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Seyhoun Art Gallery Feb 2014 Mad Wall Have Ears 01

آن‌چه مَد تصویر می‌کند، آدم‌هایی‌اند آرام، ولی شاهدان حیرت‌زده‌ و ناظر ‌همه‌ی آن‌چه کرده‌اند، شاید به همین خاطر باشد که او بیش‌تر سربازان را تصویر می‌کند، یا شکارچیان را. آدم‌های او چه بزرگسال، و چه بچه‌سال نشان‌گر دو وجه همیشه متعارض انسان‌اند، انگار همگی یا در میانه‌ی نزاع‌اند، یا در اندیشه‌ی نزاع، یا در حرمان جدالی که از سر گذرانده‌اند. سربازان و شکارچیان، انگار برای او نمایشگر همین تناقض‌اند، انسان‌هایی که می‌کشند، به‌عمد یا به‌اجبار، ولی آن‌چه می‌ماند حسرتی است، حرمانی است و خسرانی.

هنرمندان خیابانی گه‌گاه از خیابان‌ها به گالری‌ها می‌آیند، و آن‌گاه باید به‌شکلی بر اصول‌شان تأکید کنند. پس بیهوده نیست که مَد هم در این نمایشگاه، تصاویر آشنای‌اش را بر چوب نقش می‌کند، تا شاید خاستگاه‌اش را به ما یادآور شود، تا شاید تأکید کند که هنر خیابانی‌ای که اینک داریم به‌شکل هنری ماندگار می‌بینیم، نمی‌تواند بر سطح بوم نقش شود، او بر چوب کار می‌کند تا نشان‌مان دهد که این هنری است که بر بافت ریز بوم معنی نمی‌‌دهد و زمانی آن را درک خواهیم کرد و از تماشا‌اش لذت می‌بریم که زمختی بافت زمینه‌اش را بشناسیم و به‌یاد داشته باشیم که روزهایی نه‌چندان دورتر، یکی از همین تصاویر را بر دیواری، زیر پلی یا سکویی دیده بودیم، چون هنر خیابانی تنها شکل هنری و یگانه شکل بیانی‌ای است که گاه هتاک و گاه از سر بخت بر سر راه‌مان ظاهر می‌شود تا نشان‌مان دهد، آن‌چه را که به‌عمد، به‌سهو، از روی کوته‌بینی، از سر ترس یا از سر غفلت ندیدیم.

این نمایشگاه ممکن نمی‌شد، مگر با کمک نوید پاشاپور، که تبحرش در نجاری را به شکل این بوم/تخته‌ها در اختیار این نمایشگاه گذاشت، از او ممنونیم.

حافظ روحانی، زمستان 92

What MAD portrays are calm people witnessing their own deeds, and perhaps this is why he portrays the soldiers or the hunters more than anything else. The people in his paintings, whether the adults or the kids, represent two forever- conflicting aspects of human nature, as if they are all in the midst of a battle, or thinking of a battle, or regretting about it. Soldiers and hunters seem to represent such a contradiction for the artist. The people who kill, deliberately or forcibly, but the thing that remains is regret, despair and loss.

Street artists come to galleries from time to time and they have to emphasize somehow on their principles. This explains why MAD has chosen woods to paint his familiar works so he can remind us of their origin, so he can emphasize on the fact that the street art, as we see it in a viable form now, can’t be painted on canvas. He works on wood to show us that this kind of art isn't for canvas and the indelicacy of the background texture may help us understand and enjoy it better and it may remind us of the work itself on a wall, under a bridge or on a stone bench that we saw a few days ago. Because street art is the only art that comes to us on his own feet and is the only way of talk which appears to us by luck or irreverently to show us the things we didn’t see intentionally, inadvertently, out of fear or out of ignorance.

This exhibition would not have been possible without the help of Navid Pashapour, whose carpentry skills are now in the shape of canvas- boards, we thank him.

Hafez Rouhani, Winter of 2014

نمایشگاه آثار " مَد " با عنوان " دیوار گوش داره " اسفند 1392 گالری سیحون


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More About Tehran

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