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Etemad Art Gallery Apr 2013 Elnaz Farajollahi Tehran A Historical Geography 01


الناز فرج اللهی: نگاه خیره ی زنان

نوشته ی Jareh Das

ترجمه ی نیکو ترخانی 

   الناز فرج اللهی، نقاش ایرانی، بیشتر به سبک و روشی کار می کند که می توان آن را با عبارت «صورتگری ترکیبی» توصیف کرد. این سبک صورتگری سنتی را با عناصری معاصرتر به هم می آمیزد؛ و صحنه ای پدید می آورد که میان جهان متصور و جهان واقع قرار دارد. صورت ها در قابی تصویر شده اند که گاه شامل مو، پوست، خز و مواد براق کننده است و کیفیت سطح آثار را زنده و پرطراوت می سازد. 

این نقاشی ها، ترکیب موادی است که معمولا شامل آکریلیک به علاوه ی مواد براق کننده است. ترکیب این دو ماده به کارماده ای بدل می شود که القا کننده ی جوانی و سرمستی است. این هنرمند عناصر خودبیانگر زنانگی - خود و نقش زنان در جامعه ی معاصر - را به هم می آمیزد و بدین سان سوژه ی زنانگی را بدل به عنصر کلیدی فعالیت هنری خود می کند.

نقاشی های او به شکلی پیوسته میان مرزهای ادراک کلیشه ای از زن و شناخت زن از جایگاه خود در جهان، جا به جا می شود.

 فرج اللهی طی چندین سال کار و به واسطه ی نقاشی هایش، به بیانه ای بیرونی ودیداری از شناخت درونی شخصیت زن دست یافت. می توان مجموعه ی حاضر را، بیانه ی دیداری او در تعامل با شهر از نقطه نظری سیاسی-اجتماعی و جغرافیایی دانست؛ بیانه ای که با بهره گیری از نقشه برداری جغرافیایی فراهم آمده است. در این آثار الناز بدن را به مثابه وسیله ای برای نقشه برداری مقطعی از زندگی امروزه ی زنان در نقاط مختلف شهر به کار می بندد. گرچه هنرمند در آثارش از رسانه های جمعی و فرهنگ عامه الهام می گیرد و نیز آثار پیشین اش بر پیوستگی ابتدایی و حیوانی میان انسان و حیوان متمرکز شده بود؛ نقاشی های جدیدش در نمایشگاه «تهران: جغرافیای تاریخی» نشان دهنده ی بلوغ فعالیت هنری او است. او در این آثار دست به بازنمایی دیداری و تعیین جایگاه شهر می زند و آثاری پدید می آورد که مفهوم جهانی فرد در جهان را تفسیر می کند. 

   برای هنرمند در حال ظهوری که به سادگی ممکن است به ورطه ی زیبایی شناسی تکرار شونده ی فردی سقوط کند؛ مشاهده ی به چالش کشیدن محدودیت های موجود درکار هنری اش و قرار دادن چهارچوب کاری اش در فضایی که بیشتر با فرهنگ درگیر می شود – آن هم فرهنگی که بازتاب دهنده ی نظریه های فمینیست های نسل دوم است و بر روایت های ساخته و پرداخته ی مرتبط با جنسیت نظر می افکند- باعث شادی است.

Elnaz Farajollahi: The Female Gaze

by Jareh Das 

Iranian painter Elnaz Farajollahi works mainly in a style that can be described as a ‘hybridised form of portraiture’. This style fuses traditional portraiture with more contemporary elements, setting a scene that tethers between the worlds of the imagined and the real. Faces are defined within a frame that sometimes consists of hair, skin, fur and glitter, making the surface quality of Farajollahi’s paintings vibrant and vivid on the eyes. These paintings are mixed media works consisting mainly of acrylic work with the added element of glitter, a material associated with youthful vivaciousness.

The artist fuses autobiographical elements of the self, femininity and the role of women in contemporary society in her works, making the subject of femininity a key element in her practice.

Farajollahi’s paintings constantly shift between the boundaries of stereotypical perception of women and a woman’s cognition of her place within the world.

For several years, Farajollahi has explored (through painting), an outward visual manifestation of inner cognitions of the female figure. This series in a sense, through the use of geographical mappings are visual manifestations of Farajollahi’s interaction with the city from a socio-political and geographical point of view. Elnaz uses the body as a means for mapping out a cross-section of women living in different parts of the city today.

Although the artist draws inspiration from media and popular culture, and previous works have focused on animalistic and primitive associations between humans and animals, these new paintings that make up the exhibition Tehran: A Historical Geography shows maturity in the practice of Elnaz Farajollahi. She has begun to visually represent and locate the city within the works which comments on global notions of the individual within the world.

For an emerging artist who could easily slip into a signatory aesthetic style, it is refreshing to witness Farajollahi challenging the limitations of her practice and placing her framework into a more culturally engaging sphere that echoes with second-wave feminist theories which look at constructed narratives of the gender.

نمایشگاه " الناز فرج اللهی " با عنوان " تهران : جغرافیای تاریخی " اردیبهشت 1392 گالری اعتماد 



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More About Tehran

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