Atomic Fusion
03.03.-18.03.06
First project in the series RELOADING*IMAGES
RELOADING*IMAGES is an initiative of NewYokRioTokyo. We organize Exhibitions/ Workshops/ Exchange programs between artists and perspectives of the Middle East and Germany/Europe.
Our aim is to question and try to redefine images about Orient and Occident on both sides.
In this context the exhibition „Atomic fusion“ is supposed to promote the reflection about the image of the Iran distributed by western media. The title refers to the Iranian atomic program and stands for a counter program to the mutual rejection between Iran and the western World. Like in the case of an atomic fusion we would like to bring both sides so close together that they overcome this mutual rejection and reach a point where a process of mutual fusion initiates. Representative for this process are the artists invited: of Iranian origin and living in Europe these artists have the knowledge and the experience important for this debate: the sensitivity for their home country resulting in an increased attention for the view transmitted of the Iran by western media, the possibility to compare this view with the reality in Iran, which these artists know from their childhood, travels and tales told by their parents and relatives. The one sided view which we receive of Iran through the media is to be countered by the personal views of these artists. In addition to that the “Immigration Office” of “Transnational Republic” is offering citizenships at the opening.
Azin Feizabadi
The video work by Azin Feizabadi shows the scene of Angela Merkel being voted to female chancellor by the German Parliament. The subtitles in Arabic characters automatically give the audience the feeling of being set in the situation of the person the whole work is addressed to in the audiences opinion. Based on the imaginary addressee the audience is of the opinion that the whole scene of the election of a woman into the position of leader of a Western country is viewed through the eyes of a person with Far or Middle East descend. It becomes more and more obvious with time that the Arabic characters do not succeed in expressing what is said in the German language. Slowly but surely the recipient becomes aware of the prejudice he projected onto the imaginary addressee. The discomfort expands to the question if translations have the ability to fully express the content of the translated text/speech or if the recipient is doomed to remain in his/here own cultural context, which would lead us to the understanding that comprehension is impossible in that manner.
Bijan Anquetil/Sebastien Cabour
A parcours is generated by seven boxes with pictures, objects, videos, sounds and mirrors in the hall way of the gallery giving the audience the possibility to walk through and experience the gap of the Iranian everyday life between internally and externally, private and public area in its differing aspects. This parcours is to show the shizophrenia in the Iranian society, which is based on the actions, which may be allowed in one room but forbidden in the other. This is shown with the help of the example of one box by showing the difference of the internal and external area. The appartments in Tehran are oftentimes settings for excessive parties on the weekends. In this case the youth shows no difference to the youth in the Western since they have disconnected with the ideals of the Islamic revolution. Whereas the public area is shown as area loaded with commands and prohibitions. This is no common room connecting people but separating people through distrust, mutual observance and censorship.
Shirin Homann-Saadat
The architect Shirin Homann-Saadat also focusses on space in her work as an artist. Her
Kosovo project, that she carried out in participation with local women, questioned if and how architecture can address issues such as war and genocidal rape. For this exhibition she drew a map of Iran that seems to consist primarily of its own boundaries. “I am ok, you are ok – International boundaries are not authoritative” is based on past “borderline experiences” within the region. Their side-effects are still valid, unhealthy and – especially within the context of current political debates – absurd.
Kaya Behkalam
The Videoinstallation “Tehran Reflections” shows us over the corner on one canvas the pro-paganda of the Islamic republic in the townscape of Tehran and on another canvas their reflection on windows, car screens or sunglasses of the people passing by on the streets. The reflecting surfaces throw back the images of the indoctrination, while whatever is behind the screens is protected by these surfaces and remains only partially seen. Also subject here is the relation between internal and external of the silent mass and the individual of whom we don’t know how he feels inside which depending on the kind of projection may seem harmless or dangerous. An invitation to take a look behind the curtain.
Alireza Ghandchi
The installation of Alireza Ghandchi shows a photo of the series “Hands: self portrait”, in this the hand of the artist is cord up with objects as an association to violence and sado masochism.
In a slide projection these objects are shown unconnected to the picture, in order to appear in a context of glorifying violent ideologies. In his video the artist studies a different picture of moving manner and implements a dynamic character into the pictures emphasizing
the aggression and brutality of the acquisition process of aesthetic phenomenons. Herein is the essence the analysis of cognition conventions loosing the realism of the object in the detail and the interaction. The difference between the self adoption and the imprint gives the self portrait of the artist.
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