Mass in Movement 2
2017 Aaran Projects, "The Mass in Movement - Part 2", 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 aritual 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 7
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Captions:
1 Qasr-e-Shirin - Installation / manipulated photograph / 432 pieces of 20X20cm / inkjet on paper / 240X240 cm / by Bahar Samadi / 2017
2 Intermezzo - Installation / Match Sticks without Match-heads, Glue / variable dimension / by Navid Salajegheh / 2017
3 from series Marking Territory - Bricolage with Bricks and Tree Branches / Digital Photography and Print / two photographs / 66X100 cm / by Navid Salajegheh / 2017
4 from series Marking Territory - Bricolage with Bricks and Tree Branches / Digital Photography and Print / two photographs / 100X66 cm / by Navid Salajegheh / 2017
5 Stock - Drawing with Offset Ink on Canvas / 175X210 cm / by Navid Salajegheh / 2017
6 Assembly - Installation / Inkjet Print on Paper / Offset Ink / Table / Scissors / variable dimension / by Bahar Samadi / 2017
Assembly (Stillframes) - Video / 23 minutes / Color / Sound / Loop / by Bahar Samadi / 2017
7 Untitled - Collage and mixed media / two pieces, 50x30 cm and 10x18 cm / by Navid Salajegheh / 2017
1 Qasr-e-Shirin - Installation / manipulated photograph / 432 pieces of 20X20cm / inkjet on paper / 240X240 cm / by Bahar Samadi / 2017
2 Intermezzo - Installation / Match Sticks without Match-heads, Glue / variable dimension / by Navid Salajegheh / 2017
3 from series Marking Territory - Bricolage with Bricks and Tree Branches / Digital Photography and Print / two photographs / 66X100 cm / by Navid Salajegheh / 2017
4 from series Marking Territory - Bricolage with Bricks and Tree Branches / Digital Photography and Print / two photographs / 100X66 cm / by Navid Salajegheh / 2017
5 Stock - Drawing with Offset Ink on Canvas / 175X210 cm / by Navid Salajegheh / 2017
6 Assembly - Installation / Inkjet Print on Paper / Offset Ink / Table / Scissors / variable dimension / by Bahar Samadi / 2017
Assembly (Stillframes) - Video / 23 minutes / Color / Sound / Loop / by Bahar Samadi / 2017
7 Untitled - Collage and mixed media / two pieces, 50x30 cm and 10x18 cm / by Navid Salajegheh / 2017