر

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More About Tehran

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