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LIMITED ACCESS 2 VIDEO | SOUND | PERFORMANCE Organized by Parkingallery in collaboration with Azad Art Gallery and Mooweex.com Azad Art Gallery No 5, Salmas Square, Golha Square, Tehran 31 October – 4 November 2009 Daily Visiting Hours: Fri – Wed 4-8 pm Opening night and performances: Friday 30 October, 4-8 pm Curated by Miha Colner / Ida Hirsenfelder (Ljubljana/SL) | Amirali Ghasemi (Parkingallery/Tehran) | Arash Khakpour (Mooweex/Tehran) | Bita Razavi (Helsinki/FI) |Sarah Rifky (Cairo/EG) | Shirin Sabahi (Malmo/SE) | Rozita Sharafjahan (Azad Art Gallery/IR) Graphic design: Sam Keshmiri Catalog Designer: Shahab Tondar Technical Support: Sohrab Mostafavi Kashani

Exhibition poster and stickers designed by Sam Keshmiri

Access to what? What limitations? LIMITED ACCESS sounds like a disappointing title for a project, but in fact it’s not really true, it has a kind of ambiguity within it, which is a characteristic of Parkingallery projects. One should ask : “Access to what?” and “What limitations?” In the past decade, Iranian Contemporary art and specially New Media Arts has been through many ups and downs, either in the time which was temporarily celebrated by the authorities and officials, by a considerable budget and space, without necessarily establishing a constant and appropriate structure for its survival in future, or when it visibly slowed down its development at least outside of the unofficial and private circles of artists in the recent years. And as we speak the numbers of curators and art lovers who are frequently visiting Tehran, for various reasons and intentions is highly increasing, specially now when the international Media zoomed more than ever, on Iran. The Art Market despite recent hiccups is heating up by its discoveries of middle eastern and Iranian art shows from LA to Dubai, filled with repetitive names of superstars. Meanwhile there is an independent creative scene which is emerging and is undoubtedly hard to track and describe, as its variance and its continuity lies in its anonymity. In the absence of an inclusive reference for a proper research on multi fragmented Tehran art scene, most of the attempts which has been done to map and document the scene, remained unfinished and to some degree clueless because of the intentional shifts toward the art market and/or falling into the traps of tribal self promotional concerns of few.

LIMITED ACCESS therefore tries to gather and reconnect the artists from all disciplines to each other and reestablish their link with their emerging audience. As we believe that what is labeled and being marketed as “Iranian contemporary art� to the art world is quite known and accessible despite all propaganda, as many individuals and collectives are paying their dues for its exposure and growth internationaly, even by conflicting objectives and means. What is really missing here is a local platform, which though its structure, experiments in New Media can be seen and discussed , beyond the closed circle of the artists practicing it. As delayed echos of such phenomenon, often passing through mediums like Internet, books and other medias might turn the viewer into a passive consumer rather than a critical observer. These limitations could be caused by many factors, from the imposed sanctions to unofficial boycotts, to the emergence of market-oriented attitude among artists as a result of periodic temporary reception of Iranian art all around the world, beside as some other may put it, the fact that contemporary art is being rarely mentioned in the mainstream media, ignored to some extent and not supported any more. All these excuses are not enough to prevent us from taking the current moment for granted even if it would seem hopeless to many, and shape the future by observing and learning from it.

Amirali Ghasemi

8513 Hours in Helsinki

This screening program consists of video works of visual artists and mostly video artists that I got to know in Helsinki. Most of them are Finnish and some just live or study in Finland. All the works have been made within the last five years. The first part of the program includes video performances, video arts with photographic elements, more conceptual and also experimental videos. The second part mostly focuses on cinematic works varying from archival works to documentary films. When we are talking about contemporary video art we undoubtedly have to mention Finnish artist, Eija-Liisa Ahtila and her video installations. So I dedicated a part of this program to one of her recent works and an introduction to her practice.

Bita Razavi Bita Razavi Born in Tehran in 1983, lives and works in Helsinki – Finland She started with painting in 1991 and continued with photography during high school years. In 2002, after graduating from Farzanegan high school in Mathematics and Physics, she entered the music department of Art University of Tehran. In 2004, she started her professional activity in Fine Arts by participating in the third New Art Biennial of Tehran and performed “Hungry Man and Two Boxes of Onions” directed by Ali Kalantari. In the same year she started working with moving image as assistant director of a documentary movie. After getting her B.A in Music Performance, she moved to Helsinki and studied her MFA in Finnish Academy of Fine arts. Since last year she has participated in many solo and group exhibitions, presenting the works made between 2004 and 2009.

Fishermen Eija-Liisa Ahtila video installation for 1 projection 4:3 / 1:1.33 Stereo surround no dialogue 5’34’’ 2007

Filmed in West Africa, fishermen is the first work in the series of five one-channel video installations called Études. The works explore story events in a short form and each has a special approach related to moving image. An étude is a short composition for a solo instrument, intended as an exercise. It is a study that focuses on a single point of technique, but its artistic merits make it suitable for performance.

Eija-Liisa Ahtila (born 1959 in Hämeenlinna, Finland) is a video artist and photographer. She lives and works in Helsinki. Ahtila’s art was motivated by art philosophy, by a critique of art institutions and by feminism. The focus of her investigations was the construction of the image, language, narrative and space. After 1990 she went even more deeply into themes surrounding individual identity and the limit of the self and body in relation to the other. According to Eija-Liisa Ahtila, what interests her in films and photos is above all the story. She calls her films “human dramas”. They deal with human relationships, sexuality, the difficulty of communication, individual identity, its formation and disintegration. EDUCATION 1980-85 Helsinki University, Faculty of Law 1981-84 Independent Art School 1990-91 London College of Printing, School of Media and Management, Film and Video Department 1994-95 UCLA, Certificate Program, Film, TV, Theater and Multimedia Studies, Los Angeles 1994-95 America Film Institute, Advanced Technology Program special courses, Los Angeles AWARDS AND GRANTS   2008 Prince Eugen Medal 2006 Artes Mundi, Wales International Visual Arts Prize, Cardiff, UK (THE HOUR OF PRAYER) 2005 Pro Finlandia 2002 Great Prize Fiction, Vila do Conde International Short Film Festival, Vila do Conde, Portugal (LOVE IS A TREASURE) 2000 The Vincent van Gogh Bi-annual Award for Contemporary Art in Europe, Maastricht, The Netherlands Coutts Contemporary Art Foundation Award, Switzerland Nordisk Panorama, Best Nordic Short Film (CONSOLATION SERVICE) Tampere International Short Film Festival, Finland National Competition, Main Price (CONSOLATION SERVICE) 1999 Honorary Mention, 48th Venice Biennale DAAD (Deutscher Akademischer Austauschdienst scholarship), Germany 1998 Edstrand Art Price, Sweden International Competition Film Award, VIPER Int. Film-, Video & Multimedia Festival, Switzerland (TODAY) International Short Film Festival Oberhausen, Jury’s Honorary Mention, Oberhausen, Germany (TODAY) Bonn Videonale, WDR Price for female artist, Bonn, Germany (TODAY) 1997 Tampere International Short Film Festival, Finland National Competition, Main Price (TODAY)

Ha! Sara Pfrommer 4’35’’ 2008

This video deals with the conflict between me (as an artist), the medium (video camera) and the spectator. I am turning the video camera around on the tripod, blinding it from time to time by breathing on it. On one hand it seems as if the camera was under my control, but on the other hand it records the struggle without pity and thereby enables the spectator to take part. With the aid of a mirror I try to reproduce myself to gain influence, but it just shows the tightness of my cage even better. Also the scream I am shouting towards the camera/spectator becomes less threatening in the course of the video and turns finally, with the increase of speed, to a desperate laughter.

Shot Sara Pfrommer

Aspect ratio: 4:3 3’ 2009

For this video I recorded myself while being photographed in a dark room. By slowing down the speed of the video, the very short moment when the flash occurs is stretched to three minutes. Thereby the spectator will see a frozen figure during the illumination of the flash.

Katarzyna Miron Aspect ratio: 4:3 1’48’’ 2009

Searchers of Life “Searchers of life” is a part of looped video installation where a group of multiplied protagonists is climbing up a hill, hoping to discover unidentified future. The film refers to exploring unknown territories and undertaking constant attempts to find answers.

Untitled #38

This movie is made without a camera. It is text based and meant to suit urban and social structures in public. Its commercial like appearance functions as a site specific intervention intending certain interactions between the movie and the audience. It informs the viewer about it being produced for promotional purposes only and that any resale is strictly prohibited.

Stefan Riebel 1’11” 2008

Luukkonen aspect ratio: 16.9 3’ 02”

Luukkonen is an absurd documentary film, showing a guy sitting in a park. It is commenting documentary film scene by making a single person to be a leading character in a story or a strange interview without giving almost any information about him.

Joonas Jokiranta From the series Day in the Park 2007

Mission Unclear

Aspect ratio: 16.9 2’ 22”

Mission Unclear shows an individual wondering in suburban waste land in the border state of nature and urban environment. The man is taking orders from director - he’s like a puppet in a show performing an obscured scene.


Maria Ylikoski 11’20’’ 2007

Tuula is a video about the role of memory, narrative and interpretation in the building of biography. A Finnish woman in her sixties tells us how she met her ex-husband and moved to the United States 35 years ago. Tuula’s story is presented in a series of transitions: she moves from one place to another, grows from a person blindly following chance and the needs of others into someone who makes conscious choices, follows her own will and takes responsibility for her own life. Shot in Albany, New York, in July 2005, the video portrait follows supports and subtly interprets the process of narrating a biography, of constructing coherence, turning points and arcs of development. The static video footage is reminiscent of photography. The movement consists of slow changes as the image becomes unfocused into an abstract blur and back again into a sharp and realistic image. The technical strategy alludes in part to the logic of remembering and narration, where events are portrayed through lenses that filter and edit reality. The picture also changes from black-and-white to color, morning changes into afternoon, the camera moves from the backyard to the front yard, the figure turns to face the camera. These changes mirror the painfulness of memories, the appropriation of one’s own life and the distance in time. The epilogue also has one surprising memory, which can be interpreted as either reflecting a proactive stance to one’s own destiny or a drifting along with advice given by others.

Semper Devot

EN Submissive Semper Linda Reif 2’53’’ 2004

The video “Semper devot“ was shot in the Semper depot in vienna, which was built from 1874 - 1877 by Gottfried Semper and Karl Hasenauer. The place was originally used as a depot for props and stage decoration of the opera and theater. Now it is part of the academy of fine arts. The architecture of the simper depot is very impressing, sometimes maybe a little intimidating to art students.

Untitled #4 Stefan Riebel 1’11” 2008

This movie is made totally camera free. It is an animation of only text that refers to the social procedure of exclusion. It demands not to be watched by some people of the audience because of them not being authorized. It is not specifying who in particularly has the permission and who does not. Every one of the audience is therefore confronted with the question if or if not he or she may be authorized.

Visual Waves

Gregoire Rousseau by TN Video Audio waves shaped as visual media 4’37’’ 2006 Credits: Director: Gregoire Rousseau.¨ Melody” soundtrack composed by Samuli Tanner. Visual waves‘’ Flash animation produced by AJ-Group.

VISUAL WAVES is based on “what you hear is what you see” concept. Sound waves, through TN LAB equipment, will be displayed on the screen in black and white. From sine wave to polyphonic melody, the video presents audio waves shaped as visual media.

Miina Hujala Aspect ratio: 16:9 4’47’’ 2007

The Dinner

In this film a man meets a woman in order to have a dinner together. Odd atmosphere surrounds the situation. The interpretative way of producing an image of someone is attached to the notion that by communicating with someone we also communicate with ourselves and try to figure out our own thoughts as well. Our perception of the situation is always attached to our dreams, hopes and fears. This introvert aspect of interpreting others sets the certainty of our impressions in question.

a shout to touch the silence Anna Nykyri Aspect ratio: 4:3 3’08’’

“a shout - to touch - the silence” is a quiet short film made of TV-archive material. Do Finnish people shout when it’s time for it? The beauty is to shout, to be quiet, touch and to be touched. The film is part of “Suomi Post Mortem” -project by Finnish moviemakers - short films commenting Finland after the horrifying school shootings in 2007 and 2008. Co-operators: DocPoint - Helsinki Documentary Film Festival, Finnish Academy of Fine Arts, Finnish Broadcasting Company (YLE), The Promotion Centre for Audiovisual Culture (AVEK) and Finnish Ministry of Education.

Lucille is Here Now

Hanna Marno and Leena Vahvelainen Aspect ratio: 16:9 8’15’’ 2008

16 mm short film Lucille is here now is an effort of collaboration between Leena Vahvelainen and me. It’s shot in the US. During the production we were never scared to show what we thought were the most beautiful places surrounding us loaded with knowledge from the past. A script was written but instead we shot the gaps between the scenes as if the storyline and the casting were already made. The film poses questions dealing with humanity and divinity.

From Time to Time Ewa Gorzna Mini dv Aspect ratio: 4:3 Original language: no words 3’15’’ 2009

“From time to time” shows a situation happening on the edge of reality between reasonability and irrationality. The main character of the short story experiences an unusual split in the matter of time due to the intriguing birthday gift. Big changes usually don’t come so unexpectedly but from time to time we suddenly realize that some things are not the same as before.

A Dream Flying

Teemu Kivikangas Documentary film 20’ 2009

A Dream of Flying is a personal documentary movie about flying. It is a story about the borders between the generations and the desire to break the shackles of gravity, inherited from a father to a son. Behind the people looms the political climate of the end of the 20th century. The form of the film explores the techniques of documentary movie: the main characters are depicted both through carefully arranged, styled scenes and the means of direct cinema [1] movement.

[1] Direct Cinema is a documentary genre that originated between 1958 and 1962 in North America, principally in the Canadian province of Quebec and the United States. It was characterized initially by filmmakers’ desire to directly capture reality and represent it truthfully, and to question the relationship of reality with cinema.

(one)self as (an)other A film screening featuring video and film works by Sherif Elbendary, Hassan Khan, Mohamed Allam, Mohamed Nabil, Shady El Noshokaty and Laila Sami, curated by Sarah Rifky. Imagine your life as one sequential and perhaps idiosyncratic story. Everyday you perform part of a monologue that defines your character in a universal plot that is called ‘real life’ and is very messy. Our ability to master our own stories (in a Cartesian cogito sort of way) is truly impossible. Our memory fails us, when we try and remember things that happened in the past, we cannot assimilate our own deaths into our personal life stories, and most importantly, there are many elements of our own life that belong to others, we are someone to everybody else (including ourselves), and how do we then distinguish between what’s yours or mine or another’s? We are able to tell any number of stories about ourselves at the same time, and each of which might contradict and interject the others at different points. Narrative is the most open-ended category in how we can understand our selves, the conditions that produce us and create lines of flight for future chapters in our stories. Narrative, performed as monologue or dialogue, in daily life, helps us organize our experiences and thoughts retrospectively. It creates patterns of expectation for the future, without fixing them in particular places. In doing this, the narrative does not set one individual’s monologue over and against others, but performs a discourse in which there are many protagonists and projects that are then sometimes competing, agreeing, but are always enmeshed and implicated in each other’s lives [1]. Selfhood is what characterizes these monologue narratives, rather than sameness. And as subjects – or characters – we are only able to recognize each other in a social process through narrative and its repetition. The narrative identity emerging from the instability of the monologues is what defines the character’s capacity to act – the character as an agent of political action, without alluding to the responsibility to act, in a moralistic sense. The monologue of a speech is one that always speaks of itself. Taking a step away from meta-language, not all language is monological or tautological; it is up to language to speak of something else and to address itself to the other [2].

[1] Ricoeur, Paul. Oneself as Another (pp. 148 – 161) [2] Derrida, Jacques. Monolingualism of the Other or the Prosthesis of Origin (p. 69)

Sherif Elbendary “Sabah El Foll” 9’ 2007

The selected films approach an understanding of selfhood through the performance of monologues, rants, soliloquies or thought. “Sabah El Foll!” by Sherif Elbendary is a casual prologue, a monologue in everyday life of a quintessential young mother, caught in soliloquy in the absence of her husband while shouldering the burden of daily chores and a young infant. The rift between certainty and uncertainty, the instability of a character and the nuances that demarcate the story, are captured in their intensity in Hassan Khan’s “Rant”. The formal repetition of the monologue or soliloquy – performed and captured – breaks into an uninterrupted and unstable continuity of narrative. Mohamed Allam’s “A Stream of Holy Words” weaves together a number of personas which performed by one subject. Mohamed Nabil stages himself in “Interview with three artists”; the paraphrased performance of artists presenting themselves, exceeds the critique of a stereotypical performance of identity and artist personas. Shady El Noshokaty’s “Stammer – A Lecture in Theory” acts out the character in conflict, between personal experience, practice and theory, without withholding nuances, contradictions and dualisms of a subject performing a lecture and psychically translating the theory into drawing. Hossam Elsawah’s “Kekh” stands in contrast to the gravity of the interior monologues with their dramatic tension; kekh is an interjection; it is used by elders to scold toddlers for their misbehaviour “kekh, don’t do this!” is the monological epilogue, the character’s stream of consciousness resettles on her body, and her relationship to herself, her apartment, the street and the mundane defined through her obsession for chocolate.


Hassan Khan Video 6’45’’ 2008

A Stream of Holy Words Mohamed Allam Video 7’30’’ 2008

Interview with three artists Mohamed Nabil Video 5’ 2009

Stammer: A lecture in theory

Shady El Noshokaty Video 12’ 2007


Hossam Elsawah Video 6’ 2007

Solo Laila Sami Video 6’ 2009

Biographical Note: Sherif Elbendary believes the film Adrift on the Nile might be the reason he joined the Higher Institute for Cinema some years ago, he has been directing short and feature-length films and documentaries since. Hassan Khan can be seen live this autumn on his tour of concerts and talks from Amsterdam to Zurich, he has performed, written and exhibited extensively and is represented by Gallery Chantal Crousel in Paris. Mohamed Allam is currently reviewing found VCRs from the 90’s and is the founder of Medrar Contemporary Art (and artist-run) space. Shady El Noshokaty has produced a stammering platform of Stammer projects between producing art, teaching and fostering younger informal artist networks. Laila Sami is directing and acting, in short and feature length films, she finds herself and gets lost in Cairo. Mohamed Nabil, is working on his performances and writing, with a young, fresh, critical take on art audiences. Hossam Elsawah has invented a dictionary definition for “kekh” which he lost and found again in translation, while preparing to work on his next video. They all live and work in Cairo. Sarah Rifky is a curator and writer based in Cairo. She is a board member of MOTO, Museum of the Occident and is interested in how punctuation produces subjects and words that start with the prefix re-.

Sarah Rifky

Whoever I Like Turns Out To Be A Weirdo 17:25 Shirin Sabahi (b. Tehran) is an artist who currently splits her time between Iran and Sweden. In her practice, she utilizes time-based media to deliver different narrations. Whoever I Like Turns Out to Be a Weirdo is Sabahi’s journey through the works of artists whom she has met/ befriended/ admired/ disagreed with/ learnt from. This is the first time Sabahi acts as an organizer. By setting her personal interest in narrative and performative quality of time-based media as the point of departure, she has asked fellow artists with diverse practices and backgrounds to contribute to this screening by their already existing works which address different modes of instant/ cumulative storytelling: from short performative video and video loop to visual narration and textbased unfolding. 21:30 I’m sitting at my desk with my back to my colleague who is sitting at his desk. We’re both writing or at least the sound of our keyboard buttons says that we’re. I don’t want to interrupt him. He is editing the conversation we’ve had last week and he wants to finish and go home to eat. From the frequency of his sighs I notice that he is gradually becoming impatient. I struggle not to disturb him but I’ve already done it many times by leaving the studio, entering again, asking if he wants to have tea, or if he needs anything from the supermarket because I’m going to buy sweets in order to be able to finish this text. Finally I can’t stand my vicious need to interrupt his productivity by my absurd state. I go to him and say “I’ve got writer’s block and can’t finish this bloody text…” unlike what I’ve imagined he smiles, roles his chair towards my desk and asks what I’m writing at the same time that he starts reading what I’ve written so far. I explain that it’s the text I’ve told him about before and that I can’t expand it more than this. Trying to help, he says: “Why don’t you write, ‘every piece of writing is a performative act’? Isn’t that what you’re trying to say? You can start from there.” He returns to his desk seated in his office chair. His advice doesn’t fill up two A5 pages. My problem is not what to say; it is how to say it in a lengthy-witty-readable way. The idea is: we’re all skilled storytellers and performers. We live our lives performing narrative plots–our self-narrations and the narrations written for us. How this is reflected in art, especially in timebased media interests me. I start again:   EVERY PIECE OF WRITING IS A PERFORMATIVE ACT.   … Or?

22:40 I google ‘self-reflexivity in exhibition press release’. 16,900 results. Not too bad. I’ve noticed that the problem is not how to expand the notion of performativity; a quote from Judith Butler, for example, on performativity and subject formation can take up some lines. I can as well elaborate on my selection process which is mostly based on affiliation. Repetition is another way of filling in pages and there is a performative aspect to it too… The actual problem is: I can’t write a clear description because clarity brings vulnerability. This time I google ‘art and failure’. 48,400,000 hits! It feels a bit better now.

Shirin Sabahi

Re: (Untitled) Facial Hair Transplants Ana Bezelga

Video Loop mini DV PAL 5:4, colour stereo 1’40’’ 2007

The video is a re-enactment of Ana Mendieta’s performance Untitled (Facial Hair Transplants) performed by Mendieta in the University of Iowa, in 1972. The restaging was based on the visual documentation from the original performance, collected from the monograph Ana Mendieta: Earth Body: Sculpture and Performance, 1972 – 1985, Olga M. Viso, Hatje Cantz Publishers, July 2004. The digital documentation of the restaging was postproduced, transferred into slide projection, digitally recorded and organized into a video sequence which establishes a new conceptual narrative different from the one originally proposed by Mendieta.

Two Heads

Wattanai Chanakot Video, NTSC Digital Hi8,colour sound 5’ 35” 2009

Unable to see beyond the pain and suffering, one continues its revengeful cycle.

Jan Leton And The Archive

Tamar Guimarães Slide projection with synchronized voice over, colour, mono, English voice-over, voice: Charlotte McGowan-Griffin, sound: Jasmine Guffond, slides from Skagen local history archive and Egnspil members, 20’ 2006

In the early 19th century, Jan Leton was given as a gift to the bailiff of Skagen, at the height of Denmark’s involvement in the Americas. An entry on the church book recorded Leton’s death in 1827, and he was mentioned in local newspapers and local history books from 1877 onwards. A document in fiction form, the narrative speaks of a researcher trying to gather information on Jan Leton, and in the process of doing so it articulates the uncertainties of historical projects in general, as well as the more specific lack of coherence one encounters in the histories of marginal figures and subaltern groups. The slides are reproductions from Skagen’s local history archive collection, and were taken in 1989 during a performance of the local theatre group re-enacting Jan Leton’s arrival in Skagen.

To Whom It May Concern is a double screen projection which combines images recently photographed in the West Bank, Palestine with a narrative text that represents an experience in a form reminiscent of a traveller’s diary, that seems to alternate between different people and different lives. The photographed places stand as silent evidences of the changes in the landscape in the West Bank due to Israel’s occupational strategies. The metaphorical and the documentary, the factual and the fictitious are used interchangeably in this work, weaving a complex narration that is carried out in silence.

To Whom It May Concern

Maj Hasager

Video loop PAL still images and text colour silent 8’ 41” 2008

Voices of the Unseen Kristina Kvalvik

Video loop HD photo animation 16:9, colour stereo sound 6’ 38” 2008

In Voices of the Unseen a female character (a flâneuse) talks about how she moves through the landscape in which she finds herself. The woman is represented only by a voiceover. It is the voiceover that drives the story forward and is the narrative part of the work. The ‘image track’ takes on meaning in relation to the woman’s story. This is the opposite of the traditional Hollywood cinema, where the image dominates the narrative and often objectifies the characters. The body operates as a metaphor in the work. The voice talks about how the body moves through the landscape. But what we actually see is an environment; the body never appears. The body has taken its place in the form of a voice. The voice and the image of the landscape have taken over the image of the body.

João Leonardo Video loop mini DV PAL 16:9 black and white stereo sound 12’20’’ 2008

Autointerview In the video Autointerview, we are confronted with a person, the artist himself, performing a text written in 1975 by the Greek-born American artist Lucas Samaras. The 12 minute long piece is a meditation on the artist condition in the world, his fears, motivations, aspirations and secret desires – it is as much a schizophrenic dialog as it is an intelligent, honest self-reflection. Leonardo’s work is an attempt to bring this text to life, by re-enacting the words using the sound of a pre-recorded voice-over actor hired to deliver the text. An overlapping of layers is seen in the final work, from Leonardo’s physically real approach to an actual portrait of Samaras – as seen in the long beard – to the use of the reversed, false mirrored image and the triple presentation of the text as a performative action, a sound and as visual words in subtitles.

Windmills of Your Mind / Tapeloops of Time Henning Lundkuist Video DV PAL black and white stereo 9’ 40” 2009

“... It seemed like the tape had been in this loop forever, as if it had orbited since the beginning of time, as if it would continue to rotate around its axis until the end of days, the same slice of tape again and again passing the sound gate, the same sounds pouring out through the speakers, as if they were returning eternally. But the memorized sounds were degrading, were torn by the passing time. Norbert Kubler finally realized that the recorded memories, the content on the ancient strip of audible information, were slowly and almost imperceptibly fading away, disappearing through the amnesiac passing time...”

A Man with an Excessive Memory

Maria Lusitano Santos DVD color, sound 9’ 50” ” 2005

Through images captured on journeys, a narrator existing within the subtitles narrates the story of a man with hyper-amnesia (an excess of memory) and the strategies that he uses to deal with his absurd situation while floundering in a world of fragmented images where any spare time is filled with projects devoid of sense. One thus seeks to question the current human existence within millions of images and information in our current times.

A one-minute video featuring a repetitive action which is somewhat absurd and deviates from normality. A female character wearing red shoes and a man’s suit continuously repeats the same action until there is a sudden cut. One notes that this character represents a personality that it simply does not fit into. The backdrop is s black and white floor, similar to a chessboard, a hierarchical game of strategy and power, where this power can be questioned. The whole setting reflects the idea of a strange children’s game, the plot, the suit, the floor pattern and the golden box with which the character plays, even though it is her toy contains all her thoughts that cannot be revealed/released, contrary to the discipline instilled during her upbringing always viewing her integration in society. In spite of, “(…) we need to take into account that any explanation of human behaviour must involve reference to irreducible intentional entities such as “beliefs” and “desires”, since expectations and preferences are what guide human decision making in a wide range social activities, such as politics and economics.”  the wish, the preferences, the expectations our upbringing is somewhat formatted with the objective of integrating us in a society that is till today ruled by the male sex, by the political and economic power, by a hierarchical formula which is presented to us at a very tender age and with which we learn to socialise with.

Golden Thoughts

Lara Morais Video loop DV PAL colour sound 1’ 14” 2009

The United Nations

Kevin Murphy Video DV PAL colour stereo 5’ 15� 2005

Playfully asking what (if not the romantic yearning for world peace) unifies nations and peoples, the video unwinds as a meditation on recent international politics, in which Western nations find unity not in common political goals but instead in international economic competition and antagonism. New markets are identified, new stakes claimed and copyrighted, and national rifts are forged through the cautionary language of prohibition and exclusivity. Popular Western myths of international unity, progress, partnership, assimilation, and goodwill are dismantled. The video ultimately poses self-reflexive questions about the access to and the appropriation of copyrighted media by individuals in the digital age, as the soundtrack and image sequence are themselves both lifted from copyrighted media.

Two Days Before Christmas, 5 p.m. #2, 4, 5

EllaKajsa Nordström Video loop Video DV PAL colour sound 1’ 2008

Ellakajsa Nordström’s work deals with traces, layers and the residue of events or places. By shifting the focus to a scrutinizing level she hopes to reveal hidden narratives and stories within that which is hardly there. In these shifts, the mundane can become poetic and what first appears to be nothing may gain an almost fictional character. The videos in “Two days before Christmas, 5pm” are part of an ongoing project where she is filming her friends, relatives and family in a snap-shot like manner.  The aim is to create something which might at first glance look like a still image but reveals itself to contain certain fragility and a story surrounding the moment of the take itself.

Reality is a Discussed Matter

Stine Ofelia Kildevang HD video colour sound by Antifilm 2’ 40” 2009

The video is inspired by the French thinker Jacques Lacan’s statement “Reality is marginal”, using darkness as the optimal time and place for clarifying imagination: When not really seeing, one starts to see what one expects to see -being that wishes or fears. In that way nightly darkness becomes a self-confronting time and place, which allows the existential question to occur: What is real? The location of “Reality is a Discussed Matter” is a small city in the heart of Denmark where all surfaces look nice: buildings, houses, gardens, streets, and cars. A small Danish city where, statistically, a great percentage of violence takes place. A location that invites the visitor to ask: What kind of reality is this? As in all Stine Ofelia K.’s work, the video does not answer the question being asked but does rather conclude that reality is a discussed matter.

A Room of One’s Own

Hanna Paulin Video loop PAL DV colour sound 1’ 2006

In the piece A Room of One’s Own I am interested in the idea of protecting one’s private sphere. A place of my own, a shelter, a private corner to work in. Where I can break new ground for myself, where I can think freely. This sphere is not unlike a space where a child is at play. When I made this piece, I also thought about the people who choose to move far into the country to live away from civilization and its rules and regulations and also of the homeless in the cities and how we project our ideas onto these people, or even choose not to see them at all. In the video, a young woman fires a gun at the camera, which here represents the outside perspective, the one which standardizes, and sometimes objectifies. I want to convey the anger felt over being looked upon as something you are not. I take an interest in the difference between being watched and being seen. I chose the title because I wanted the dream-like sequence to be grounded in reality. The reality described by Virginia Woolf in her essay A Room of One’s Own (1929).

Catharsis 1 Hanna Sjöstrand Video PAL DV colour sound 6’ 10” 2007

It’s just a series of circumstances. It is the sound of hammer blows. It is sweat. It is a tired arm, it is dirty trousers, pieces that are torn off falling to the ground. It is a wobbly ladder, dust and the satisfaction of beating.... and so the wall - the one to be removed.

Hang Safely Die Slowly

Hang Safely Die Slowly is staging a Brecthtian dramaturgy, where the effects illustrate a symbolic role. The character has a plan and enters the situation. An unforeseen problem occurs, and becomes the force of the following results.

Annette Stav Johansson Video DV PAL black and white sound 6’ 2007

Intelligent Systems The selection of fourteen video, media and internet based projects ‘Intelligent Systems’ was compiled to present one of the broad aspects of local production in Slovenia in last years. Contributing artists vary in their concepts, poetics and expressions and are working in various fields of visual and sound art. Their common specific is their interest in particular questions of contemporary world and society. They are considering unpredictable and unstable future while being aware of the connection between the past and present era. Through their artistic practices they are questioning the impact of science on art and society, the consequences of progressive technology and its role in the broader society. ‘Intelligent Systems’ is a very general concept that roughly describes contemporary attitudes to reality, living space, society and various systems surrounding and affecting us. It is the multilayered concept of intelligent usage of the notions, knowledge and technologies, of apparently fictional possibilities, of the historical facts (applicative to the future) represented through the fictional and critical projects. The systems created by the artists are not ideal, nevertheless their works carry some level of emancipation potency or power. They struggle to raise some levels of perception of the reality and the virtual in the observers who are ready to get immersed into the field of techno-digital logic thickly impregnated with the language of sensorial (visual, tactile/kinaesthetic and auditory) aesthetic. What the micro systems and ideas that are created by the artists would like to promote is the opposite to ignorance and stupidity of the direct and non-reflected representational art. They strive to construct possible systems through which it is possible to explore the notion of surpassing the boundaries of a non-reflected enforced dichotomies between the real and the virtual. Although the art activities themselves are a part of the system, their rather poetic and frequently utterly utopian imaginary worlds that are many times a mix of science-fiction, technological dystopias and social agitations are a valuable contribution in maintaining some sort of distance to the so called reality in which we find ourselves immersed in. Ljubljana, 4th September 2009

Miha Colner, Ida Hiršenfelder

Bubble Robertina Šebjanič Video Installation 2008


The Bubble video, although filmed by video camera, has no intention of presenting the real world. It uses the referential object only as a building block of a visual language, further transforming it through animation logic. There it lives on in a newly constructed world of its own. But it remains a world of reality that doesn’t take the viewer away to a land of nothing but fantasy. Bubble is actually a pet name of the unusual being that appears on screen. Its presence is always uncertain. It’s moving, pulsating, appearing and disappearing, always unstable, just like the lives of creatures that we are familiar with from earthly experience.

Luka Frelih & Robertina Šebjanič Interactive installation Documentation 2008

Pufis represent microorganisms living in an open ecosystem, while the collection of objects functions as a sensitive sensory network. The visitor is subsumed into the artificially produced »biosphere« through active sensor-based interaction. Pufination is incomplete without interaction. There’s no leading role, we’re all just cohabiting. The project thus highlights our relationship to other life as an important factor to every individual’s own survival. In Pufination, we find ourselves inside a simulated projection of our everyday. Decentralised control, close stimulus response and adherence to simple rules – this is what links robots and visitors in the Pufination.

God is God Sašo Podgoršek Video 1996


Neven Korda Video 2003

Video ‘God is God’ was produced for referential and widely recognized Slovenian music and conceptual group Laibach, released on the ‘Jesus Christ Superstars’ record in 1997 (Mute Records). Sašo Podgoršek is one of the most respected video artists in Slovenia, specialized for documentary and music videos. He collaborated with various music groups among others Laibach and Demolition Group.

Gagarin is video work of Neven Korda, one of the most productive and influential video artist whose production is dating back to the early eighties and continuous collaboration with the music and conceptual group Borghesia part of which he was, is part of his newer line of work. Gagarin is conceptualized as subtle narrative of the individual who lived his childhood in sixties when notion of 21. Century was the symbol of beliefs in development of science, detection of the universe and victory over the nature. The same individual feels extremely disappointed with the notion that science didn’t manage to work for the humankind and for the improvement of living quality but rather for the interests of capital and various ideologies.

OsciloX Tanja Vujinović

Discrete events in noisy domains Flash based work 2008

OsciloX is a sound artwork from the series Discrete Events in Noisy Domains.Discrete Events in Noisy Domains are tactile-sonic objects or ambient based on multiple nonlinear video and sound systems that recode events into data streams of audio-visual noise. The Discrete Events in Noisy Domains cycle is focused on the soft pulsing and reverberation of discrete units. It consists of multimedia toys that create interval spaces through a stretched and granulated flux of signals and interactions. OsciloX is a non-linear amalgam of a continuously shifting, multi-layered sound structure that mostly depends on user input. This flash based interactive work consists of more than 160 small fields resembling grain fields that each have assigned sounds of various length, from several seconds to several minutes.

My Way

Vladimir Ristić Video 2003

Video for music and conceptual group Kodagain from Serbia, released on the ‘Jesus Christ Superstars’ record in 1997, created as the homage to the Eadweard Muybridge, the father of motion pictures. Video for the song My Way is simptomatic for the overall oeuvre of Vladimir Ristić artistic work as it is based on repetitive and minimal non narrative expresion with concealed meanings in various layers with the principal intention of visual supplement of music. We are facing the simple visual forms. Technical aspect of whole is subordinated to the rhytm and basic spontaneousness, apparent technical unperfection is used as asset of aestethic expression.


Ana Sluga Video 2007

As capitalism is trying to make people, places, cities, cultures to look as similar as possible all around the world the artist is raising a questions what will happened with the differences? Where are the limits of uniformity, what are imperfections and faults of equality? Constant moving, travelling, changing places, mentality and customs bring out the thoughts about part of people’s lives that is dwindling away in to nothing, about certain kind of feelings, experiences, sensations that had in the past much bigger value and are kind of unimportant in the fast life which is spread all around us in the moment. Video ‘Away’ represent tragic look on demolition of the old building and mood which brings from us certain associations.

Toilets / Made in India

Lada Cerar & Sašo Sedlaček Video 2004

When travelling, lavatories are in the same way as continental breakfasts one of luxuriates or goods of the twentieth century in hygienic sense and the toilets are its ubiquitous icons. Slovenian philosopher Slavoj Žižek wrote about multitude of the lavatory types exposing German, French and Anglo-Saxon toilet and how these different types of shit disposals characterizes the national character. Because we travelled from Europe to India the toilets changed by the way according to different national characters as Žižek said and by the time we arrived in India we found them all, even more, we also found Indian squat toilet and Euro Indian lavatory. The final number of the different types of lavatories that we encounter was five. We decided to manufacture the needlework sketches of all the types of lavatories in India, where the labour is cheap and import them back to Europe.

Wear V – VIII

Tomaž Furlan Video Performance 2005-2008

Lab Party

In the series of eight artistic studio video performances Wear from 1 to 8 the artist becomes a human sculpture – a cyborg. He dresses himself in massive concrete sculpture elements that burden and constrain his movement. In these wear he then performs with utter difficulties and body tension everyday repetitive movements and little errands. Despite this constrained movement the actions seem quite humorous. In this movements we would recognise the paradox of everyday routine and our absurd dependence on the apparatuses that were suppose to make our daily work easier like computers, televisions, cellular phones etc. Namely, these apparatuses control our mental abilities and determine our ideological position, freedom of movement and thinking.

Marko Kovačič & Kolja Saksida Video Animation 2005

The animation is a result of a long term research of the fictive Plastos Civilisation that was created in Marko Kovačič’s imaginative artistic practise. It is solely a small portion of thorough anthropologic research done by a fictive alter ego Dr. Skavčenko who has produced books, documentaries, maps, history museum installations and other materials to support the theory of the existence of this civilisation. The Plastos had supposedly underwent a cataclysmic atomic catastrophe in the 23rd Century. In order to survive they subordinated themselves to severe genetic manipulation of their physical bodies.

Borut Savski

Overstrained structure

Video Documentation 2008

With movable mechanical organisms the artist follows his research of autonomous structures / systems. The installation is constructed with elements that are connected but overstrained. The movable mechanical part of the installation carries this (over) strained elements and the result is an almost organic / lively movement of the construction. The electronic mechanism constructed by the artist are usually analogue and built according to the principles of BEAM robotics (Biology, Electronics, Aesthetics, Mechanics). The decision to use entirely analogue systems is done according to the idea of so called Soft Logic that promotes another sort of perception of the mechanical organisms.

DA & Erinc Seymen Video 2006

Performance for a Poem (1 & 2) We are witnessing a gravely evident transformation of everyday life by nationalism through a wide range of methodologies. These vary from direct propaganda to the subtle agitations involved in current agendas like the European Union negotiation process, debates about minorities and secularism. It is a time when critical and intellectual divergence is antidemocratically censored, punished and sabotaged through emotional and physical sanctions by the state. This creates a situation where iconic figures such as the “flag girl”, ali desitero, and many others are reproduced, or re-circulated to the benefit of the nationalist discourse. On the other hand, the rhetoric of a Turkish text performed by Erinc Seyman that dates back more than half a century can accommodate today’s zeitgeist surprisingly well. In the context of the flow of ideology from “inside” to “outside” son:DA and Erinc Seymen will present a performance constructed around a poem(poems) written around 1930. The performance comprises an audiovisual manipulation and an on site installation that aims to open to discussion the sphere of influence of poetry as a tool of artistic expression and a method of ideological rhetoric.

BrainTV / rcv: 10.95 - 11.7 GHz, snd: 5.8 Ghz

Maja Smrekar Video Documentation 2008

The installation captures electromagnetic waves from the Universe in frequency spectrum 10.95 – 11.7 GHz through radio reciever and computer interface. The waves are transmitted into electrode signals that are applied on the performers body. The electrodes applied on the performers’ head are making a direct connection between the brains and another computer interface that is mapping her brain waves and sensorial reactions in real time. This other interface translates the waves from the brain activities into computer and further into visual graphic environment that is projected on the wall behind the performer and onto the TV sets in the gallery space. Sensorial reactions of the body are capture by the third interface which broadcasts waves on the 5.8 GHz frequency that is generally intended for scientific research. The project is a poetic interpretation of the processes that the human body is submerged to in its direct environment – the Universe. (Concept: Maja Smrekar; Programming: Luka Prinčič; Performer: Alenka Marinič)


Jaka Železnikar Web Project 2007

In itself, the work Disorganiser has no appearance. Its core consists of a collection of computer-executable instructions that can manipulate images on any given web page. At the same time, the essence of the work lies not in the collection of instructions but in their actualisation, with all actualisations being of equal value. Technically, the work is executed as an add-on for the Web browser Firefox (v. 2.0.0.*); its execution involves the use of a number of Internet or computer technologies. The artist considers the idea of the work and the execution of it as an indivisible whole that emerged over a period of development in which these two aspects were constantly interacting. The process of manipulation of any given web page’s matrix is repeated several times. The result is an unrepeatable visual structure.

Miha Colner (1978) is an art historian working in many fields of arts and culture as freelance curator and art critic. He works regularly as curator at Ljubljana based Photon Gallery and works also for other organisations; in the past he co-curated international Break 2.4 festival (2007), annual Slovenian Sculpture exhibition (2009) and was co-organizing and co-curating Month of Photography festival in Ljubljana (2006 / 2009). Since 2006, he has been co-creating the project DIVA Station (a physical and web video and media archive) at the SCCA, Centre for Contemporary Arts – Ljubljana. Since 2005, he is involved with writing critiques on visual arts and music for Radio Študent, Dnevnik daily and various professional magazines (Fotografija, Likovne besede, ČKZ, Muska). Ida Hirsenfelder (1977) studied Sinology and Theology. She writes critiques on contemporary visual arts for the Slovenian daily Dnevnik, Radio Študent and various professional magazines on contemporary arts. Since 2007, she has been co-creating the project DIVA Station (a physical and web video and media archive) at the SCCA, Centre for Contemporary Arts – Ljubljana.


International Section


Iranian Section


Amirali Ghasemi

Media Artist / Curator / Graphic Designer was born in Tehran, 1980. He graduated in 2004 with a BA in graphic design from Central Tehran Azad University, with research and emphasis on digital art history. In the summer of 1998,Ghasemi established Parkingallery ; an independent arts space in Tehran, and in 2002, Parkingallery.com, a virtual gallery, which has become an online platform for many young Iranian artists. He has shown his photography/videos/ design works internationally, and has achied few awards in poster design compitions. As a curator, he has directed many exhibition projects for Parkingallery project space and few exhibitions as guest curator. Among them: Deep Depression (2004) Transition (2005), Deeper Depression (2006), Lost in no space (2006), Limited access (2007) and URBAN JEALOUSY the 1st Roaming biennial of Tehran (2008-2010). Ghasemi is currently the art director of Parkingallery, beside dividing his time on his photography project and writing.

Rozita Sharafjahan

Rozita Sharafjahan was born in Tehran in 1962. She studied painting at University of Tehran, where she also received her M.A. in Art researches in 1995. A former member of Group 30+, she has participated in many local and international group exhibitions, including Treibsand, DVD magazine on Contemporary Art (2007), Giumry 5th Art Biennial, Armenia(2006), Iranian Garden, Tehran’s MOCA(2004), Beams of Blue, Media Gallery, India (2004), Video Zoom, Sala 1 gallery, Roma(2003), Paris Triennial(2002), In addition to 7 solo shows. In her diverse artistic experience, including videos, paintings and installations, she tackles with broad socio-political issues as well as profound, personal experiences; involving the viewer both emotionally and intellectually. Rozita Sharafjahan and her husband Mohsen Nabizadeh, are the founders and directors of a progressive art gallery in Tehran, called: “Tarahan Azad”(free designers), a venue for contemporary art and a gathering place for the forward-thinking artists.

mooweex.com is an online platform for up and coming as well as well established filmmakers from Iran. Submissions are highly welcomed from all filmmakers to present their works on the site to a boarder audience.

Arash Khakpour

‫فردوسی ومردم‬

Ferdowsi and the People We love him, we recount his stories, turn his poems into plays and use his tomes as a background of our traditional sport. Ferdowsi pervades the psyche of every Iranian like no other poet. Hossein Torabi’s work investigates the extent of this influence.‫ داستان هایش را تعریف می کنیم و‬،‫ما دوستش داریم‬ ‫اشعارش را به منایش در می آوریم و از بستر حماسی‌اش‬ ‫ نفوذ فردوسی در روح و‬.‫در زور خانه ها بهره می جوییم‬

‫ در بین دیگر شاعران بی مانند است و‬،‫روان هر ایرانی‬ .‫حسین ترابی در فیلم‌اش به این موضوع می پردازد‬

Hossein Torabi ‫حسینترابی‬ 36:00

36’ 1977

‫ملک خورشید‬

‫‪Falling in love and trying to catch‬‬ ‫‪your princess was not an easy‬‬ ‫‪thing to do back in Ferdowsi’s‬‬ ‫‪book. Our prince has to fight a‬‬ ‫‪couple of divs (demons), a dragon‬‬ ‫‪and other monsters to reach his‬‬ ‫‪love. Ali Akbar Sadeghi tells us this‬‬ ‫‪prince story.‬‬

‫‪Malek Khorshid‬‬ ‫‪Ali Akbar Sadeghi‬‬

‫علیاکبرصادقی‬ ‫‪15:45‬‬

‫”‪15’ 45‬‬ ‫‪1975‬‬

‫در دام عشق افتادن و بدست آوردن شاهزاده خامن‬ ‫محبوبتان در زمان فردوسی آنچنان که در کتابش آورده‬

‫است‪ ،‬کار آسانی نبوده‪ ،‬شاهزاده داستان باید چندین‬ ‫دیو و یک اژدها و چند هیوالی دیگر را از سر راه خود‬ ‫بردارد‪ .‬علی اکبر صادقی داستان شاهزاده را برای ما‬

‫روایت می کند‪.‬‬

‫مراسمصبحگاه‬ ‫هادیآفریده‬

‫‪The‬‬ ‫‪Morning‬‬ ‫‪Ceremony‬‬ ‫‪9:31‬‬

‫‪Hadi Afarideh‬‬ ‫”‪9’ 31‬‬ ‫‪2008‬‬

‫‪Schoolgirls can play, fight, have fun and‬‬ ‫‪make noise. In Iran they do have to go‬‬ ‫‪to their Morning Ceremony and they must‬‬ ‫‪not be late. Hadi Afardieh shows us what‬‬ ‫‪this is like.‬‬

‫دختربچه های مدرسه‌ای می توانند‬ ‫بازی کنند‪،‬خوش بگذرانند و سروصدا‬

‫کنند‪ ،‬در ایران باید آن ها باید مراسم‬ ‫صبحگاه بجا آورند و نباید دیر برسند‪.‬‬

‫هادی آفریده در فیلم‌اش چگونگی‌این‬ ‫همه را به ما نشان می دهد‬

‫اون شب که بارون اومد‬

The Night it Rained Kamran Shirdel 3’ 21” 1967



In 1967 a community in Gorgan found itself the focus of attention in Iran. A schoolboy had saved a train from certain disaster, a real-life enactment of the children’s story. Kamran Shirdel went to investigate. The Night it Rained is the result of that visit to Gorgan.

‫ روستایی کوچک در‬۱۳۴۷ ‫در سال‬ ‫گرگان در کانون توجه ایرانیان قرار گرفته‬ ‫ یک دانش آموز قطاری را از یک‬،‫بود‬ ‫ تبلوری از‬،‫فاجعه حتمی رهانیده بود‬

‫داستان های کودکان که جتسمی در زندگی‬ ‫ کامران شیردل برای آگاهی‬،‫واقعی یافته‬

‫ آن شب که‬،‫از چند و چون ماجرا عازم شد‬

.‫حاصل آن سفر است‬،‫بارون اومد‬

:‫صدا‬ Sound: 01 Martin Shamoon Pour-Radio PM 2:19 02 Rahi Sinaki - A Piece for Tar 6:07 03 Arvin Sedaghatkish - Cantata 1:28 04 Whisper Band - Ice Cream 4:04 05 Ali Ettehad - Improvised For Degeneration 3:58 06 Behrang Baghayee - Mahdoodiat-e Na chandan ghatei Dar se vaght-e motefavet az yek rooz_e Bi saranjam 4:15 07 Hessam Mohammadian - Pour Binazirbuto 5:06 08 Hessam Mohammadian Pour & Martin Shamoon Pour - Marlot 3:36 09 Hossein Pishkar and The Dawn,rouses - With your hands 6:05 10 Kasra Pashaie - Miaan 4:28 11 Kasra Pashaie - Teke haaye be ham chasbide shode 3:59 12 Siavash Amini - Endless Towers of Tehran 3:18 13 Hessam Mohammadian Pour, Omid Ne’mati & Khatereh Hakimi - The Dance of The Morning 1:56 14 Nima Poorkarimi - Fragmentary 5:30 15 Unknown Artist - Lost For The Meaning 3:45 16 Unknown Artist - Touchless 3:21 17 Erfan Abdi A Tale of 13 days – first day – wait and see 2:19 18 Makan Ashkwari - Love 2:10 19 Javad Safari - Limited Access - 9:50

Late modern or postmodern capitalism has led to a more disorganised set of relationships between trading nations.Rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;Roll enters Iranian homes at a rate of 50 TVs every working hour. Estimated satellite dishes being installed daily in Iran: 400. Homes reached by MTV Europe: 65 million (1994 Digitations)

Arash Salehi - Arash Razzazian

There is a projection on the wall, which will be our instrument, a web cam will track movement of people in front of it who try to play and will send it to our machine to generate sound from it, and it will apply fluid particles visuals to it. With frame difference technique and generating midi notes based on where-ever there is movement. Here people can dance, jump and do ‫حرکت‬‎ ‫ افراد مقابل پرده ی‬.what they pleased

Visual Instrument ‫ساز تصویری‬

‫چیدمان اینتراکتیو‬

Interactive Installation

Payman Abbasian ‫پیمان عباسیان‬

‫کم دنبال‬-‫پروژکشن توسط یک وب‬

‫می شود و به یک دستگاه برای ایجاد صدا از‬

‫آن ها بر روی نواهی مختلف فرستاده می شود‬

‫و افکت ها و انیمیشن هایی بر اساس آن تصویر‬ ‫اعمال می شود به گونه ای که افراد می‬

‫توانند برقصند و بپرند و هر کاری می‬ .‫خواهند اجنام دهند‬

Underwear Power ‫قدرت لباس زير‬ Mixed Media ‫ميکس مديا‬

Nima Esmailpour 2009

‫نيما امساعيلپور‬

Just listen to the Underwear Power everyday .and be playful Underwear have a great power. When somebody sees your underwear, ‫هر روز «قدرت لباس زير» را بشنويد و خالقيت داشته باشيد؛ چرا‬ it is the beginning of intimacy. It can be ‫را‬ ‫ هنگامي كه كسي لباس زير شما‬.‫كه لباس زير قدرت عظيمي دارد‬ the beginning of a great story, or the end of ‫بزرگ‬ ‫ ممكن است شروع داستاني‬.‫مي‌بيند تازه آغاز صميميت است‬ anything. Underwear have a great power of attraction, seduction, excitement, hypnotism. ،‫ هيجان است و هيپنوتيزم‬،‫ لباس زير اغواست‬.‫باشد يا پايان همه‌چيز‬ For men, for real men. There so many kinds of ‫ لباس زير انواع فراواني دارد؛‬.‫ مردان واقعي‬،‫به‌خصوص براي مردان‬ underwear, enhancing our masculinity, broad.‫مردانگي را مي‌افزايد و بيگانه‌ستيزي و وطن‌پرستي را افزون مي‌كند‬ .casting national attraction and xenophobia ‫اين لباس های زير در چهار سايز و به سفارش لندن در چني توليد شده‬ These underwear are made in China to the .order of Excellence London in 4 sizes .‫است‬

Nyayesh Azin Feizabadi A conversation with Ebrahim Shahroudi

The initial starting point of this conversation was a photograph which was taken around 1930. Ebrahim Shahroudi (my grandfather) is visible in this photo as a twelve-year old boy with his fellow classmates and teachers. ...

Balcony ‫بالکن‬

Mohsen Rasoulov

‫زندهیاد محسن رسولاف‬ 2’20’’ 2007 2:20

Comode ‫کمد‬

‫داستان سفر زنی جوان که در نهایت مکانی امن می یابد‬

a young woman’s journey which ends some where safe.

Samira Eskandarifar 5’22’’ 2008 5:22

‫مسیرا اسکندرفر‬

The Drowned Ones ‫غرق شدگان‬ ،‫سنگ‌های ساحل که غرق شده یا در حال شکنجه‌اند‬ ‫ منادی ویرانگر از طبیعت‬،‫اگر چه زیبا به نظر می رسند‬

‫ این نگاهی‌ست به‬،‫ فرسایشی تا نابودی کامل‬،‫است‬ .‫جریان حاکم بر موسیقی و هنر ایران‬

The stones at the coast, while making such a beautiful view, are being drowned or tortured; it is a destructive face of nature. This video is about the wave which has taken over the Art and Music of Iran.

Farid Jafari Samarghandi

‫فرید جعفریمسرقندی‬

The Eve’s apple video is a close up and motionless image of a woman’s throat moving now and then by swallowing her saliva. The reminiscent of eating The Forbidden Fruit inflating her throat and Eve’s awareness of the good and evil makes her silenced. Eve ate the apple and she was expelled from the Eden. Consequently she sent man to the sinful earth. The earth was the place of sound. Adam reached the sound and the silence became the sediment of Eve’s body. And what remains is Adam’s apple.

Eve’s apple ‫سیب حوا‬

‫ویدیوی «سیب حوا» منایی بسته و ساکن از گلوی زنی است که‬ ‫ یادگار‬.‫ با فرو دادن بذاق دهان به حرکت درمی‌آید‬،‫ه ‌ر از‌گاهی‬

Ghazaleh Hedayat 5’ 2007 5:00

‫غزاله هدایت‬

‫گناه خوردن سیب در گلو برجسته می‌شود و آگاهی به خیر و شر او‬

‫ و‬.‫ حوا سیب را خورد و از بهشت رانده شد‬.‫را به سکوت وا می‌دارد‬ ‫ زمین جای صدا‬.‫ بشر را هم به زمین گناهکاران فرستاد‬،‫با این‌کار‬

‫ و آن چه باقی‬.‫تن حوا نشست‬ ِ ‫آن آدم شد و سکوت در‬ ِ ‫ صدا از‬.‫بود‬

.‫ماند سیب آدم بود‬

Sundown ‫غروب‬

‫یکی از پرطرفدارترین مقصدهای تعطیالت برای مردم تهران‬

‫ می‌توان‬،‫ در آن واحد‬.‫ در شمال ایران است‬،‫سواحل دریای خزر‬ ‫تیپ‌های مختلفی از مردم را دید که از اوقات فراقت خود لذت‬ .‫ این اثر به این پدیده می‌پردازد‬.‫می‌برند‬

One of the most common places for vacations that Iranians mostly from Tehran go there, is Caspian shore in north of Iran. At the same time you can see many different types of people (who) enjoying their time. This video is dedicated to this happening.

Hamed Sahihi

3’29’’ ‫حامد صحیحی‬ 2007 3:29

Setareh Jabbari 7’ 2009 7:00

‫ستاره جباری‬

Behnam Kamrani ‫بهنام کامرانی‬

5’11’’ 2006 5:11

Khosro Khosravi

‫خسرو خسروی‬ 11’ 11:00

Minou Iranpour ‫مینو ایران پور‬

6’ 2005 6:00

Some ways to reach Revolution ‫چند مسیر برای رسیدن به انقالب‬

.‫ درست مثل همه‌ی میدان‌ها و خیابان‌های اصلی تهران‬،‫میدان انقالب با خیابان‌های اطرافش همیشه پر از آدم و ماشین است‬

‫ هزینه و خیلی چیزهای دیگه! بعد وسیله نقلیه تو انتخاب کنی! اگر درست فکر نکنی یا‬،‫ ترافیک‬،‫برای رسیدن باید به خیلی چیزها فکر کنی مثل وقت‬ !‫ می رسی ولی زود یا دیر‬،‫درست انتخاب نکنی‬

Enghelab (Revolution) Square with the surrounding streets are always full of cars, just like all other squares and main streets of Tehran. To achieve there, you have to consider many things; like time, traffic, cost and lots of other things. You should choose your means of transportation, if you don’t think about the right thing or the right choice you will get there, either early or late.

Gallery ‫گالری‬

‫ حرکات آهسته‌ی عروسک و شادابی‌اش و نوشته‌های دوپهلو ‌در پس آن نشانه‌ای از زندگی‬،‫یک عروسک کوکی در آب تنگی شیشه‌ای شناور است‬

‫ را به ذهن متبادر می‌کند و هم‌چنان که معصومیت و‬،‫ این عروسک عجیب و غریب سنت‌هایی دیرین و دور از ما که بر ما حتمیل گشته‌اند‬،‫معاصر است‬ .‫ساختگی بودن و دیگر مفاهیم را‬

A wind-up doll floating in water in a glass bulb. The slow movements of the doll, its buoyancy and the ambiguous writings behind it are symbols for contemporary life. The peculiar toy brings to mind traditions distanced from or imposed on us as well as innocence, artificiality and other connotations.

WATCHES TELEVISION ‫تلویزیون نگاه می‌کند‬

.‫ اثری بی پرده و مسبلیک در باره تضادهای یک جامعه یا منطقه است‬،»‫«تلویزیون نگاه می‌کند‬

. ‫ فرهنگ و رسانه‌های عمومی تاثیر به‌سزایی در روزگار مردم در خاورمیانه دارند به ویژه بر وقایعی مانند جنگ‬،‫تاریخ‬

‫ آن هم در آینه‌ی زندگی یک زن ساملند ( مادر هنرمند) که مشغول متاشای اخبار و‬،‫این اثر بر آن است که متامی این مسايل طعنه‌آمیز را به منایش درآورد‬ .‫) از تلویزیون است‬۲۰۰۹ ‫ تا ژانویه‬۲۰۰۸ ‫جریانات جنگ غزه ( دسامبر‬

“Watches Television” is a straightforward and symbolic demonstration of paradoxes of a society or region. History, culture, politics, and public media have an extensive impact on nations of today’s Middle East; particularly on certain incidents such as war. In this video artwork, I’ve tried to express all these ironies in daily life of an old woman (Artist’s mother) while she is watching news and events of war in Gaza (December 2008- January 2009) on television.

The Door ‫در‬

‫مجموعه اتفاقاتی که نزدیک یک در روی می دهد و باعث برشهایی در زمان و مکان می گردد‬

The video shows a series of events, which is happening next to a door which makes shifts in the time and place.

Mohamad Abbasi 1’ 2008 1:00

‫محمد عباسی‬

‫من مادرم هستم‬ I am my mother I was thinking that my mother’s veil can exclude her from outside world, I can get into her body and dance, and this is the only way I can move her body. Within these thoughts, that the idea of “I am my mother” emerged.

‫در این فکر بودم که چادر مادرم می‌تواند او‬

‫ می‌توامن وارد‬.‫را از دنیای بیرون جدا کند‬ ‫ این تنها راهی است‬،‫بدنش بشوم و برقصم‬

.‫که می‌توامن بدنش را به حرکت درآورم‬

‫از دل این افکار بود که بود که طرح «من‬

.‫مادرم هستم» منودار شد‬

Wherever there is me, there is me‫شهابیان‬ aside ‫میریام‬ Miriam Shahabian Video-audio-sculptural installation, 2005

Migration for any reason releases cultural confrontation, creating individual and social change. In this work, sculptural silhouettes and their shadows create body anagrams which allegorise a new self definition.The rotating video projection reflects permanently the changing ego and the own identity.

Exile paranoia ‫توهم غربت‬ Nassrin Nasser 10’30’’ 2009 10:30

‫پیامدهای درگیری‌های ژئوپلیتیک می‌تواند زندگی شخصی ما را‬

‫ به عنوان‬.‫دستخوش تغییر مناید و حق انتخاب‌های‌مان را محدود سازد‬ ‫ عمیقا خود را دربند محدودیت‌های مهاجرت ناشی از‬،‫یک ایرانی‬

‫ درک‬،‫ این پروژه‬.‫موضوعات سیاسی مابین ایران و ابرقدرت‌ها می‌یامب‬ .‫من را نسبت به این پیامدها ارایه می‌مناید‬

‫ موانعی را که یک مهاجر در طول سفرش با آن برخورد‬،‫روایت استعاری‬

‫ رویدادها از نظر دورمنای احساسی به تصویر‬.‫ برمی‌شمارد‬،‫می‌کند‬

‫ احساس امنیت‌اش که با موقعیت شکنند ‌هی‌ گرو نگه‌داشنت‬.‫درآمده‌اند‬

‫ گره‬،‫گذرنامه‌اش توسط قدرمتندان رمسی و غیررمسی دایما تهدید می‌شد‬

‫ سفرش به یک کابوس همیشگی و پیوسته و نیز آمیزه‌ای از‬.‫خورده بود‬ .‫رویا و واقعیت شباهت داشت‬

‫نسرین ناصر‬

The consequences of geopolitical conflicts can alter our personal life and restrict our choices. As an Iranian, I found myself highly bound by immigration restrictions due to political issues between Iran and the Super Powers. This project represents my personal perception of these consequences. The metaphorical story addresses the obstacles an immigrant confronts through out her journey. The events are illustrated from her emotional perspective; her sense of security is tied with the possession of her passport which is a fragile situation frequently threatened by official and non-official types of authority. Her journey resembles a continual nightmare, a fusion between dream and reality.

Ayeh Rahimi ‫آیه رحیمی‬

Ratée ‫ردی‬ ّ !‫ مرا ببخش آقای من‬Forgive me my dear sir! There is no doubt ،‫ شکی نیست که دیر یا زود من نیز در آن بارانداز سوار کشتی خواهم شد‬that sooner or later,

I too will stand up the ship and get on board. But I will not return until you come back, .‫ فقط رازی در آن نهان است‬،‫ وجود دارد‬just to tell you all about it. ‌I believe that .‫ رفنت‌ها را می‌شناسد و بازگشت‌ها را نه‬your city truly exists, but its secret is concealed. It can recognize the departures, but knows nothing about the returns (arrivals).

،‫ شهر تو بدون شک‬،‫اما پیش از تو باز خنواهم گشت تا برایت بازگویش کنم‬

Silent\Off Families ‫خانوادههای خاموش‬ Ehsan Behmanesh/ Arefeh Riahi 5’55’’ 2007 5:55

‫ عارفه ریاحی‬/ ‫احسان بهمنش‬


‫ بی کالم‬،‫ صامت‬،‫ بی صدا‬،‫ساکت‬

‫ غیر متحرک‬،‫بی حرکت‬

‫ از کار انداخنت دستگاه‬،‫ اطفای چراغ‬،‫مقابل روشن‬



‫زمین بایر‬

‫انسان بدون اوالد‬

‫برگرفته از لغت نامه ی دهخدا‬

The word “Khamoosh”, that has been chosen for the Persian (Farsi) title, can take on different meanings two of which are: Silent and Off leading us to the above translation for the English title. The meanings of the word “Khamoosh” listed in the Deh-Khoda Persian Lexicon are as follows: “Silent, Without sound, Devocalized, Speechless Still, Stagnant, Opposite of on, quench the light, Turned off Hidden, Dark, Arid, Sterile A person who has no children”

8761 8761

0012345678900 0012345678900

Video, PAL , 4:3 TRT: 2:40, 2008, Iran 2:40 Sound & Edit :Leila Khalilzadeh

Sewing machines saw and saw. .‫چرخ ها می‌دوزند و می دوزند‬

Video , PAL , 4:3 3:00 TRT: 3:00, 2008, Iran Sound & Edit :Leila Khalilzadeh

Sara Abbasian ‫سارا عباسیان‬

What that I do thinking about them are these: To turn a common occurrence into an adventure, I start to describe it in a very easy way. That’s what takes reader by itself. The story, the story of this artificial space is nothing except than bicycle, bones, TV, and sound. :‫چیزهایی که بهشان می‌اندیشیدم این‌هاست‬

‫برای‌آن‌که پیش‌پا‌افتاده‌ترین‌ رویداد به ماجرایی تبدیل‬ ‫ شروع به توضیح دادن درباره‌ی آن به صورت‬،‫شود‬

‫ این همان چیزی است که مخاطب را‬،‫کاملًا ساده می‌کنم‬ ‫ داستان این تصاویر چیزی‬،‫ یعنی داستان‬.‫با خود می‌برد‬

.‫نیست جز؛ دوچرخه ـ استخوان ـ تلویزیون و صدا‬

‫گوگل را صفحه‌ی‬ ‫پیش فرض خود قرار دهید‬ ‫‪Set Google as‬‬ ‫‪your default homepage‬‬

‫‪Iran, upon existing statistics with 70‬‬ ‫‪millions inhabitants, has 23 millions‬‬ ‫‪Internet users which is 34 per cent‬‬ ‫‪of the population. Internet rate has‬‬ ‫‪had an incredible growth, during a‬‬ ‫‪period of seven years from Decem‬‬‫‪ber 2000- rate amount of users 250‬‬ ‫‪000 - till 2008. The access to the‬‬ ‫‪Internet sites which is filtered in‬‬ ‫‪Iran, is followed very closely. After‬‬ ‫‪China, Iran is at the second range‬‬ ‫‪for the number of filtered sites.‬‬

‫‪Siavash Naghshbandi‬‬ ‫سیاوش نقشبندی‬

‫’’‪3’48‬‬ ‫‪2009‬‬ ‫‪3:48‬‬

‫بر اساس آمارهای موجود‪ ،‬ایران با حدود هفتادمیلیون نفر‬

‫جمعیت‪ ،‬بیست و سه میلیون کاربر اینترنت دارد که بالغ بر‬ ‫‪ 34‬درصد کل جمعیت است‪ .‬میزان رشد اینترنت در ایران‬ ‫تنها در فاصله‌ی هفت سال از دسامبر ‪ 2000‬که میزان کاربران‬

‫اینترنت ‪ 250‬هزار نفر بود تا ‪ 2008‬رشدی چشم‌گیر داشته‌است‪.‬‬

‫محدودیت دسترسی به برخی پایگاه‌های اینترنتی که در ایران با‬

‫اصطالح «فیلترینگ» از آن یاد می‌شود‪ ،‬به طور جدی در ایران‬

‫دنبال می‌شود‪ .‬ایران از نظر تعداد وب‌گاه‌هایی که در آن فیلتر‬

‫شده‌اند‪ ،‬در دنیا‪ ،‬پس از چین‪ ،‬در رتبه‌ی دوم قرار دارد‪.‬‬

‫‪ ٢٠٩‬ـ ﺑﺪون ﻋﻨﻮان‬ ‫‪Untitled #209‬‬

‫‪Arash Fayez‬‬ ‫ﺁرش ﻓﺎﯾﺾ‬

‫‪When we saw that finally someone has paid‬‬ ‫‪us a visit, we didn’t know what to do. Who‬‬‫‪ever hangs around, has either been involved‬‬ ‫‪in all this or has been numbed by seeing all‬‬ ‫‪that has happened. Perhaps you cannot do‬‬ ‫‪much either, like so many others who came,‬‬ ‫‪but left disappointed.‬‬ ‫‪Anyhow, thanks for thinking of us, but we’re‬‬ ‫‪not afraid of dying anymore.‬‬

‫’’‪1’04‬‬ ‫‪2009‬‬ ‫‪1:04‬‬

‫از این‌که ﺑﺎﻻﺧﺮﻩ ﯾﮑﯽ ﺑﻬﻤﻮن ﺳﺮ زدﻩ ﺑﻮد‪ ،‬ﻤﻧﯽدوﻧﺴﺘﻴﻢ ﭼﯽﮐﺎر‬

‫ﮐﻨﻴﻢ‪ .‬اﯾﻨﺠﺎ هر ﮐﯽ دور و ورﻣﻮن ﻣﯽﭘﻠﮑﻪ‪ ،‬ﯾﺎ دﺳﺖ ﺧﻮدش ﺑﻪ اﯾﻦ‬

‫ﭼﻴﺰا ﺁﻟـﻮدﻩس ﯾـﺎ از ﺑـﺲ ﮐـﻪ دﯾـﺪﻩ ﺑـﯽﺣـﺲ ﺷﺪﻩ‪ .‬هر ﭼﻨﺪ‪،‬‬

‫از دﺳﺖ ﺗﻮ هم ﮐﺎرﯼ ﺑﺮ ﻤﻧﯽﺁد‪ .‬ﻣﺜﻞ ﺧﻴﻠﯽهاﯼ دﯾﮕـﻪ ﮐـﻪ ﮔـﺎهی‬

‫ﺑـﻪ ﻣـﺎ ﺳـﺮﻣﯽزدن و دﺳﺖ از ﭘﺎ درازﺗﺮ‪ ،‬ﺑﺮ ﻣﯽﮔﺸﻦﺘ‪ .‬ﺑﻪ هر ﺣﺎل‪،‬‬ ‫ﻤﻣﻨﻮن ﮐﻪ ﺑﻪ ﯾﺎدﻣﻮن ﺑﻮدﯼ‪ ،‬وﻟﯽ ﻣﺎ دﯾﮕﻪ از ﻣﺮدن منی‌ترسیم‪.‬‬

‫خونیز دریا‬ Khooniz Sea ‫رازورزی ششم‬

(Confidence #6) Ali Ettehad 3’50’’ 2006

‫علی احتاد‬


‫ جایی که آدمیان بر کرانه دریا‬،‫‘ «بر حاشیه خونیز دریا‬At the coasts of Khooniz Sea where men

‫ ابرهایی است که گله های پرندگان از آن پدید‬،‫می رویند‬

‫ در آن محیط جادوانی‌اند که‬.‫آمده بدان باز گرد می آیند‬ ‫ کس را در‬.‫آوازشان ابرهای ستبر را به باروری وامیدارد‬ ‫آن ورطه جای نیست مگر آنان که نیمه زیرین تن در خاک‬ .»‫کرده پای از رفنت بدارند‬

‫ بند یکم‬،‫ فرگرد سیم‬،‫ارماتیان‬

grow at seaside, there are clouds from which flocks of birds are created and to which they return and witches, whose songs impregnate sturdy clouds. No soul is allowed to that premises apart from those whose second half is buried in the ground and have stopped walking further.’ Armatian, Chapter III, Verse I

‫ درباره‌ی رازورزی‬About Confidence

‫“ رازورزی اصطالحی است كه بيان‌گر مناسبات سالكان‬Confidence” is a term that explains re،‫ انسان خارج از حلقه‬.‫ عرفانی با مكتب و پيرشان است‬lationship between mystic followers and ‫ از مرام ميان آنان كه درون حلقه‌اند آگاه نيست و چون‬their mentor. The person out of their circle ‫ مجموعه‌ی‬.‫آگاه شد بايد لب از بازگو كردن آن فرو بندد‬

‫رازورزی ريشه در سنت‌هاي باستاني عرفان مهری و‬

‫ اين مجموعه كار خود‬.‫دنباله‌ي آن در عرفان ايران دارد‬ ‫را با ارجاع به متون باستانی آغاز كرده و اندك اندك شيب‬ .‫آرامی را به مست روايت‌های خود ارجاع طی می‌كند‬

is not aware of their manner and when he becomes aware he must keep the secret. “Confidence” series is rooted in ancient Mithraistic traditions and its regeneration in Islamic Persian Sophism. The series has begun its work with referrals to ancient script; and slowly went towards auto-referent stories.

My Calm Town ‫شهر آرام من‬

Amirali Mohebbinejad


5’ 30” 2008


looks like Heaven but sounds like Hell, my calm Town ‫ شهر آرام من‬،‫ بهشت می آید و به گوش چون دوزخ‬،‫به نظر‬

Tehran Zoo ‫باغ وحش تهران‬

Arash Khakpour/ Arash Radkiya 10’20’’ 2009



‫ مستند جتربی از دو فیلم‌ساز جوان که روزگار ساکنان باغ وحش‬An experimental documentary by up

.‫ تهران را به تصویر می‌کشد‬and coming Iranian film makers Arash

Khakpour and Arash Radkia. The film portrays the wildlife zoo in Tehran, Iran.

Bijan Moosavi

Double Life of Khosrow ‫زندگی دوگانه‌ی خسرو بیژنموسوی‬

11’ 2009 11:00

‫ بعضی روزها‬.‫ بعضی روزها همه چیز شاد و خوب است‬.‫زندگی خسرو باال و پایین دارد‬

‫ زندگی خسرو ادامه پیدا می‌کند تا زمانی که من آن را‬.‫همه چیز به هم ریخته و ناراحت‬


Khosrow’s life has ups and downs. Some days everything is nice and happy, some days everything is messy and uneasy. Khosrow’s life goes on as long as I manipulate it.

The Sweet Wayfarer ‫مسافر شيرين‬ ‫روناکقصیری‬

Ronak Ghoseyri 3’45’’ 2008 3:45

The Sweet Wayfarer is a film that intends

‫ فيلمي است منادين از يك زن ايراني كه مشكالت و‬to represent )an Iranian woman’s perspec.‫ مصائب به صورت مگس‌هايي دور او ظاهر شده‌اند‬tive) a female Iranian perspective. The cen-

tral figure’s surrounding problems manifest themselves as flies. Society’s reaction to ‫ و مشكالت او را از شدت ناراحتی به زيرزمني و عمق‬her decisions drives her underground out ‫ مجبور است تصميم‬ ‫ در نهايت‬،‫ روزنامه‌ها مي‌برد‬of sorrow. .‫مباند يا بيرون بيايد و مبارزه كند‬ ‫ بگيرد پنهان‬She is forced to decide to hide or fight. ‫در جهت رفع تبعيض‌ها‬ ‫تصميم او‬ ‫برخورد اجنماع به‬

Amin Talachian 7’ 2007



‫چشمان باز بسته‬ Eyes wide shut Kill to survive. This is the law of both na-

‫ این قانون طبیعت و جنگل است‬،‫ بکش تا زنده مبانی‬ture and jungle, and animal beings fol‫ و حیوانات به‌صورت غریزی این قانون را به شکل‬low these rules. But human, this talking

creature, in order to survive better (or to better survive) he kills too, following the ‫ با همان قانون‬،‫ او هم می‌کشد تا بهتر زنده مباند‬،‫ ناطق‬same rules, but with so-called human ap،‫ با لباس مخصوص کشنت‬.‫ انسانی‌اش‬،‫ ولی به‌ظاهر‬pearances. With clothing designed to kill, ‫ با دستگاه‌های مخصوص کشنت و با آیین مخصوص‬with machines build to kill and with regulations created to kill, and killing in a way ‫ و کشنت به‌صورتی که حتی امانی به بسته شدن‬،‫کشنت‬ that doesn’t even let open eyes to be shut, ‫ چشمان باز منی‌دهد و گاه مجالی به باز شدن چشمان‬and sometimes doesn’t even let shut eyes .‫ او تولد را هم می‌کشد‬.‫ بسته هم منی‌دهد‬to be opened. He kills birth too.

‫ این حیوان‬،‫ و اما انسان‬.‫حیوانی‌اش رعایت می‌کنند‬

‫کودکی کالغ‬ Crow’s Childhood Negar Behbahani 2’56’’ 2006

‫نگار بهبهانی‬


.‫ با جتربه های کم در رویاهای خود غوطه می خورم‬I allowing in my fantasies with my little

experiences. I relying on the men around here. ‫ و با تلنگری از واقعیت می شکنم‬My live crack by a little touch of reality.

.‫به مردان این حوالی تکیه میکنم‬

Sona Safaei

Alef ‫الف‬

2’36’’ ‫سونا صفایی‬ 2:36 2009

“Thinking a lot about Robert Rauschenberg’s Erased de Kooning Drawing (1953), I realized that one of the things it is about is minimizing the subject, indicating that the removal of one subject can allow for the appearance of another.” Vincent Katz “Aleph, no. 1, is the unthinkable lifedeath, abstract principle of all that is and all that is not.” Carlo Suares Robert ‫ " اثر‬de kooning ‫"پس از تفکر فراوان درباره‌ی "پاک کردن‬

‫ چرا‬،‫ متوجه شدم ساده‌کردن مسایل اهمیت فراوانی دارد‬ Rauschenberg vincent katz  ".‫كه حذف یک سوژه منجر به تولد سوژه‌ای دیگر می‌شود‬

Carlo  "‫ ماورای هستی‬،‫ مرگ و زندگی غیر قابل تصور‬،۱ ‫ شماره‌ی‬:‫" الف‬


‫ در نوعی اسطوره‬.‫ عربی و فارسی می‌باشد‬،‫الف اولین حرف الفبای عبری‬

‫ ابتدای زندگی و شروع تفکر‬،‫شناسی‌ باستانی منشا هماهنگی هستی‬ .‫محسوب می‌شود‬

‫"الف" اشاره‌ای است به الفبایی كه هیچ وقت امکان ظهور و تکامل یافنت بر‬ ‫ الفبا‌یی كه در بدو تولد تسلیم بر عمل پاک کردن‬.‫روی کاغذ را پیدا منی‌کند‬

‌‫ اجرای عمل پاک کردن "الف" را با دو عمل متضاد هم‬.‫خالق خود می‌شود‬ ‫ اثر هم‌زمان با اندوه برای از دست‬.‫ خلق کردن و نابود کردن‬:‫راه می‌کند‬ .‫رفته و شادی برای از راه رسیده مواجه می‌شود‬

‫ طراحی و هنر (از‬،‫در این کار حرف الف را كه نشانه‌ی دست خط‬

‫ به طور مداوم آن را از روی‬.‫ از بین می‌برم‬،‫پیش‌آموخته‌ی‌) من می‌باشد‬

‫ با آگاهی‬.‫کاغذم پاک می‌کنم تا راهی برای ظهور‌کردن ناشناخته‌ها باز کنم‬ .‫از وجود رد پای پیش شناخته‌ها او را الف می‌نامم برای آغازی دوباره‬

Aleph is the first letter of Hebrew, Arabic, and Farsi alphabet. It is believed to be the symbol of spiritual root of all harmony, beginning of life and thought. “Aleph” is an implication to an abstract and dysfunctional alphabet, which never gets the chance to appear on the paper, and demolishes from the very beginning of its content.  The performative act of erasing amplifies “Aleph” with a paradoxical characteristic of creation and destruction. There is mourning for ceased where at the same time is delighting for the newborn. In this piece of work I am destructing Aleph, my handwriting, my drawing, and my art in an attempt to recreate. Repeatedly erasing known and making a path through unknown, with an awareness of being under the gaze of remnants, I name it Aleph, the beginning and the end.

What Is Love? ‫عشق چیست؟‬ Pedram Etemadi Cut out animation 3’ 04” 2009

‫پدرام اعتمادی‬ 3:04

A music video for System bass band

‫موزیک ویدئو برای گروه سیستم بیس‬

Thorny man ‫تیزتن‬

Elika Hedayat Cut out animation 9’ 23” 2006-08

‫الیکاهدایت‬ 9:23

A love story of an insect man. ‫داستان عاشقانه یک مرد ـ حشره‬

As I Was Leaving My City ‫وقتی داشتم‬ ‫شهرم را‬ ‫ترک می‌کردم‬ Amirali Navaiee 3’ 2007

‫امیرعلینوایی‬ 3:00

A film about a man who is leaving his beloved city.

.‫فیلمی درباره‌ی مردی که شهر محبوبش را ترک می‌کند‬

Tala Madani 2’ 30” ‫طالمدنی‬ 2007 2:36

The Apple Tree ‫درخت سیب‬

‫انیمیشن کوتاه درخت سیب کار طال مدنی که با نقاشی مداوم‬ ‫ منونه ای از‬،‫و الیه الیه تنها بر روی یک بوم کار شده است‬ ‫قدرت بارز دنیای تصویری ویرانگر و جسور او همچنین‬

‫در این اثر او مردی را‬.‫ضربه قلم آزاد و پر حالتش است‬

‫به طوری بازیگوشانه در صحنه ای ثابت به تصویر می کشد‬ .‫که در گیر بازی پرتاب خنجر دردناکی شده است‬

Tala Madani’s short video animation, The Apple Tree created by painting and repainting a single canvas, exemplifies the distinctive force of her bold, subversive imagery and loose gestural brushstrokes. The animation depicts a vignette in which a man engages in a playful game of knife throwing.

One Stupid Idea ‫یک فکر احمقانه‬ Elham Doust Haghighi 5’ 20” 2007-08

‫الهام دوست حقیقی‬ 5:20

!‫ شیطان‬،‫ اینجا رو ببین چی پیدا کردم‬:‫ گراندی‬Grandy: Behold, Satan! I have discovered ‫ چی؟‬:‫ شیطان‬something.

Satan: What? Grandy: See this? I found it in the 6th sky ‫ که چی؟‬:‫ شیطان‬sewage. !‫ فکرشو بکن با این می‌تونیم یه موجود زنده خلق کنیم‬:‫ گراندی‬Satan: So what? Grandy: Imagine! One could create a living creature out of this.  !‫ اینو ببین ! اینو تو راه آب آمسان ششم پیدا کردم‬:‫گراندی‬

‫می دهد‪.‬‬

‫پس‌لرزه‌های آن‪ ،‬آنهم از طریق اینترنت و کتاب و ‪ ...‬به ما می‌رسد‪ ،‬و این سیر عموما از غربالهایی می‌گذرد که ما از از یک مشاهده‌گر منتقد به یک مصرف‌کننده منفعل تقلیل‬

‫دنیاست‪ .‬در غیاب جشنواره‌ها‪ ،‬کارگاه‌ها و موسسات هنری متناسب با آن‪ ،‬چنین آثاری در تهران به منایش در منی‌آید جز در جمع های کوچک و بسته‪ .‬و یا با سکته‌های زمانی‬

‫جریان مستقل و در عین حال شکننده الزم می‌مناید‪ ،‬امکان دیده‌شدن و بررسی آثار جتربی اخیر در بخش ویدئو‪ ،‬صدا و پرفورمانس از ایران در کنار آثاری از کشورهای مختلف‬

‫قرار دارد و واسطه هایی با نیات متفاوت وظیفه‌ی کشف‪ ،‬تبلیغ و عرضه ی آن را هر یک به حنوی به عهده گرفته اند‪ ،‬آنچه جای خالی اش غالبا پر نشدنی است و برای امتداد این‬

‫دسترسی محدود تالشی برای ایجاد دسترسی هنرمندان به یکدیگر و مخاطبان رو رشدشان در ایران است‪ ،‬چراکه معتقدیم هنرمعاصر ایران کم و بیش در دسترس جهانیان‬

‫حد به مسایل اقتصادی و دغدغه‌‌های فامیلی‪ -‬قبیله ای به کجراهه کشیده می شود که ذکرش از حوصله این منت خارج است‪.‬‬

‫پژوهش در مجمع اجلزایرهنری تهران‪ ،‬به آن رجوع کرد یا وجود ندارد یا متاسفانه تالش هایی هم که برای ایجادش صورت گرفته و می گیرد عموما به علت اولویت دادن بیش از‬

‫برای سنجش و آگاهی از چند و چونش در دست نداریم‪ .‬چرا که حیات و تداوم اش‪ ،‬وامدار گمنامی اش و کم سر و صدایی هنرمندانش است‪ ،‬مرجعی جامع که بتوان برای‬

‫ایرانیان معدودی مداوما فهرست رنگین منایشگاه‌ها را از دوبی تا لس‌آجنلس مزین می‌کند‪ ،‬جریانی پویا‪ ،‬مستقل و زیر پوستی به حیات خود ادامه می دهد که عموما متر و معیاری‬

‫گرفته است‪ .‬در همین حین‪ ،‬در حالی که روز بروز بر تعداد کیورتورها و عالقه مندان پرو پا قرص ایران افزوده می شود‪ ،‬بازار هنر با برچسب هنر خاورمیانه گرم است‪ ،‬و آثار‬

‫فراگیر شده بود‪ ،‬بدون آنکه الزاما به بستر سازی مناسب و مداوم فکر شده باشد و چه در سالیان اخیر که سیری کند تر حداقل در بیرون جمع های خصوصی و غیر رمسی به خود‬

‫در دههی گذشته هنر معاصر ایران در شاخه‌ی هنر رسانه جدید‪ ،‬فراز و فرود بسیاری را به چشم دیده است‪ .‬چه آن زمان که موج حمایت های دولتی برای ایجاد و گسترش آن‬

‫اخیر ترتیب داده است‪ .‬شاید باید پرسید دسترسی به چه؟مشخصا کدام محدودیت؟‬

‫دسترسی محدود عنوان مایوس کننده ای به نظر می آید‪ ،‬اما به واقع اینطور نیست‪ ،‬دسترسی محدود عنوانی دوپهلو دارد‪ ،‬مانند اکثر پروژه‌هایی که پارکینگالری در سالهای‬

‫دسترسیبهچه؟‬ ‫کداممحدودیت؟‬

‫یادداشتی در باره منایشگاه‬

‫امیرعلی قامسی آبامناه ‪1388‬‬

‫بندیم و ببینیم و بشناسیم‪.‬‬

‫از این انفعال ظاهری‪ ،‬خود دست بکار شده‪ ،‬آنچه عموما مایه ناامیدی و یاس است را به فال نیک گرفته‪ ،‬به مثابه فرصتی برای شکل‌ دادن به آینده‪ ،‬آنچه در توان داریم بکار‬

‫موقتی‪ -‬دوره ای به هنر ایران‪ ،‬از دیگر سو برخی حذف‪ ،‬نادیده‌انگاری و عدم حمایت از شاخه های معاصرتر هنر را بر می‌شمرند‪ ،‬که این همه ما را بر آن می دارد که برای خروج‬

‫محدویتی چنین‪ ،‬ناشی از پدیده‌های بسیاری می‌تواند باشد‪ ،‬از حتریم‌های بین املللی و بایکوت‌های غیر رمسی گرفته تا هجوم و همه‌گیری طرزفکر بازار َمدارانه‪ ،‬در پی اقبال‬

‫منایش چهار فیلم به همین مناسبت عرضه می کند‪.‬‬

‫در حاشیه این برنامه سایت موویکس که پایگاهی نوین برای منایش مجازی آثار کالسیک و جدید در حوزه ویدئو انیمیشن و فیلم کوتاه در ایران است‪ ،‬برنامه منایش ویژه‌ای را با‬


‫اسلونیا برای منایش برگزیده اند‪" .‬منظومه های هوشمند" منایی کلی است که در تالش است با توضیح دیدگاه های امروزی به واقعیت‪ ،‬فضای زندگی و جامعه و تاثیرات آن بر ما‪،‬‬

‫میها کولنر و ایدا هیرسن فلدر مشترکا با ارائه منونه هایی از هنر دیجیتال‪ ،‬اینتراکتیو‪ ،‬پرفورماتیو و انیمیشن‪ ،‬از کشور اسلونیا در سال گذشته از آرشیو مرکز هنر های معاصر‬

‫محمد نبیل را برای منایش در این مجموعه برگزیده است‪.‬‬

‫ساره رفقی کیورتور و نویسنده از قاهره با مجموعه "خود به مثابه دیگری" آثاری از شریف البنداری‪ ،‬حسن خان‪ ،‬محمد عالم‪،‬حسام السواح ‪ ،‬شادی النشوقاتی لیلی سامی و‬

‫عکاسانه دارند و بخش دوم با تاکید بر آثار سینماتیک از آرشیوی گرفته تا فیلم مستند‪.‬‬

‫هنرمندان ساکن این کشور را در دو بخش مجزا برای منایش انتخاب کرده‌است‪ .‬بخش اول با مترکز بر ویدئو ها و مستندات ویدئویی ازاجراهایی‪،‬که گرایش جتربی‪ ،‬مفهومی و‬

‫بیتا رضوی که اخیرا کشور را به قصد ادامه حتصیل ترک کرده و در فنالند اقامت دارد‪ ،‬مجموعه ای متنوع از کارهای جتربی تا آثار حرفه‌ای هنرمندان فنالندی و تعدادی دیگر از‬

‫هنرمندش خواسته که با آثارشان که هریک به شیوه‌ای شخصی داستان‌سرایی می کنند‪ ،‬در این منایشگاه شرکت کنند‪.‬‬

‫شیرین صباحی‪ ،‬هنرمندی که برای بار خنست در مقام برگزارکننده حاضر شده‪ ،‬با گوشه چشمی به ویژگی‌های داستان پردازانه و منایشی رسانه های زمان‌مند هنری از دوستان‬

‫آزاد همکاری داشته‌اند مجموعه‌ای متفاوت را پیش رو می‌نهد که ویژگی مشترک شا‌ن‪ ،‬انعکاس مضامین حاد امروز‪ ،‬در الیه ی بیرونی‌ای آرام و به ظاهر خاموش است‪.‬‬

‫را با جتربیات تصویری شان‪ ،‬به صورت موازی از تهران و دیگر کشور ها دنبال کند ‪ .‬زریتا شرف جهان با مروری بر آثار اخیر هنرمندان که در طی سالهای اخیر با نگارخانه طراحان‬

‫امیرعلی قامسی به معرفی آخرین جتربه‌های جوان از ایران و نیز ایرانیان خارج از کشور در حوزه‌های صدا ‪ ،‬هنر اینتراکتیو و ویدئو پرداخته و سعی داشته تا طیف کمتر دیده‌شده‌ای‬

‫کشور های اسلونی‪ ،‬مصر و سوئد و فنالند دعوت به عمل آمده است تا آثاری ویدئویی را متناسب با شرایط و ضوابط موجود در ایران‪ ،‬برگزینند‪.‬‬

‫آزاد و بنیاد "ریلودینگ ایمجز" از برلین برگزار شد‪ ،‬و در دوره کنونی عالوه بر امیرعلی قامسی و زریتا شرف جهان‪ ،‬از پنچ کیورتور میهمان برای انتخاب آثار ویدیویی از‬

‫دومین دوره از مجموعه دسترسی محدود اکنون پیش روی شماست‪ ،‬دوره اول دو سال پیش از این در اسفند ماه ‪ ،۱۳۸۵‬به ابتکار پارکینگالری و همیاری نگارخانه طراحان‬

‫پارکینگالری با همکاری طراحان آزاد و سایت موویکس برگزار می کند‬

‫دسترسی محدود دو‬

‫ویدئو ‪ /‬صدا ‪ /‬پرفورمانس‬

‫هشتم تا سیزدهم آبان ‪۱۳۸۸‬‬

‫برنامه‌های منایش روزانه بین ساعت چهار تا هشت‬ ‫به انتخاب‬

‫میها کولنر و ایدا هیرسن فلدر (لوبلیانا‪/‬اسلوونی)‬ ‫امیرعلی قامسی (پارکینگالری‪ /‬تهران )‬ ‫آرش خاکپور ( موویکس‪/‬تهران)‬

‫بیتارضوی (هلسینکی‪/‬فنالند)‬ ‫سارة رفقى ( قاهره‪/‬مصر)‬

‫شیرین صباحی( ماملو‪/‬سوئد)‬

‫رزیتا شرف‌جهان ( طراحان آزاد‪/‬تهران)‬

‫دبیر منایشگاه‪ :‬امیرعلی قامسی‬

‫طراح گرافیک منایشگاه‪ :‬سام کشمیری‬ ‫طراح کاتالوگ‪ :‬شهاب تندر‬

‫با تشکر ویژه از‬

‫کیورتورهای مهمان منایشگاه‪ ،‬میها کولنر‪ ،‬ایدا هیرسن فلدر‪ ،‬بیتارضوی‪ ،‬سارة رفقى‪ ،‬شیرین صباحی‬

‫نگارخانه طراحان آزاد‪ ،‬زریتا شرف جهان‪ ،‬محسن نبی زاده‪ ،‬رویا پوروکیل‪ ،‬آرش خاکپور ‪ ،‬فرید جعفری‪ ،‬حامد‬ ‫صحیحی‪ ،‬امیر طاهر قامسی‪ ،‬سهراب مصطفوی کاشانی‪ ،‬مارتین شمعون پور‪ ،‬محمود نبی زاده‪ ،‬نازیال نوع بشری‪،‬‬ ‫سونا صفایی‪ ،‬آیه رحیمی‪ ،‬ستاره جباری‪ ،‬آذر محمودیان‪ ،‬آریا کسایی‪ ،‬آرمینه مقدسی‪ ،‬بهار کرمی‌فر و لقمان‬

‫با تشکر از هنرمندان شرکت کننده و کلیه دوستانی که ما را در برگزاری این منایشگاه یاری کردند‬

Sazmanab Project


Profile for Chahab Orage


VIDEO | SOUND | PERFORMANCE Organized by Parkingallery in collaboration with Azad Art Gallery and Mooweex.com Curated by: Miha Colner / Ida...


VIDEO | SOUND | PERFORMANCE Organized by Parkingallery in collaboration with Azad Art Gallery and Mooweex.com Curated by: Miha Colner / Ida...

Profile for newbookz