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Assar Art Gallery Nov 2014 Aydin Aghdashloo 05
Tehran

اگر هُنر نتواند امرِ نو و عتیق را توأمان در خود بیابد بی شک خود را از هدیه ی پیام آوران الهام محروم کرده است. چرا که آن ها دخترانِ خاطره اند. و خاطره بی آن که پیوندی بین حال و گذشته برقرار کرده باشد محال است.

و پُرشمار نیستند آن ها که هدایایی چنین را از خود دریغ نکرده باشند. و کم شمارند آن ها که می دانند تاریخ بسی افزون بر امری تقویمی است و از آن برمی گذرد و چنان به فرهنگ شکل می بخشد که سرانجام به اهرمی کارآمد و ابزاری ضروری مبدل می شود در ساختِ زیست جهانِ انسانِ معناسازِ جهان مند.

و گمان من این است که دستِ کم در سپهرِ فرهنگی ما که از قرار، آنچه در آن تداول دارد توصیه و دعوتِ به نسیان است شمار آن ها که نصیبی از هدایا دارند باید به اقلِّ میزان میل کند.

و شاید آیدین آغداشلو یکی از تکروترین و در عین حال پرنفوذترین آن اقلیت باشد. که دستِ کم و به گواهِ کارنامه اش هیچ سرِ آن نداشته تا تن به الگوی اکثریت و قاعده ی فرهنگِ فرودست و نسیان زده بسپارد.

گوستاو فلوبر زمانی گفت «مادام بواری خود من است». شاید سخن فلوبر را بتوان به این معنا گسترش و تعمیم داد که کردار هنرمند اغلب بازتاب و ترسیمِ سیمایی از خویشتن است؛ همان-طور که آغداشلو هم عنوانِ نقاشیِ درِ قدیمی و پُر از خط و جراحتی را گذاشته است تکچهره-ی نقاش در چهل و هشت سالگی. خویشتنِ به نمایش درآمده در کار آغداشلو اما همواره خویشتنی تاریخی است و انسان را در گستره و چشم اندازی معنادار توضیح می دهد.

افزون بر این می توان گفت و دانست که آن فهم تاریخی در کار آغداشلو بهره مند از ریتوریکِ خطاب گر و طعنه زن و تندزبانی است که بیانی چالاک و منضبط را به کار می بَرد و هم از این رهگذر است که می توانم ادعا کنم دستکارهای او در نظر من فصیح ترین لهجه ی تجسمی در هُنرِ امروز ایران است؛ فصاحتی که شاید آن را از سخن سرای محبوب اش سعدی آموخته باشد. دفورماسیون موکّد و به کارگیری مصرّانه از عنصر تکرار در فرم های دکوراتیو، وجوهی آهنگین را پدید آورده اند و منجر به ساختِ بیانی مسجّع شده اند؛ سجعی که در ادامه و    به ناگزیر نوعی رهیافتِ فن شناختیِ ویژه را هم طلب می کند.

و اهل فن بی شک می دانند که یک چَمِ قلم مو چطور می تواند برق هوش را برملا کند و این اشاره را تنها برای  آن ها می نویسم تا یک نوبتِ دیگر یادآور شده باشم که نژادگیِ ذائقه و پسندِ پرورده شرطِ این حرفه است. و چندان سخت نخواهد بود برای ما اعتراف به این که او نه تنها شرط لازم، که شرطِ کافی را هم برآورده است.

هنر در بسیاری از فرازهای خود نمایشی از پیکارِ اروس علیه تاناتوس بوده است. نمایشی از نبردی همیشگی و نابرابر. پاره ی غالب آثار آغداشلو هم از همین مضمون می گوید و آن را به نمایش می گذارد. این وجه تماتیک در آثار متأخر او اما صورتی معمایی تر به خود می گیرد و وجوهی پارودیک را با جنبه هایی زیباشناختی درمی آمیزد. 

آنچه به نمایش درمی آید همان است که آن را با عنوانِ زیباییِ تراژیک می شناسیم. زیبایی گریزپا و محکوم به تناهی و مرگ. همان که تاریخ قصه های فراوانی را از آن روایت کرده است.

 زیبایی ایستاده بر کرانه ی تاریخ. همان که دختران خاطره الهام بخش و پیام آورش بوده اند.

بابک روشنینژاد

شهریورماه یکهزاروسیصدونودوسه

Should art not find the new and the old together within itself it will surely miss

the gift of the messengers of insight, for they are daughters of memories, and memory

is possible only when today and yesterday are seen as connected.

Those who haven’t denied themselves such gifts are not many; few are those who

know that history is not limited to calendars — it shapes cultures in such a way as to

form human cosmogonies, and becomes a necessary tool for constructing a

meaningful biosphere by cosmopolitan human beings.

I believe that at least in the current cultural climate of modern arts — where the

dominant tendency is to stage a rebellion against the old — those who value traditions

tend to be few.

Aydin Aghdashloo is perhaps one of the trailblazers and at the same time most

influential of this select group. We can say, based on his oeuvres, that he doesn’t see

the need to follow fashionable artistic or philosophical tendencies of the day

that invite an ill-affected and rebellious culture.

“Emma Bovary is me,” said Gustav Flaubert to a journalist. This statement can be

taken to mean that the work of an artist is often a reflection or outline of his/her own

self. In the same way, Aghdashloo is depicting an old and dilapidated door and

calling it “Portrait of the Artist at Forty Eight.” The self that Aghdashloo shows us is

always a historical self, taking form within a meaningful landscape of events.

In addition, we can say and understand that this historical consciousness

benefits from a forthright and ironic discourse that employs a disciplined and consummate

rhetoric. As such, I argue that his interventions are among the most lucid

artistic expressions in the world of Iranian arts, the way his favorite poet, Sa’di, figures

among major classical Iranian poets. Emphatic deformations, obstinate deployment

of repetitious patterns in decorative forms, have created rhythmic layers

that have in turn lead to rhyming structures. This requires a special methodological

approach to technique.

Those in the know will no doubt agree that a masterly twist of brush can show

the lightning bolt of intelligence. I mention this to remind readers that developing

taste and sensibility is one of the pre-conditions of this profession. To me,

Aghdashloo fulfills requisites of technique and aesthetic sensibility seamlessly.

Art in many of its manifestations is the staging of a battle between Eros and

Thanatos, an unjust and always inequal battle. Aghdashloo’s works also speak to this

thematic, but in his more recent works the battle has become more mysterious,

introducing parody in aesthetic expression.

What is shown is what is known as tragic aesthetics. This is an ephemeral beauty

doomed to death and discontinuity, of which history speaks endlessly.

Beauty standing at the shores of history, this is what the daughters of memory

have brought to and inspired in us.

Babak Roshaninejad

August 2014

نمایشگاه برگزیده آثار " آیدین آغداشلو " آذر 1393 گالری اثر

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More About Tehran

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.