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Assar Art Gallery Oct 2017 Mojgun Bakhtiary Dispiriting Perspectives 02

"به گاهِ گرانشِ نامنتظر"

مات و مدهوش و خیره مانده در کانون گرانشی به درون کِشنده، آن توده‌ی تا چندی پیش خروشان و در تب و تاب که تصور بیداری ناگهانی‌شان می‌رفت از خوابی طولانی؛ مردمان طغیان و انقلابی چنان زیر و زبرکننده، یکباره میخکوب و منکوب از خروش وا می‌مانند و تمام آرمان افق‌های دور را می‌سپارند به فرهمندیِ جاذبه‌ای نزدیک و به خوابی مصنوعی‌برنده، به تک‌گویی ابدی تخدیرکننده‌ای که راه هر مکالمه‌ای را سد می‌کند و فراموشی سُکرآوری را به جان مردمان می‌ریزد که بازیابی حافظه را به تلاشی ناکام و فرساینده بدل کند.

مجموعه‌ی «چشم‌اندازهاى اميدفرسا»ی مژگان بختیاری چنین است. او تصاویر مستند تاریخ معاصر را با روش متعهد به عمل نقاشانه‌اش با دقت تصویر می‌کند؛ به مدد هاشورهای بی‌شمار بر کرباسِ بوم نقاشی و ساعات طولانی مداقه و تأمل؛ مجالی بلند برای تأمل  بر مردمانی گمنام که گرچه تاریخ را رقم زدند اما هرگز کسی بر آن‌ها و آنچه برشان رفته است درنگی نکرد.  نقاشی کردن برای مژگان بختیاری گرچه وجهه‌ای درمان‌گرانه‌ و انزواطلبانه دارد اما او گوش خوابانده به تنوع و تطور دایره‌ی لغات رايجِ رسمی و پی‌گیرِ نشانی‌های درست و نادرستی که نهادهای قدرت در خط سیر وقایع می‌دهند، نبض زمانه‌اش را می‌گیرد. تجربه‌زیسته‌ و حساسیت‌های اجتماعی‌اش مصادره‌ی مفاهیم، قلب مضمون، اضمحلال، عدم وضوح افق‌ها و مطالبات را به مثابه‌ی کلید واژه‌هایی برای درک وضعیت پیرامونی به کار می‌گیرد؛ وضعیت نوسان دائمی میان امیدهای بزرگ و ناکامی‌های بزرگ‌تر که جان را می‌فرساید و چشم‌انداز به بار نشستن تغییرات دراز مدت و پایدار را در سپهر سیاسی این دیار مه‌آلود و غیرقابل تصور می‌سازد.

در این مجموعه به سیاق پاره‌ای از آثار پیشین او «گل» نقشی محوری دارد و واجد شخصیتی است که گرچه اجرای دقیق‌اش یادآور شکل اندام‌واره‌ی علمی آن است اما حضور آن به هیچ عنوان نه وجهه علمی و نه جنبه آشنای تزئینی و حتی نمادین ندارد. گل، با تمام مختصات ظاهری خاص خودش به عنوان جانداری ریشه گسترانده در زمین و دارای تفاوت‌های ماهوی آشکار با اشکال انسانی است نقشی در ساختار معنایی و بصری اثر ایفا می‌کند چنانکه یکی از شخصیت‌های یک درام و نه عناصر محیطی نمایش. تمام پیش‌فرض‌های آشنا از لطافت طبع گل و ریاحین زدوده می‌شود و موجودی، بیگانه‌ای نمو یابنده و شاخ و برگ و اعضا و جوارح به هرسو گستراننده تصویر می‌شود که گه گاه خود را از یک لت پرده به لت دیگر سرایت داده است.  این معنازدایی و معناسازی دوباره برای عنصری تا این حد آشنا و گاه دم‌دستی جسارتی سترگ می‌طلبد و چشم و پنجه‌ای آموخته‌ و توانمند در اجرا که این هردو را نقاش برآورده است.

مژگان بختیاری در مجموعه‌های «جامعه امن» (۱۳۸۷)،«در معرض دید» و «امسال حواس‌‌تان را جمع کنید» (۱۳۸۸)، «و ناگهان هیچ اتفاقی نیفتاد» (۱۳۸۹)، «هیچکس» (۱۳۹1) و «واهمه‌هاى بى‌نام و نشان» (۱۳۹2) رد پای تلاش‌های سترون و دور و تسلسل اميد به نااميدى در عرصه‌هاى اجتماعى را دنبال کرده بود با حساسیت و باریک‌بینی در انتخاب زاویه دید که گاه او را نزدیک به خرده‌روایت‌های فردی می‌‌کرد و گاه از نصَ صریح قانون وام می‌گرفت. او همواره ارجاعات ادبی و رمزگان نوشتاری برخاسته از ادبیات سیاسی روز را گاه در ساختار بصری اصلی و به عنوان بخشی از عناصر تشکیل دهنده اثر و گاه در عناوین به کار گرفته است. از این روست که با وجود تنوع بصری و شیوه‌های اجرایی  تمامی آثار کارنامه‌ی پرکار او را می‌توان با نخی رشته کرد و این تسبیح را بدل از تلاش مدام برای ثبت و تبیین دغدغه‌های اجتماعی و سیاسی هنرمندی گرفت که همچنان نقاشی را برای ابراز عقاید و احساساتش دارای قابلیت‌های تام و تمامی می‌بیند و هرروز و با مداومتی که در «فعل نقاشی کردن» به کار می‌برد در حال کشف ظرفیت‌های آن است؛ نقاشی به مثابه‌ی رفتاری پرهیزکارانه در به سلامت نگاه داشتن چراغی در گوشه‌ای که در نور خرد آن بتوان  دنیا را نظاره کرد.

ژینوس تقی‌زاده

مهر ۹۶

“An Unguarded Moment of Gravity” 

Roiling masses on the verge of an impending awakening are lost in trance in a gravitational field; people in a revolutionary upheaval suddenly come to a halting stop, drop all their distant dreams to the instant pull of a charismatic personality, suffused with an artificial daze, to a droning monologue that blocks all dialogue, that imbues them with an intoxicating forgetfulness by which all attempts at retrieving memory becomes a futile and abrasive chore.

Dispirited Perspectives is Mojgun Bakhtiari’s latest collection. Committed to her painterly craft, she pictures and documents contemporary history with lapidary exactitude; innumerable crosshatches on canvas have called for long hours of work, of contemplation and meditation; time enough to ponder nameless individuals that have made history but whose contributions have gone unnoted. Although for Mojgun Bakhtiaryi painting has an introspective and healing quality, it is also a way to take the pulse of the times, becoming cognizant of the official lexicon of power and signals that power structures emit. Her lived experience and social sensitivities make her aware of the cooption of meaning and reversal of ideals, their corruption, distortion, and redirection, and she regards these as keywords to understand her surrounding – vacillation between big hopes and bigger disappointments chafing the soul and fogging the vista of reform in the political sphere and making it impossible to imagine.

Much like some of her previous collections, “flower” plays a central role, imbued with personality, whose faithful, detailed depiction is true to the genus but its presence on canvas is not limited to its taxonomical, decorative, or symbolic significance. Flower, here, is a living organism extending its roots beneath the earth and is in marked contrast to human forms, thus playing a fundamental role in the semantic and visual structure of the work, much like a character (and not an accessory) in a drama. All preconceptions as to its efflorescence and redolence are de-familiarized, and an alien, sprawling creature emerges whose parts extend in every direction, even seeping into another panel of the diptych. This de-familiarization and reorientation of an element so familiar and household requires tremendous courage, visual perspicuity, and deftness of hands, all of which can be seen in these painting. 

Already in Safe Society (2009), Exposed and Watch out this year! (2010), And Suddenly Nothing Happened (2011), NoBody (2012), Nameless and Elusive Apprehensions (2014) Mojgun Bakhtiary had been following futile undertakings and the vicious cycle of hope and hopelessness in the public sphere, sensitive to her angle of entry, which sometimes brought her to individual narratives and at other times borrowed directly from specific laws. She plants literary and cryptic references coming from the prevalent political vocabulary within the visual field of the frame or sometimes in their title. It is thus that, despite their visual and executional diversity of all her works, we can string her individual works together like prayer beads. Each work records and expresses social and political preoccupations of the artist who feels that painting has full capacity to communicate her beliefs and emotions, and the artist is persistently and dedicatedly using the “act of painting” to discover its capacities – painting as a virtuous conduct that throws light on a corner for wisdom to grasp.

Jinoos Taghizadeh

September 2017 

نمایشگاه آثار " مژگان بختیاری " با عنوان " چشم اندازهای امید فرسا " مهر 1396 گالری  اثر

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.


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