Mass in Movement 1 2017 Aaran Gallery, "The Mass in Movement - Part 1", Tehran/ Iran Mass in movement, a body of works which re-activate a large number of primary sources, is the product of our recent collaboration at Studio 51. These sources are used to counter their original context and function. Therefore, we are to see a situation in which arises a rupture between the thing and the system of signs making that thing thinkable. A found collection of family slides; panoramic photographs of Tehran from the top of Milad Tower; documents pertaining to events in the news; obtained videos from internet’s cyber-space, YouTube and more, are all things that can find themselves in this situation i.e. distortion of meaningful significations through unconventional use of signifiers. In a single process, everything is swallowed by a factory. Through this very vortexing motion of being swallowed, a body may find its arm, but its head is borrowed in an encounter with another body. Matters are continuous, and sometimes, in their processes of changing state, they go directly from gas to solid or vice versa; an expanding motion that transits from one medium to another. At times, a matter, be it in its content or its expression, swings between works like an invisible Ping-Pong ball. Or it could be heterogeneous materials, each in their intangible vibrations, taking on a “line of flight”1. The movement of a matter in a molecular structure together with the movement of materials in a building construction can build a “block”2. The mobile property of matters, constantly situates them in “zones of proximity”3, a place wherein a certain substitution or exchange takes place. In this manner, the visual matter distances itself from its initial representational functionality and continues its procedures of transformations. Freedom of assembly for assembling figures. Hence, a number of works in this exhibition, with emphasis on their physical proximity, attempt to present a type of “assemblage”4. In other places, by activating the space between the works, we attempt to establish among them some temporary structures, which are formed around several centers, constantly reproducing themselves and their particles being thrown against one another – masses of humans and ants, or a pile of matches and bricks, all mobilizing masses of matter in their path. The masses have foundational reproducible units. The bricks as small ancient units, in representing an existing place, construct a mass waiting a future within a temporary structure (However a mass itself has a mobile quality, but in transition through a representational apparatus, it has gotten trapped in one or a few immobile slices of a fluxes). In another place, these same small units of brick have been involved in a sort of a ritual of marking territory – primitive building materials that we, in passing through a place, put on top of one another, so as to draw, albeit temporary, the borders of a virtual territory within a particular perspective. Or perhaps we can face the human-society(s); the small human units while in a collective movement. In an act of intervention, in some press photographs of masses of people, faces are cut off from their fields and after being subjected to getting dimmed and neutralized, now, in a new assembly, reappear like “the black holes of subjectivation”5 stuck to “the white wall of significance”6. November 2017, Tehran __________________________________________________________________ 1, 2, 3, 4, 5 & 6 – See: A Thousand Plateaus: Capitalism and Schizophrenia, Gilles Deleuze and Félix Guattari, 1980, Translation and Foreword by Brian Massumi, University of Minnesota Press Minneapolis 11
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Captions:
1 Error of printer- Collage of press photograph / Inkjet on Paper -30x35 cm / by Bahar Samadi / 2017
2 Doctor Fish - Analog Photography / Digital Print on Paper - 55x35 cm / by Navid Salajegheh / 2012
3 Inverted temple - A Volume designed based on the proportions of an ancient Ziggurat, using google sketch-up software / Axonometric Perspective and Digital Printing / 100×70 cm / by Navid Salajegheh / 2012
4 “Ants carrying lizard” - Video / 9 minutes / Color / Silent / Loop / selected from youtube by Bahar Samadi / 2017
5 “10 minutes before the disaster” - Video / 30 seconds / Color / Sound / Loop / by Bahar Samadi /2017
6 From series Deterritorialized Landscape - Collage and Mixed Media / 30×30 cm each / by Navid Salajegheh / 2017
7 Four Still Slices in a Vortex Motion - Monoprint / Offset Ink on Paper / Polyptych / 28x28 cm Each / by Navid Salajegheh/ 2017
8 Heads and Flags - Multimedia Installation / Two video projectors / one Inkjet on Paper 29×21 cm / one altered Press photograph / 160×90 cm Three looped videos / sound / by Bahar Samadi / 2017
9 Tryout: Marker on Photograph - Marker and Inkjet on Paper - Frontside of the work / 21×27 cm / by Bahar Samadi /2017
10 Landslide - Video/ 22 seconds / Color/ Silent / Loop / selected from youtube by Bahar Samadi / 2017
11 Salute - Marker and Inkjet on Paper - Backside of the work / 58×36 cm / by Bahar Samadi / 2017
12 Rocky Desert - Marker and Inkjet on Paper - Backside of the work / 79x51 cm / by Bahar Samadi / 2017
13 Rocky Desert - Marker and Inkjet on Paper - Backside of the work / 103×51 cm / by Bahar Samadi / 2017
14 Rocky Desert - Marker and Inkjet on Paper - Backside of the work / 75×51 cm / by Bahar Samadi / 2017
15 Rocky Desert - Marker and Inkjet on Paper - Backside of the work / 76×51 cm / by Bahar Samadi / 2017
16 Rocky Desert - Marker and Inkjet on Paper - Frontside of the work / 56×27 cm / by Bahar Samadi /2017
17 Rocky Desert - Marker and Inkjet on Paper - Frontside of the work / 40×27 cm / by Bahar Samadi / 2017
18 Contingent Arcs on the Charms of Straight Lines - Bricolage* with Wood, MDF, Acrylic Paint, Offset Ink, Nails /Tryptic / 45×50 cm each /by Navid Salajegheh / 2017
19 Golden Rivers - Offset Ink on Paper / Polyptych / 35×49 cm each / by Navid Salajegheh / 2017
20 One Line, Two Lines, A Thousand Lines - Video Documentation / 3 second / Color / Sound / Loop / by Navid Salajegheh / 2017
21 Coal Mine - Altered Press Photograph / Marker and Inkjet on Paper / 30x42 cm / by Bahar Samadi / 2017
1 Error of printer- Collage of press photograph / Inkjet on Paper -30x35 cm / by Bahar Samadi / 2017
2 Doctor Fish - Analog Photography / Digital Print on Paper - 55x35 cm / by Navid Salajegheh / 2012
3 Inverted temple - A Volume designed based on the proportions of an ancient Ziggurat, using google sketch-up software / Axonometric Perspective and Digital Printing / 100×70 cm / by Navid Salajegheh / 2012
4 “Ants carrying lizard” - Video / 9 minutes / Color / Silent / Loop / selected from youtube by Bahar Samadi / 2017
5 “10 minutes before the disaster” - Video / 30 seconds / Color / Sound / Loop / by Bahar Samadi /2017
6 From series Deterritorialized Landscape - Collage and Mixed Media / 30×30 cm each / by Navid Salajegheh / 2017
7 Four Still Slices in a Vortex Motion - Monoprint / Offset Ink on Paper / Polyptych / 28x28 cm Each / by Navid Salajegheh/ 2017
8 Heads and Flags - Multimedia Installation / Two video projectors / one Inkjet on Paper 29×21 cm / one altered Press photograph / 160×90 cm Three looped videos / sound / by Bahar Samadi / 2017
9 Tryout: Marker on Photograph - Marker and Inkjet on Paper - Frontside of the work / 21×27 cm / by Bahar Samadi /2017
10 Landslide - Video/ 22 seconds / Color/ Silent / Loop / selected from youtube by Bahar Samadi / 2017
11 Salute - Marker and Inkjet on Paper - Backside of the work / 58×36 cm / by Bahar Samadi / 2017
12 Rocky Desert - Marker and Inkjet on Paper - Backside of the work / 79x51 cm / by Bahar Samadi / 2017
13 Rocky Desert - Marker and Inkjet on Paper - Backside of the work / 103×51 cm / by Bahar Samadi / 2017
14 Rocky Desert - Marker and Inkjet on Paper - Backside of the work / 75×51 cm / by Bahar Samadi / 2017
15 Rocky Desert - Marker and Inkjet on Paper - Backside of the work / 76×51 cm / by Bahar Samadi / 2017
16 Rocky Desert - Marker and Inkjet on Paper - Frontside of the work / 56×27 cm / by Bahar Samadi /2017
17 Rocky Desert - Marker and Inkjet on Paper - Frontside of the work / 40×27 cm / by Bahar Samadi / 2017
18 Contingent Arcs on the Charms of Straight Lines - Bricolage* with Wood, MDF, Acrylic Paint, Offset Ink, Nails /Tryptic / 45×50 cm each /by Navid Salajegheh / 2017
19 Golden Rivers - Offset Ink on Paper / Polyptych / 35×49 cm each / by Navid Salajegheh / 2017
20 One Line, Two Lines, A Thousand Lines - Video Documentation / 3 second / Color / Sound / Loop / by Navid Salajegheh / 2017
21 Coal Mine - Altered Press Photograph / Marker and Inkjet on Paper / 30x42 cm / by Bahar Samadi / 2017