January – April 2015
Often, things are called archives, but are really just clusters of stuff. An archive is a collection of traces of actions, transcripts of a life that interacts with society on a personal and formal level. The archive is an area of resistance, of desire to understand, recovery, compare and share. It’s about the survival strategies put in place when you have to build a structured narration in a context where the memory is constantly threatened, the archive maintains and continuously generates new connections, new points of view, other possible stories, future meanings.
The MOP CAP’s archive is intended here as a research tool in form of anongoing project in which a multiplicity of subjective points of view and different voices are included in an alternative history of art. #archiveseries is not only a strategy of self-historicization as a self-description but aims to be a map through the histories and geographies of contemporary Iranian art. It is a completely dynamic form of construction of awareness and vocation which takes shape in a series of exhibitions. Each series creates a different type of visual and suggest other methods of ordering, it is part of a story that has no end and that enhances the discovery of this generation of artists. Although heterogeneous in terms of formal proposals, artistic projects selected for each series have common discursive aspects and forms of presentation.
The project starts from these reflections to create three exhibition proposals constituted by works of the same selection of artists: photos, paintings, collage and videos reconfigurated every time in a new order to suggest different possible ways of reading based on different keywords, a sort of leitmotiv present in some artist’s portfolio in MOP CAP’s archive: series#1: stories, series#2: geographies, series#3: encounters. #archiveseries is realized in form of video, a succession of transitory frames that need to be continually reactivated by the viewer, it makes visible hypothetical researches made by the user within the archive. On one hand there is no space-time distance between the author and the recipient, on the other hand there is the user to activate the exhibition, while the artist has already issued and recorded his in a another space and another time.
The series have a limited duration and repeated for the full period of time available.
The (virtual) space to which the user is exposed is about new subjectivities, new imagination and aesthetic models that involve reasons beyond the boundaries of art. The intent is to create imaginary or alternative collections-sets up, stories and narrations invade the entire exhibition space.
There is no single answer when you query the records of an archive. The archive is a discursive field of informal historicization. A background, a common base that continues to emerge, a blurred space which prevents from drawing clear boundaries between forces and signs, including language and work, intellectual production and action.
Making the story and then make it visible. The history dealt with as a matter of political representation is at the core of the definition of archives proposed, it puts in action a strategy transversal to ordinary classifications.
series#1: stories deals with personal and collective stories, institutional history and intimate memory. It reflects on the notion of home as a place of birth, as a physical landscape and root of one’s identity. It creates a sound environment, a space of conflict, amalgamation or meeting of distinct poles within political borders. It talks about memorable moments, solitude and lost paradise, explores the relation between political and religious faith, tells of freedom and new opportunities. It is a visual tale where every day events meet mythology. As in a slide show, the rhythm of the projection, always equal to itself, gives the same level of importance to every single frame.
The exhibitions include works by Shirin Sabahi (Iran/Sweden, 1984) – Arash Fayez (Iran/USA, 1984) – Bijan Moosavi (Iran/UK, 1983) – Claudia Parwaneh Djabbari (Germany, 1977) – Anahita Norouzi (Iran/Canada, 1983) – Shahrzad Changalvaee (Iran, 1983) – Asad Faulwell (USA, 1982) – Ala Ebtekar (USA, 1978) – Aylene Fallah (Iran, 1976) – Sona Safaei-Sooreh (Iran/Canada, 1981) – Najaf Shokri (Iran, 1980) – Foad Rahnama (Iran, 1982) – Mohammad Ghazali (Iran, 1980) – Mohsen Shahmardi (Iran, 1979).
series#2: geographies is a cartography of a country, a trave guide, a portrait in motion. It draws roads, squares, urban monuments, landscapes, point of view and traces of existences; recounts of departures and arrivals, desires and expectations, vacation days, familiar places and deserted cities. It’s a journey to discover themselves, their origins, attempts to negotiate space between cultures. It deals with revolution and immigration, talks of losing something and finding someone again, is the difficult experience of living in a foreign place aspiring to find a better situation and lead a successful life, it’s the opportunity to transform their identity. It is about rules, contradictions and decadence. It formulates a diverse reading of the current geopolitical circumstances.
The exhibitions include works by Sona Safaei-Sooreh (Iran/Canada, 1981) – Arash Fayez (Iran/USA, 1984) – Shahrzad Changalvaee (Iran, 1983) – Najaf Shokri (Iran, 1980) – Bijan Moosavi (Iran/UK, 1983) – Behnam Sadighi (Iran, 1979) – Mohammad Ghazali (Iran, 1980) – Foad Rahnama (Iran, 1982) – Anahita Norouzi (Iran/Canada, 1983) – Claudia Parwaneh Djabbari (Germany, 1977) – Asad Faulwell (USA, 1982) – Ala Ebtekar (USA, 1978) – Shirin Sabahi (Iran/Sweden, 1984).
Series#3: encounters is a field open to contamination, a meeting place between east and west, known and unknown, here the distances are dwindling, the separations disappear. Time and space, past and present come together in a continuous reconfiguration of national identity, of the notion of human being. It Invites the audience to measure themselves with “the other”. The exhibition deals with riots and romantic stories, silence and noise, vulnerability of human existence and its strength, it is an archive of portrait of people, places and moments, a way to find answers to questions that are posed, to escape the stereotypes of conventional storytelling. It explores human relations in a society in which people doesn’t see anyone else than themselves. This video talks about unexpected encounters between millenary tradition and modernity, utopia and pragmatism, women’s world and men’s world, center and periphery. Which was hidden becomes visible.
The exhibitions include works by Claudia Parwaneh Djabbari (Germany, 1977) – Shahrzad Changalvaee (Iran, 1983) – Ala Ebtekar (USA, 1978) – Asad Faulwell (USA, 1982) – Abbas Kowsari (Iran, 1970) – Anahita Norouzi (Iran/Canada, 1983) – Foad Rahnama (Iran, 1982) – Behnam Sadighi (Iran, 1979) – Mohsen Shahmardi (Iran, 1979) – Bijan Moosavi (Iran/UK, 1983) – Arash Fayez (Iran/USA, 1984) – Abolfazl Talooni (Iran/UK, 1981) – Ali Zanjani (Iran, 1986) – Mohammad Ghazali (Iran, 1980) – Shirin Sabahi (Iran/Sweden, 1984).