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Assar Art Gallery Oct 2014 Mina Nouri 03
Tehran

تار و پود دیدن و ندیدن 

مینا نوری در تمامی این چهل و اندی سال یا نقاشی کرده است یا چاپ دستی. به خوبی می داند کجا قلم مو و رنگ بردارد، کجا از سیلوگرافی و یا کالکوگرافی بهره بگیرد، و می داند کجا ها این ها را با هم در آمیزد؛ مانند همین مجموعه ی اخیر که نقاشی و مونوپرینت را کنار هم نشانده است. در تمامی این تکنیک ها یک چیز همواره با او بوده است: نگاه سخت گیر و باریک بین او در انتخاب موضوع و اجرای کار. همه ی موضوعات انگار روزها و سال ها در ذهن او زندگی کرده اند. آن قدر چیزها را در ذهن اش دیده است که گاهی ما را از دیدن وا می دارد. انگار خودش، هم پرسش گر است و هم پاسخ گو. او بر ذات رسانه ی چاپ هم که با اتفاق و تصادف عجین است به تمامی احاطه دارد. حتی رطوبت کاغذ و حرارت کلیشه و فشار دستگاه پرس را هم در مشت دارد. همه چیز "بی عیب و نقص" در دست و ذهن او است. اگر "اشتباه" و یا "اتفاقی" هم در کار هست عامدانه و آگاهانه است. مینا نوری اما با تمام ریزبینی و دقت، گاهی ریتم ها را مغشوش می کند، پرپسپکتیو و عمق میدان را از میان بر می دارد یا در هم می ریزد.  و آن قدر کارها با دقت ساخته و پرداخته شده اند که این "اشتباهات" به سختی به دیده می آیند. از این منظر همه چیز "درست" است. گاه در مواجهه با کارهای مینا نوری از خودم می پرسم آیا این میزان آگاهی و اِشراف مرا هم در هم می ریزد؟ کمال و بی نقصی تا چه اندازه نگاه و ذهن من را  در ساخت و پردازش کار سهیم می کند؟

در کارهای اخیر او، کم و بیش، هم  رد و نشان همان اشیاء اطراف هنرمند را می بینیم، هم به گونه ای همان مفهوم امر دیدن و یا ندیدن مجموعه ی پیشین را. انگار پرده ی اطاق جای خود را به تاروپود پارچه داده است و پنجره، جای خود را به شیشه ی عینک. در کارهای مجموعه ی قبل، اطاق بسته و پرده و نرده ها ما را مدام به کنار زدن و سرک کشیدن و باز کردن و دیدن وا می داشت؛ در عین حال فاصله ی ما با موضوع امکان دیدی باز می داد. در این مجموعه اما، اشیاء به ما نزدیک شده اند. این فاصله ی کم و محدود، دید ما را می بندد. با این که عدسیِ عینک، نگاه  ما را به آن سوی شیشه نزدیک می کند تا شاید دقیق تر ببینیم، این جا کارکردی وارونه پیدا می کند. عدسی، شیشه یا پرده ای می شود میان ما و پارچه. تصاویر داخل عدسی یا انعکاسی از فضای پشت سرمان اند یا اساساً شیشه ای تیره یا مات، تا به تمامی دیدن را از ما بگیرد. آن چه به گمان من ما را در این کارها به دیدن  وا می دارد تاروپود ظریفی است که در حال گسستن است، یا ظرافت دسته ی عینک است که سر انگشتان ما را به سمت خود می کشد تا کمی جا به جا اش کنیم و بهتر ببینیم؛ تا آن را در قاب تصویر بر پارچه بنشانیم. این جا هم انگار هنرمند تصویر را به هم ریخته است تا دیدن "درست" را از ما بگیرد. نمی دانم دغدغه ی او آیا واقعاً امر دیدن بوده است یا نه ولی می دانم با بسته شدنِ قابِ تصویر در این کارها، نگاهم بسته می شود و با بسته بودن اطاق در مجموعه ی پیشین نگاهم باز. اما به دیده ی من در هر دوی این مجموعه ها، بیش از کارهای گذشته، صمیمیت مینا نوری با اشیاء اطراف اش بیشتر شده است. رنگ سایه ها هم با حساسیت، طیف گسترده تری پیدا کرده اند. انگار هنرمند عینک اش را بر زمین گذاشته است تا نزدیک تر ببیند. و انگار هر چه به امروز نزدیک تر شده ایم، او با خانه و خلوت اش تنها تر شده است.                      

غزاله هدایت

The Warp and Woof of Seeing and Not Seeing

In the past four decades, Mina Nouri has either painted or made prints. She knows where to go with her brush, how to pick colors, when to opt for xylography over chalcography, and when to combine all these, much like the works that we see in her most recent collection, where she has welded painting and mono-print. In using these techniques, one thing remains constant: The artist's tenacity and acuity in selecting her subject matter and in executing her vision. She seems to have lived with her subject matter for days or years, so much that the work obviates further inquiry on the part of its viewer. It is as if the artist is at once asking the question and plying the answer. 

Mina Nouri understands and makes use of the incidental nature of print. She plays with the humidity of paper, the temperature of the printing plate, and the force of the press machine. Everything is "flawless" in her hands and her mind. When you see a "flaw" or "accident" it is by design. Sometimes, though, she lets things fall apart, gets rid of perspective and depth of field or throws them for a loop. Her execution is so precise that these "flaws" can hardly be picked out. From this vantage point, everything seems to be "right." Sometimes when I stand before works of Mina Nouri, I wonder whether this much fluency and authority in execution is not throwing me into a frenzy. How much does she allow my vision and mind to share the perfection of her works?

In her recent works we can more or less see the footprint of objects surrounding the artist as well as her cogitations on the act of seeing and not seeing, which she played with in her previous collection. The house drapes have given their place to the warp and woof of the fabric and reading glasses have replaced the windows. In the works of the previous collection, locked doors, bars and drapes outside and behind windows invited us to steal a look inside at the same time that the distance gave us a clear view of the subject matter in its totality. In this collection, however, objects are in close-up, which limit our field of vision. Normally, the lens of a reading class is supposed to bring objects on its far side closer to us; here it is doing the reverse: It is separating us from the fabric. The images reflected on the lens are either scenes behind us or they blur that which lies beyond. The act of seeing is perhaps the delicate warp and woof about to come undone in some works or the fragility of the temples that invites us to lift the eyeglass and change it position to get a better view of the other side. Here, too, the artist is convoluting the image to prevent us from seeing "properly." I am not sure if she is focusing on the act of seeing itself, but I know that the frame in this collection clips my vision, while in the previous collection it led to expansive spaces. In both these collections, however, I see the artist becoming intimate with objects surrounding her. Shades have acquired depth and richness. It is as if she has laid her glasses down to see better, and it seems that the closer we move chronologically in Mina Nouri's oeuvre, the closer we are to a meditative space of solitude. 

Ghazaleh Hedayat – Summer 2014

نمایشگاه آثار " مینا نوری " مهر 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.