The World Viewed Chapter 3 by Arash Shabbin

The World Viewed* “… To imitate not the look of nature, but its conditions, the possibilities of knowing nature at all and of locating ourselves in a world.” “It is not how things are in the world that is mystical, but that it exists.” as Wittgenstein says. Existence is by itself a matter of surprise. In Art realm, we are seeking the kind of Art that is not merely imitating the appearance of Nature, but the kind that tries to capture the essence of existence and after all, the world; Art is grasping the soul of life and this seizure or tendency for possession not only belongs to the artists, but also to their audience; Art is possessing what is pictured. In today’s Art world, probably cinema is the most available sort of Art which can frequently exist in the mind and life of the viewer. According to Stanley Cavell: “My way of studying films has been mostly through remembering

them, like dreams.” In other words, it is the viewer who recalls “himself” in some movie scenes. For years, “ambiguously remembering” was part of the treasure of the personal memories of those who watched movies, and later remade them in their minds the way they desired. However, with the emergence of various technologies, personal recalls were replaced by genuine equipment that were capable of reproducing the first scenes over and over again. Although, photography and painting cannot impress the audience in a real and live manner outside the frame they are being presented in. The artistic work receives its meaning from the context originated in artist’s mind. When a work is presented by itself, it can only be

recognized as a good work. Whereas, each work of art is the product of a distinct period of its creator’s thoughts. For this reason, photos/paintings cannot - or better to say must not - be viewed separately. Each work is the outcome of a thought; a thought that has been developed by the Artist’s personal and environmental experiences during years and finally produces a set of works that depicts his mental world. A world that perhaps is not meaningful through a single work which goes among the indefinite images that one sees (and forgets) during each day. Presentation of a single work alone makes it a suspended image in time. This image is a piece to the puzzle named “Collecting the World” by Susan Sontag; the images that “do not seem to be statements about the world so much as pieces of it. ” These pieces are like disconnected jottings of an author: even though they are separately impressive, they will not deliver the mission

unless put altogether. Regarding the fact that fully understanding the Artist’s mind and personal world is impossible, in the exhibition series of “The World Viewed”, we are trying to present different work sets of the same Artist in time and put the pieces of images together to attain a new world, a slice of the personal reality of the Artist, an image of his/her world; a strange image that invites us to company and viewing.

*Title of a book by Stanley Cavell

KOUROSH ADIM | 1971 Kourosh Adim was born in 1971; Kourosh Adim has a BS in biology and has been active in the world of photography art since 1983. Adim is a distinguished, well respected photographer and lecturer, both in Iran and around the world. His works have been on display in many group and solo exhibitions. In 2011 Adim founded HASTMAG, an online photography magazine, focused on â&#x20AC;&#x153;establishing proper means for transmitting information in the field of Photography and Thoughtâ&#x20AC;?

‫تهـران بــا همـه‌ی گرفتاری‌هایــش بی‌گنــاه و زیباســت‪ ،‬مظلــوم و بی‌دفــاع‪.‬‬ ‫گرچــه آســانش اغلــب تیــره و تــار اســت امــا گاه آبــی آســانِ خــو ‌د و‬ ‫زالل ـی‌اش را بــه رخ می‌کشــد و "مــاه‌"وار رخ‌منایــی می‌کنــد ‪.‬‬ ‫مــاه بــه گا ِه زاللــی آســان‪ ،‬رویاهــای ایــن ا َبر‌شــهر همیشــه خاکســری را‬ ‫جلــوه‌ای دیگــر می‌بخشــد‪ .‬مــا ِه روزهــای آبــی‪ ،‬همچــون «ته ـران» ‪-‬کــه‬ ‫بــا وجــود ایــن همــه ســکنه‪ -‬تنهاســت‪ ،‬می‌درخشــد‪ ،‬می‌تـراود و تســکین‬ ‫می‌دهــد‪.‬‬ ‫عکس‌هــای ایــن مجموعــه حاصل پرسـه‌گردی در تهـران در چنیــن روزهایی‬ ‫است‪.‬‬

‫‪Tehran seems innocent despite its darkness and‬‬ ‫‪troubles, it is innocent and defenseless. Although its‬‬ ‫‪sky is often grey but they are times during which, the‬‬ ‫‪blue sky shines upon the city.‬‬ ‫‪And the sight of moon during these clear and bright‬‬ ‫‪days glorifies dreams of this metropolitan.‬‬ ‫‪Just like Tehran, moon is also alone during these‬‬ ‫‪days (deprived of its constant companions), and yet it‬‬ ‫‪shines and consoles, despite being alone.‬‬ ‫‪This collection is a result of me wandering around‬‬ ‫‪Tehran during such days.‬‬

Untitled, From “Tehran Moon-Portrait” Series C-Print on Paper | 24x30 cm No. 1 in an edition of 3 | 2015

MEHRDAD AFSARI | 1977 Looking at photography as a personal way of experiencing life, Mehrdad Afsariâ&#x20AC;&#x2122;s focuses his works mostly on the mere meaning of life. From his early projects to his emotional pictorial tribute to his late grandmother to his old and new Polaroid photos and all other projects of his, which are too many to mention but equally worthy to be seen and experienced. Born in 1977, Mehrdad has a BA and MFA in Photography. Since 1997 to 2014, he has participated in more than 50 national and international solo and group exhibitions. In addition, he has been teaching photography at art universities of Tehran and Tabriz since 2004. He is an HonoraryÂ Member of Iranian Visual Artists Society.

Untitled, From “Silent Memories” Series Analog Photography | 50x110 cm No. 1 in an edition of 5 | 2012

ABNOUS ALBORZI | 1981 Abnous Alborzi was born in 1981. She has a B.A in Photography from Azad University of Arts, Tehran, Iran. Known as a young and talented artist, she tries to merge tradition with modernity and create a new concept. She has been a part of numerous solo and group exhibitions in Iran and other countries. Her most recent exhibition was in a project at “Igreg Art Studio” in January 2015 in Tehran. Her work has also been on the list of Tehran’s Raad Charity Auction 2015.

Untitled Digital Photography | 70x105 cm No. 1 in an edition of 5 | 2014

ALI & RAMYAR | 1976 - 1979 Born in 1976 and 1980, Ali and Ramyar are both photography graduates of Tehran University of Fine Arts. Though they have both been active in various field of photography, their works together are mainly “staged”. Acknowledged worldwide for displaying a new and fresh image of Iran, their works have been in many exhibitions around the world, most recently in “Burnt Generation” at Calgary Museum of Canada.

Untitled, From “We Live In Paradoxical Society” Series Slide Film, Drum Scan, Digital Print | 80x80 cm No. 3 in an edition of 5 | 2011

SHAHRZAD CHANGALVAEE | 1983 Shahrzad is a “Yale” University alumnus, with an MA in Sculpture. She got her BA from Tehran University, Faculty of Fine Arts in graphic design. She was born in 1983 in Tehran and currently resides in New Haven, Connecticut. She has been an active graphic designer, photographer, video artist and sculptor. She has also worked at Reza Abedini’s studios from 2003 to 2006. In 2011, she was a Runner Up, Magic of Persia Contemporary art prize.

Studies of Failure to Understand Video | 1:30 Min No. 1 in an edition of 5 + 2 AP | 2013

What if I don’t understand all these arts?

‫اگر این آثار هرنی را نفهمم چه؟‬

NADER DAVOODI | 1962 Nader Davoodi was born in 1963 in Herat, Afghanistan. He studied archeology and art history for BA and MA respectively. He is an award winning Iranian photojournalist and is the first Iranian sport photographer to cover the FIFA World Cup (USA 1994). He is a Founding Member of the Iranian Photojournalists Association (1998) and one of the first that has created an all-English photo blog on Iran (July, 2005). He is the publisher of Tamashagaran Weekly (1992-2002).

“Friendship”, From “Tehran – New York” Series Digital Print from Negative | 75x100 cm No. 1 in an edition of 5 | 1992

ALIREZA FANI | 1975 Alireza Fani, born in 1975, got his diploma in graphic design and continued his education at Tehran’s Azad University of art and architecture. He has been working as a graphic designer, art director, and freelance photographer since 1997. He started to focus on fine art photography since 2007. Reading Fani’s statements we realize that as an artist, he has perpetually been searching, on a conscious level, for a means of narrating the story of personal life through signs and symbols that adopt surrealist gestures. Alireza has participated in various solo and group exhibitions in Iran, China, UK, USA, and India.

My self-portraits, in my own studio are nothing other than a narrative on my moments of perplexity and impatience in which I sometimes l ay down, sometimes take a nap, and sometimes check every corner. That’s all.

‫ هیچ‌چیــز نیســتند جــز بیــان‬،‫خودنگاره‌هــای مــن در اســتودیوی خــودم‬ ‫کــه در ا ٓن گاهــی دراز می‌کشــم گاهــی چرت‬ ،‫لحظــات کالفگــی مزمــن‬ .‫…همین‬ ‫می‌زنــم گاهــی بــه همــه جــا رسک می‌‌کشــم‬

“December 27th”, From “Self-Portrait” Series Digital Archival Print | 16.5x21x7 cm No. 5 in an edition of 10 | 2012

“January 1st”, From “Self-Portrait” Series Digital Archival Print | 16.5x21x7 cm No. 5 in an edition of 10 | 2012 “December 26th”, From “Self-Portrait” Series Digital Archival Print | 16.5x21x7 cm No. 5 in an edition of 10 | 2012

FARZANEH GHADYANLOO | 1989 With a diploma in humanities, Farzaneh Ghadyanloo continued her education at Art university of Tehran, in Cinema major. Farzaneh has a unique take at photography, using her family as her subjects. Her works are very resemblance of intimate and bold portraits of Nan Goldin. She won the 2nd prize for the Camping Photography Group of young cineastes in 2009. In 2014-15 she had very successful exhibitions at “Arte” and “IGREG ART STUDIO”.

Untitled, From “Valiasr: Night” Series Digital Photography | 15x24 cm No.1 in an edition of 3 | 2015

AMIR ALI GHASEMI | 1980 Amirali Ghasemi was born in 1980 in Tehran. He is a graphic designer, media artist, and curator and is most famous as the founder and director of Parkingallery, an independent art space in Tehran. Ghasemi has shown his photography, video, and design works in various festivals and exhibitions internationally. As a curator, he has directed various exhibition projects for Parkingallery among which four annual editions (2007-2013) of Limited Access Festival for Video and Performance is of note. In 2003, he was selected to contribute to the “International Art Blog Project” by The Centre of Attention in London and in 2005; he contributed to The Guardian’s “Imagine Art After” project.

‫بـرای منایشــگا ِه «جهــان نگریســته» امیرعلــی قاســمی‪ ،‬داســتان عکس‌هــای‬ ‫دیجیتالــی را کــه بیــن ســالهای ‪ 2002‬و ‪ 2007‬میــادی انداختــه در اجرایــی‬ ‫روایت‌گــر و غیرخطــی تعریــف می‌کنــد‪ .‬در ایــن اجـرا کــه بـرای بــار نخســت‬ ‫در برابــر مخاطــب انجــام می‌پذیــرد‪ ،‬بازگشــتی بــه دوران پُرعکســی اســت کــه‬ ‫او در ســالهای نخســت تجربــه اش بــا دوربیــن دیجیتــال گذرانده بــود‪ ،‬اجرایی‬ ‫بــا اتــکا بــه حافظه‌ی تصویری قــوی و در عین حــال شــکننده‌ی او‪ .‬او تصاویری‬ ‫را از میــان تعــداد زیــادی از عکس‌هایــی کــه بـرای منایشــگاه انفـرادی اش در‬ ‫گالــری طراحــان آزاد بــا عنوان «دیسـ ِ‬ ‫ـک ســخت امیرعلی» در ســایز هجــده در‬ ‫ســیزده چــاپ کــرده بــود‪ ،‬انتخــاب می‌کنــد‪ ( .‬بیــش از دو هـزار عکــس کــه بــا‬ ‫آنهــا چیدمــان بزرگــی را بــه ارتفــاع دو مــر بــر دیوارهــای گالــری طراحــان آزاد‬ ‫اجـرا کــرده بــود)‬ ‫هــر عکــس داســتان مخصـ ِ‬ ‫ـوص خــودش را دارد کــه بــا ارجــاع بــه حافظ ـه‌ی‬ ‫جمعــی و فــردی؛ و بــا نــگاه دقیق‌تــر بــه آنهــا متوجه چهار ســوراخ ریز ســوزن‬ ‫می‌شــوید کــه در اثــر نصــب عکس‌هــا روی دی ـوار گالــری ایجــاد شــده‌اند‪.‬‬ ‫مســتندنگاری ایــن اجـرا بعــد از وقــوع‌اش در روز افتتاحیــه‪ ،‬در روزهــای آتــی‬ ‫بــر روی یــک قــاب دیجیتــال قـرار خواهــد گرفــت‪ ،‬در حالیکــه مــاده‌ی خــام‬ ‫ایــن اجـرا کــه هــان عکس‌های هجــده در ســیزده هســتند در جعبـه‌ای برای‬ ‫مــرور در برابــر مخاطــب قـرار خواهنــد داشــت‪ .‬عکســها بــه قیمــت ناچیــزی‬ ‫بـرای فــروش گذاشــته شــده‌اند و در نهایــت توســط قاســمی بــه نــام خریــدار‬ ‫امضــا شــده و بــا مختــری از داســتان مربــوط بــه آن کامــل می‌شــود‪.‬‬

‫‪For the exhibition «The World Viewed», Amirali‬‬ ‫‪Ghasemi tells the stories behind the photographs‬‬ ‫‪he took between 2002-2007, in a non-linear nar‬‬‫‪rative performance. He selects images from a‬‬ ‫‪pile of photos which he had printed for an exhibi‬‬‫‪tion called Amirali›s Hard Disk». (Over 2000 pho‬‬‫‪tographs each sized 18x13 cm, creating a large‬‬ ‫‪photo installation covering the large walls of Azad‬‬ ‫‪Gallery In Tehran.) Each photo has a unique story,‬‬ ‫‪and references to collective and individual mem‬‬‫‪ories, by looking at them closely one can notice‬‬ ‫‪four small holes in each corner of the photographs‬‬ ‫‪caused by the pins Ghasemi used to fix them on‬‬ ‫‪the walls.‬‬ ‫‪Documentation of the performance after it hap‬‬‫‪pens on the opening night, will be later visible of‬‬ ‫‪a digital frame while the photographs themselves‬‬ ‫‪are lying in an open box for visitors to see/browse‬‬ ‫‪through. The photos are for sale with an afford‬‬‫‪able price and will be later signed specifically for‬‬ ‫‪the buyers their name with hint to the story.‬‬

Performance and Installation Video | 2002-2007

KATAYOUN KARAMI | 1967 Born in 1967, Katayoun Karami started her graduate studies in Architecture at Middle East Technical University, Ankara, Turkey. Later she shifted her focus to photography, and during the years, she has achieved success through many solo and group exhibitions in Iran and other worldwide. Katayoun challenges the traditional ideas and standards of art boldly. She has many solo and group exhibitions on her Curriculum vitae, including 2014 Group Exhibition, “Fragile Hands” at “University of Applied Arts”, Vienna, Austria and 2014 Group Exhibition, “Recalling The Future” at “Brunei Gallery” at “SOAS University”, London, UK, and many more.

Untitled, From “Continuous” Series Analog Photography | 20x50 cm No. 3 in an edition of 5 | 2005

Untitled, From “Continuous” Series Analog Photography | 20x50 cm No. 1 in an edition of 5 | 2005

TOORAJ KHAMENEH ZADEH | 1977 Tooraj Khamenehzadeh was born in 1977 in Qazvin. He is a visual artist, curator, and art manager currently living in Tehran. He was graduated in 2002 with a BS in computer engineering/software from Azad University. Khamenehzadeh has shown his photographs, videos and installation works in various festivals and exhibitions nationally and internationally. Khamenehzadeh is co-founder and a member of the board of directors of Rybon Art Center, an independent art institute in Tehran.

‫در گــذر از خیابــان‪ ،‬در میــان انبــوه جمعیــت کــه بــه عجلــه می‌آینــد و‬ ‫می‌رونــد نگاهــی در ویرتیــن مغــازه توجــه‌م را جلــب می‌کنــد‪ .‬ناگهــان‬ ‫رسعتــم را کــم می‌کنــم‪ .‬بــر می‌گــردم و نگاهــش می‌کنــم‪ .‬یــک مانکــن‬ ‫اســت‪ ،‬مانکنــی بی‌جــان‪...‬مانکن‌هــا‪ ،‬کــه محکومنــد تــا بـرای همیشــه‬ ‫در سـ ِ‬ ‫ـکوت ویرتین‌هــا زندگــی کننــد‪ .‬بــا نگاهــی خیــره و صدایــی کــه‬ ‫گویـ ی انعــکاس روابطآدمهایی‌ســت کــه در میان رفت و آمد شــتابزده‬ ‫‌ ی خــود ناگهــان می‌ایســتند و هراســان بــه صــدای ســکوت آن‌هــا گوش‬ ‫ف ـرا می‌دهنــد‪.‬کســی چــه می‌دانــد‪،‬شــاید آن‌هــا انســان‌هایی باشــند‬ ‫کــه خیــره بــه مــا نــگاه می‌کننــد و م ـا‪ ،‬مانکن‌هایــی کــه از رسزمیــن‬ ‫خــود دور مانده‌ایــم و رسد و یــخ‌زده از مقابــل ویرتین‌هــا عبــور مــی‌‬ ‫کنیم !‬ ‫دنیــای واقعــی کــدام اســت؟ کــدام یــک از مــا در دنیــای دیگــری گــم‬ ‫شــده‌ایم؟‬

‫‪While passing the street, in the midst of the mobs‬‬ ‫‪and crowds and hurried come and go, sometimes‬‬ ‫‪a look at a showcase catches my eyes. I suddenly‬‬ ‫…‪slow down. I turn and look at it‬‬ ‫…‪It’s just a mannequin, a lifeless mannequin‬‬ ‫‪Mannequins who are eternally sentenced to live‬‬ ‫‪at showcases, with a cold gaze and a would-be‬‬ ‫‪voice, seem to be an echo of relations of people‬‬ ‫‪who in the middle of their hasty come and go stop‬‬ ‫‪all of a sudden and utterly astonished listen to‬‬ ‫‪their silence.‬‬ ‫‪Who knows? Perhaps they are human beings‬‬ ‫‪staring at us and we are mannequins who have‬‬ ‫‪been left out of our homeland - the mannequin‬‬ ‫‪workshop - and we pass them by in icy and‬‬ ‫‪grimly pass by the showcases.‬‬ ‫‪Which is the real world? Which of is lost in the‬‬ ‫?‪other’s world‬‬

Untitled, From “Mannequin” Series Analog Photography, Digital Print | 30x45 cm No.1 in an edition of 7 | 2003

Untitled, From “Mannequin” Series Analog Photography, Digital Print | 45x30 cm No.1 in an edition of 7 | 2003

BEHNAM SADIGHI | 1979 Behnam Sadighi was born in 1979, in Sari. He has a BA in Photography from the Faculty of Fine Art, University of Tehran and has been a photography lecturer in several universities and art institutes. He has recently published “The Reminder” by “Motto Books” Publication. He is the winner of “Magic of Persia” in 2013 and has many more awards and exhibition in his resume. Behnam currently works and lives in Tehran and holds frequent photography workshops in different cities of Iran.

‫در این پروژه کوشــش کرده‌ام تا در جســتجوی فضای زیســتی انســان معارص‬ ‫در بخشــی از شــهر بــزرگ تهـران (شــهرک اکباتــان) بــه انعــکاس درونیــات و‬ ‫احساســم بپــردازم‪ .‬شــهرک اکباتــان بــه دلیــل وســعت زیــادش بــا بیشــر از‬ ‫چهــل و چهــار ه ـزار نفــر جمعیــت از بزرگ‌تریــن شــهرک‌های خاورمیانــه‪،‬‬ ‫منونـه‌ای از جایــگاه انســان شهرنشــین امــروزی اســت کــه مناســبات زندگــی‬ ‫در آن ویژگی‌هــای مخصــوص بــه خــود را دارد‪ .‬ویژگی‌هایــی کــه در آن‪،‬‬ ‫انســان‌ها دور از هــم و خســته از یکدیگــر ب ـرای جدایــی از خودشــان‪ ،‬در‬ ‫ســلول‌هایی یکســان فــرو خفته‌انــد‪.‬‬ ‫رســیدنِ انسان‪ – ‬انســانی کــه اجتامعــی بــودن‪ ،‬جــزء ویژگی‌هــای مهــم‌‬ ‫اوســت‪ -‬بــه چنیــن نقطـه‌ای‪ ،‬پیامــد نظامی اســت کــه عنــر انســانی در آن‬ ‫غریبــه و مهجــور اســت‪ .‬دور شــدن خــود بــه خــودی انســان‌ها از یکدیگــر‬ ‫آن‌جایــی ســخت و آزار‌دهنــده می‌شــود کــه آدمــی در پــی نیــاز ذات ـی‌اش‬ ‫بـرای ایجــاد ارتبــاط بــا دیگری‪ ،‬دچــار مشــکل (رنج) می‌شــود‪ .‬شــاید او نداند‬ ‫ایــن بــا از کجــا بــر رسش نــازل شــده و یــا بــه دالیــل ایــن عــدم ســازگاری بــا‬ ‫هویــت انســانی‌اش نیندیشــد‪ ،‬امــا هم‌چنان بـرای متجلی ســاخنت آرزوهایش‬ ‫(کــه بــدون آن‌هــا بــا ســایر جانــوران تفاوتــی نخواهــد داشــت) در غرقابــی‬ ‫خود‌خواســته دســت و پــا م ‌یزنــد‪.‬‬ ‫این‌جــا فاصلــه انســان با محیـط‌اش ــ جایــی که مجموعــه روابط انســانی در‬ ‫آن جریــان می‌یابــد ــــ بــه هــان انــدازه‌ی دیوارهای هم‌شــکل‪ ،‬قطــور و بتنی‬ ‫اســت کــه او را طبقــه بــه طبقــه و ســتون بــه ســتون محــارصه کرده‌انــد؛ تــا‬ ‫جایــی کــه دیگــر انســانی در پیرامــون خــود منی‌بینیم‪.‬‬

‫‪In this project, I tried to express both my intuitions and‬‬ ‫‪feelings about the living situation of human in modern‬‬ ‫‪era in Ekbatan town, which is a part of Tehran. This‬‬ ‫‪town as one of the biggest towns in the middle-East‬‬ ‫‪accommodating over 44 thousands people can be con‬‬‫‪sidered as an example in which modern citizens live‬‬ ‫‪with their own living condition and relationships. Being‬‬ ‫‪fed up with each other is why they put themselves in‬‬ ‫‪identical cells and live in solidarity.‬‬ ‫‪Getting into such a situation for human whose social‬‬‫‪ization is an important part of his humanity is made‬‬ ‫‪possible through a system that humane characteristic‬‬ ‫‪is strange. The systematic distance among people gets‬‬ ‫‪difficult and unbearable when people in making a‬‬ ‫‪relation with each other face agony and difficulty. They‬‬ ‫‪may not know why they are in such a situation or may‬‬ ‫‪not think about their intolerance in human relations,‬‬ ‫‪but for making their dreams true (which is a clear‬‬ ‫‪between him and animals), they are striving to get out‬‬ ‫‪of this man-made swamp. The distance of a person‬‬ ‫‪from his environment where all human relations exist‬‬ ‫‪akin to the thick and concrete walls strictly surrounded‬‬ ‫‪him make a person sees no one around himself.‬‬

Untitled, From “Ekbatan, West of Tehran” Series Photography, Silver Gelatin Print | 40x60 cm No. 1 in an edition of 5 | 2014

BIJAN SAYFOURI | 1968 Bijan Sayfouri is an Iranian graphic designer, art director, photographer, writer and academic. He was born in Iran’s Kurdistan on May 5th, 1968, and entered the School of Fine Arts at Tehran University, concurrently beginning his professional career in 1988 in a private studio in Tehran. Sayfouri is known in the realm of graphic design for his innovative and unique style of Iranian typography. He has also been on the jury of several art and design international competitions and has curated many exhibitions himself. In 2011 he unveiled General Defection, a graphic art / photography series that broke the sales record at the Contemporary Photographs auction held at Bonhams. This collection was later presented at various exhibitions and auctions such as Christie’s, Art Dubai, Tehran Auction, and Paris Photo. Bijan Sayfouri is one of Iran’s most influential figures in the fields of graphic design, photography, and visual arts. His art and design has been presented in many exhibitions, museums, galleries, collections, websites, books and magazines internationally.

“Within”, From “NowHere” Series Digital Print | 70x140 cm No. 1 in an edition of 5 | 2014

MELIKA SHAFAHI | 1984 Melika Shafahi was born in 1984 in Tehran. She has an MA in Visual Arts from Lyon’s École Nationale Supérieure des Beaux-Arts. She currently lives and works in Paris. Melika is blessed with wild imagination and is not afraid to picture them. She is a photography graduate from University of Tehran and has another BA from École Supérieure des Beaux-Arts de Montpellier. Her works have been on display in many solo and group exhibitions around the globe.

“Love Story” Digital Photography | 90x60 cm No. 1 in an edition of 3 + AP | 2012

ARMAN STEPANIAN | 1956 Born in 1965, in Abadan, Arman Stepanian finished his studying at Tehran University of Fine Arts in graphic design and officially moved on to photography from 1999. His first photo series were of the old gravestones of Armenians in southern Tehran. Ever since he has been a part of various solo and group exhibitions. He is one of the Iranian artists whose works have been presented at Sothebyâ&#x20AC;&#x2122;s and Christieâ&#x20AC;&#x2122;s auctions. Stepanian has also done researches on the History of Iranian Photography.

“Graveyards”, From “Graveyards” Series Analog Photography | 70x100 cm No. 1 in an edition of 7 | 2000

“Graveyards”, From “Graveyards” Series Analog Photography | 70x100 cm No. 3 in an edition of 7 | 2000

AMIN TALACHIAN | 1980 Born in 1980 in Tehran, Amin Talachian has BS in computer engineering. Amin started photography since he was 14 years. He is the winner of Crystal Cup of â&#x20AC;&#x153;Francesco Fornoâ&#x20AC;? competition in 2007 and currently works and lives in Tehran.

‫«پایــان زندگــی تلــخ اســت»‪ ۱‬و ایــن تلخــی زمانــی بیشــر می‌شــود کــه‬ ‫پایــان‪ ،‬زودتــر از زمــان خــود فـرا رســد‪ .‬پایــان جهانــی کــه رشوع نشــده‬ ‫بــه انتهــای خــود می‌رســد‪ .‬نســلی کــه نیامــد ْه محکــوم بــه فناســت‪.‬‬ ‫مجموعــه‌ی «مــرگ تولــد»‪ ،‬داســتانِ جهانی‌ســت ناموجــود‪ ،‬جهانــی‬ ‫کــه پیــش از آن‌کــه هســت شــود نیســت می‌شــود‪ .‬نطفه‌هایــی کــه‬ ‫منعقــد می‌شــوند کــه وجودشــان وابســته بــه وجــود دیگــری‪ ،‬خواســت‬ ‫دیگری‌ســت و ادامـه‌ی بقای‌شــان نیــز در گــرو اراده‌ی هــان «دیگــری»‬ ‫اســت‪ .‬ســخن از حیاتــی اســت کــه پیــش از آن کــه خــود بــه حیاتــی‬ ‫مســتقل تبدیــل شــود از دســت م ـی‌رود و قربانــی اراده‌ای عظیم‌تــر‬ ‫می‌شــود کــه قرن‌هاســت مشــغول بــه قامری‌ســت کــه حاصــل آن از‬ ‫دســت رفــن جان‌هایــی بی‌شــار اســت‪ .‬جنــگ حاصــل تکــر و نخــوت‬ ‫ت اســت کــه در هــر زمان بر اشــتیاق‬ ‫انســانی اســت و ایــن اراده‌ی قــدر ‌‬ ‫حیــات چیــره می‌شــود و هــر بــار نســلی را می‌بلعــد‪ ،‬کــه نســلی کــه‬ ‫هــر روز جــان می‌دهــد‪ ،‬روز بعــد دوبــاره جــان می‌گیــرد تــا در جایــی‬ ‫دیگــر مبیــرد‪.‬‬ ‫و شاید این بزرگ‌ترین نسل‌کشی تاریخ باشد‪.‬‬ ‫‪ .۱‬ژوزف ژوبر‪۱۸۱۴/‬‬

‫‪“The end of life is bitter”1 and this bitterness‬‬ ‫‪grows when the end comes before its time. The‬‬ ‫‪end of a world which has come to an end before‬‬ ‫‪it even begins, A generation condemned to‬‬ ‫‪The “Death of Birth” series tells the story of a‬‬ ‫‪non-existing world, a world that ends just before‬‬ ‫‪it begins.‬‬ ‫‪An existence which is conceived despite its own‬‬ ‫‪will, an existence which gets its whole existence‬‬ ‫‪and validation from another being and their abil‬‬‫‪ity to live on is also dependent on the will of that‬‬ ‫‪“other”.‬‬ ‫‪This series depicts life which is destroyed before‬‬ ‫‪it turns to an individual.‬‬ ‫‪This is a story of a generation which dies every‬‬ ‫‪day, is born the other day and is to die somewhere‬‬ ‫‪else.‬‬ ‫‪And maybe this is world’s biggest genocide of all‬‬ ‫‪times.‬‬ ‫‪1- Joseph Joubert / 1814‬‬

Untitled, From “Death of Birth” Series Digital Photography | 75x50 cm No. 1 in an edition of 4 | 2007

Untitled, From “Death of Birth” Series Digital Photography| 50x75 cm No. 1 in an edition of 4 | 2007

SHAHRIAR TAVAKOLI | 1969 One of Iran’s most respected photographers and lecturers, Shahriar Tavakoli was born in 1969 in Tehran. He has a BA and MFA in photography from Tehran’s Art University. He has been teaching in several universities and art institutes. Once a renowned landscape photographer Tavakoli turned to a more simple and less complicated camera, a Canon G10 and has a taken a more personal approach towards photography. In 2002, he founded “Herfeh: Honarmand” magazine along with Iman Afsarian. Over the past years, Herfeh: Honarmand (Occupation: Artist) turned into a giant publication house. Tavakoli currently works and lives in Kish.

‫از بچگــی طــی ســفرهای خانوادگــی بــه دور ایــران‪ ،‬همیشــه مجــذوب‬ ‫جمله‌های ـ ی بــود م کــه بــا رنــگ روی صخره‌هــا می‌نوشــتند یــا شــکل‌هایی‬ ‫کــه بــا درخــت و قلــوه ســنگ روی کوه‌هــای دوردســت می‌کشــیدند‪ .‬ذهــن‬ ‫کودکان ـه‌ام منی‌توانســت بفهمــد کــه بــا کــدام مهــارت و توانای ـ ‌ی می‌شــود‬ ‫چیــزی را در آن ابعــاد و مقیــاس‪ ،‬روی بدنـه‌ی یــک کــوه صعب العبور نوشــت‪.‬‬ ‫مبهــوت عظمــت تاجــی بــودم کــه شــاه آن روزهــا دســتور داده بود بــا درختان‬ ‫جنگلــی روی دیـواره‌ی یــک کــوه در راه رشــت برایــش ترســیم کننــد!‬ ‫حــاال هــم بــا گذشــت ســی ســال از آن روزهــا‪ ،‬قضیــه برایــم فرقــی نکــرده‪ .‬بــاز‬ ‫هــم در حیرتــم‪ .‬نــه تنهــا هنــوز هــم فرآینــد انجــام ماهرانــه‌ی چنیــن کاری را‬ ‫درمنی‌‌یابــم‪ ،‬کــه ذهــن بزرگ‌شــده و بــه نظــر منطقـی‌ام‪ ،‬ایــن را نیــز منی‌توانــد‬ ‫بفهمــد کــه چگونــه آدم‌هــا بــه خودشــان اجــازه می‌دهنــد تــا رد و نشــان‬ ‫خواســته‌ها و امیال‌شــانرا(فرقــی هــم منی‌کنــد کــه انگیــزه‌ی آن مذهبــی‬ ‫باشــد یــا سیاســی و یــا تجــاری) در ایــن ابعــاد بــه چشــم دیگـران فــرو کننــد‬ ‫و زخــم آن را تــا ســال‌ها بــر چهــره‌ی طبیعــت باقــی بگذارنــد‪ .‬آن هــم روی‬ ‫بدنـه‌ی کوهــی در دوردســت کــه جــز بــا فرســایش بــاد و بــرف و بــاران و طــی‬ ‫چنــد صــد ســال‪ ،‬هیــچ جــور دیگــری پــاک منی‌شــود‪.‬‬ ‫بــه راســتی محــدوده‌ی «حــرص» و «مالکی ـت» آدم‌هــا تــا کجاســت؟ و چــه‬ ‫کســی آن را تعریــف می‌کنــد؟‬

‫‪Ever since I was a kid, in our family travels I was‬‬ ‫‪always attracted to the writings on mountains or‬‬ ‫‪the bizarre forms made by trees and stones on‬‬ ‫‪them. In my young innocent thoughts I couldn’t‬‬ ‫‪figure out how those gigantic forms were shaped‬‬ ‫‪on the body of a hard rock, I was amazed by the‬‬ ‫‪crown which the king had ordered to be made‬‬ ‫‪of jungle trees on way of Rasht. Even now, after‬‬ ‫‪thirty years I’m still puzzled by these forms, I’m‬‬ ‫‪still in awe. I still don’t get the process of these‬‬ ‫‪designs, my grown up self is still thinking about‬‬ ‫‪how people can leave the traces of their desires‬‬ ‫‪(political, religious or commercial) on the body of‬‬ ‫‪nature, on a mountain so far away and wound it so‬‬ ‫‪bad to stay there for a long long time where only‬‬ ‫‪time and rain and snow can wash it out. Where‬‬ ‫?‪does this greed of humanity to OWN things end‬‬ ‫?‪Who will define it‬‬

“Ya Mahdi”, From “Mountain Graffiti” Series Digital Color Photo | 70x100 cm No. 1 in an edition of 5 | 2012

‫*‪The World Viewed‬‬

‫‪look of nature, but its conditions, the possibilities of knowing nature at all and of‬‬ ‫‪locating ourselves in a world.‬‬

‫بــه گفتـ ‌ه ‌ی ویتگنشــتاین رازآلــود بــودن جهــان در چگونگــی بودنــش‬ ‫نیســت بلکــه در ِ‬ ‫ذات بــودن آن اســت‪ .‬بــودن‪ ،‬خــو ْد امــری حیرت‌انگیــز‬ ‫اســت‪.‬‬ ‫در حــوزه‌ی هــر‪ ،‬در جســتجوی هــری هســتیم کــه تنهــا بــه دنبــال‬ ‫تقلیــد از ظاهــر طبیعــت نیســت‪ ،‬هــری کــه تــاش می‌کنــد تا بــه ذات‬ ‫و بــودنِ هســتی‪ ،‬و در یــک کالم‪ ،‬بــه خــو ِد جهــان دســت یابــد؛ کــه ه ْرن‬ ‫همیــن دســتیابی بــه جوهــره‌ی زندگــی اســت و این دســتیابی یــا هامن‬ ‫میــل بــه متلــک نه‌تنهــا در میــان هرنمنــدان کــه در میــان مخاطبــانِ آثار‬ ‫آنهــا نیــز وجــود دارد؛ کــه هــر تــرف چیــزی اســت کــه بــه تصویــر‬ ‫در‌می‌آیــد‪.‬‬ ‫در دنیــای هــر امــروز شــاید ســینام تنهــا هــر ســهل‌الوصولی اســت که‬ ‫می‌توانــد حضــوری مــدام در ذهــن و زندگــی بیننــده داشــته باشــد‪‌.‬بــه‬ ‫اعتقــاد اســتنلی کاول «فیلم‌هــا ماننــد رؤیاهاینــد و ســخت بــه خاطــر‬ ‫می‌‌آینــد»‪ .‬بــه تعبیــر دیگــر‪ ،‬ایــن خــو ِد بیننــده اســت کــه «‌خــود ‌» را در‬ ‫لحظات ـ ‌ی‌از فیلــم بــه خاطــر م ـی‌آورد‪ .‬تــا ســال‌ها «‌بــه‌‌‌خاطــر آوردن‬

‫گنــگ و مبهــم ‌» بخشــی از گنجینـه‌ی خاطـرات شــخصی متــام آنهایــی‬ ‫بــود کــه بــه متاشــای فیلم‌هــا می‌نشســتند و بعــدا ً در پــس ذهـ ْن فیلــم‬ ‫را دوبــاره و بــه آن‌گونــه کــه خــود دوســت داشــتند بازمی‌ســاختند‌‪ .‬پس‬ ‫از ظهــور‌انــواع تکنولوژی‌هــا امــا‪ ،‬باز‌آفرینی‌هــای شــخص ‌ی جــای خــود‬ ‫ت نخســتین‬ ‫را بــه ابـزاری واقعــی دادنــد کــه قــادر بودنــد هــان لحظــا ِ‌‬ ‫را بـرای بیننــده بارهــا و بارهــا بازســازی کننــد‪‌.‬ایــن در حالــی اســت کــه‬ ‫عکــس و نقاشــی هنــوز منی‌تواننــد خــارج از چهارچوبــی کــه در آن‬ ‫بــه منایــش در‌می‌آینــد بــه گونـه‌ای زنــده و‌‌واقعـ ‌ی بــر مخاطــب تأثیـر‌‬ ‫‌بگذارند‪.‬‬ ‫ـق خــود نشــأت گرفتــه معنــا‬ ‫اثــر هــری در بســری کــه از ذهــن خالـ ِ‬ ‫می‌یابــد‪ .‬زمانــی کــه اثــر به‌تنهایــی بــه منایــش درمی‌آیــد تنهــا‬ ‫ب تلقــی شــود و ایــن در حالــی اســت کــه هــر‬ ‫می‌توانــد یــک اثـ ِر خــو ‌‬ ‫اثــر محصــول دوره‌هــای فکــری مختلـ ِ‬ ‫ـف خالق آن اســت‪ .‬از این‌روســت‬ ‫س‪‌/‬نقاشــی‌ها را به‌تنهایــی منی‌تــوان ـ یــا شــاید بهــر اســت‬ ‫کــه عک ‌‬ ‫بگوییــم ـ‌نبایـ ‌د دیـد‌‪ .‬هــر اثــر حاصــل یــک تفکــر اســت‪ ،‬تفکــری کــه‬

‫ـی هرنمنـ ‌د تغییــر و تحول‬ ‫ســال‌ها تحــت‌‌ تأ‌‌ثیــر اتفاقــات شــخصی و محیطـ ِ‬ ‫می‌یابــد و در نهایــت مجموع ـه‌ای از آثــار را شــکل می‌دهــد کــه دنیــای‬ ‫ذهنــی هرنمنــد را بــه تصویــر می‌کشــد‪ ،‬دنیایــی کــه شــاید به‌تنهایــی و از‬ ‫خــال یــک اثــر در ذهــن بیننــده معنایــی پیــدا نکنــد و بــه انبــوه تصاویری‬ ‫کــه فــرد هــر روز در زندگــی خــود می‌بینـ ‌د (و فرامــوش می‌کنــد)‌بپیونــدد‌‪.‬‬ ‫منایــش یــک اثــر به‌تنهایــی‪ ،‬آن را تبدیــل بــه تصویــری معلــق در زمــان‬ ‫می‌کنــد‪ ،‬ایــن تصویــر قطعـه‌ای از پازلــی اســت کــه ســوزان ســونتاگ آن را‬ ‫«‌جمـع‌آوری جهــان» می‌خوانــد‪ ،‬تصاویــری کــه «‌بیــش از آنکه تفســیرهایی‬ ‫از جهــان باشــند قطعاتــی از آننــد»‪‌.‬‬ ‫ایــن قطعــات بــه یادداشــت‌های پراکنــده‌ی نویســنده‌ای می‌ماننــد کــه‬ ‫اگرچــه به‌تنهایــی‌تأ‌‌ثیر‌گذارنــد‪ ،‬امــا تنهــا زمانــی کــه در کنــار هــم ق ـرار‬ ‫ت خــود را بــه انجــام می‌رســانند‪.‬‬ ‫می‌گیرنــد‌رســال ‌‬ ‫بــا د‌ر نظــر گرفــن‌ ایــن امــر کــه شـ ِ‬ ‫ـناخت کامــل از فضــای ذهنــی و دنیــای‬ ‫شــخصی هرنمنــد امــری اســت غیرممکــن‪ ،‬در رسی منایشــگاه‌های «‌جهــان‬ ‫نگریســته ‌» برآنیــم کــه طــی منایــش مجموعه‌هــای مختلــف هرنمنــد‪،‬‬ ‫دغدغه‌هــای ذهنــی او را در طــول زمــان دنبــال کنیــم‌و‌قطعاتــی از تصاویر‬ ‫را کنــار هــم قراردهیــم تــا بــه جهـــانی جدیــد دســت یابیــم‪ ،‬بــه برشــی از‬ ‫واقعیـ ِ‬ ‫ـت شخصی‌شــده‌ی هرنمنـــد‪ ،‬تصویــری از جهـــان او‪ ،‬تصویــر ذهنــی‬ ‫غریــب و ناشنـــاس کــه مــا را بــه همراهــی و متاشــا مــی خوانــد‪ .‬‬ ‫لیلی وکیلیان‬

‫*‪ .‬عنوان کتابی از استنلی کاول‬

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