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نقاش دیگر نقاشی نکرد
فراموش نشدگان سمیرا علیخانزاده در چند بند و ضمیمه
بند اول – در خوانش یک اثر هنری، رسانه دارای اهمیتی همتای فرم و ایده است و این انتخاب باید بر مبنایی تئوریک استوار باشد. سمیرا علیخانزاده به قصد نقاش شدن در کلاس های آیدین آغداشلو و دانشگاه آزاد تحصیل کرد اما پس از اولین نمایشگاه انفرادی نقاشی اش، دیگر اثر نقاشی محض به نمایش نگذاشت. سمیرا در پی کشف رسانه های زمانه ی خود و بازخوانی رسانه های کلاسیک، به ترکیبی از نقاشی، چاپ و آینه کاری پرداخت که انتخاب این ها تنها از سر تجربه و کنجکاوی نبود.
بند دوم - روحیه هویت جوی سمیرا او را واداشت که به خوانشی دوباره از سبک زندگی ایرانی از طریق عکس های دهه ی 1330 دست بزند. این دهه در تاریخ معاصر از این جهت متمایز است که با پایان یافتن جنگ جهانی دوم و صنعتی شدن ایران، تعریفی نوین از پرسونالیته و هویت ایرانی ارایه داد. سمیرا با استفاده از عکس های این دهه، در پی رمز گشایی نشانه های این هویت نو و میل به ثبت آن است؛ هویتی که منجر به چالش های تازه از جمله بازتعریف جایگاه های اجتماعی – جنسیتی شد. فناوری چاپ امکان بازتاب بی واسطه عکس را به سمیرا می دهد. او در دوره های پیشین کارهایش، استبعاد زمانی و کیفیت شبح گونه پرسوناژهای عکاسی شده را با مات کردن پرتره ها یا نگاتیو شدن آن ها در میزانسن اثر به وجود می آورد اما در مجموعه ی فراموش ناشدگان، تعلیق توری ها و نصب لایه های جدا از هم در قاب ها، این کیفیت را تشدید می کند.
ضمیمه 1 – نگاه کنید به پوشش نظامی عروس در عکس عروسی و زنان سوار کار و مردپوش ها در کارهای پیشین سمیرا
بند سوم - در شمایل نگاری کارهای سمیرا، آینه ها بر خلاف ظاهر تزیینی شان، رسانه ای پویا و مناسب در راستای تحقق ایده های هنرمند هستند. آینه وسیله ای برای تشخیص خود، بازآفرینی خود و حتی تخریب خود است. این بازتاب در آثار سمیرا بیننده را در جایگاهی تعاملی با اثر قرار می دهد و بازتابی از لحظه حال را در تقابل با تصویری زیست شده و کهنه منعکس می کند. به تعبیری لکانی فرد در مواجهه با اثر، مرحله ای آینه ای نسبت به یک تاریخ جمعی را تجربه می کند.
ضمیمه 2 – نگاه کنید به مجموعه نقاشی ها و چیدمان های آینه ای میکلانجلو پیستلتو
بند چهارم - چیدمان های سمیرا به خصوص در مجموعه ی فراموش ناشدگان، با اشیایی است که ویژگی های یادگارپرستانه آن ها جوهر خاطره و تعلق به گذشته را بارز می کند. چمدان ها و صندوق ها تا چندی پیش حاوی اشیایی از تجربه ی زندگی های خصوصی بودند که ارزشی فرا تر از ارزش کاپیتالیستی داشتند. این صندوق ها معمولا مملو از ترمه ها و پارچه ها، آلبوم های عکس، نامه ها و شجره نامه ها بودند. سمیرا این بار پرتره را به عنوان نشانه ای از عدم حضور، داخل چمدان قرار داده است. لباس معلق با پرتره ای که بر روی آن چاپ شده و یا فیگور ایستاده روی توری با پارچه هایی در پس زمینه ی آن، یکی دیگر از بروزهای یادگارپرستانه در این فرآیند هویت جویی است.
ضمیمه 3 – نگاه کنید به سکانس انتهایی فیلم "بدنام" ساخته ی شاپور قریب، 1350 و زندگی جنایت بار آرچیبالدو دلا کروز، ساخته لوییس بونویل 1955
علی بختیاری - تهران
The Painter Painted No More
Samira Alikhanzadeh’s ‘The Unforgottens’ in few clauses and NBs
First Clause – In reading of a work of art, media is as important as form and idea, and its choice should be based on theoretical principles. Samira Alikhanzadeh studied painting with Aydin Aghdashloo and at Azad University to become a painter, but after her first solo painting exhibition she never held another exhibition solely of paintings. In quest to discover medias of her time and to re-read the traditional medias, Samira became engaged with a blend of painting, print and mirror-work, a choice not by experience nor curiosity.
Second Clause – Samira’s morale in search for identity compelled her to engage in discovering a new interpretation of the Iranian lifestyle through photographs of the 1950s. This decade in Iran’s contemporary history is distinguishable because after the Second World War and Iran becoming industrialised, it began to define and introduce a new personality and Iranian identity. By using the photographs of this decade, Samira is in quest to decode signs of this new identity and the desire for recording it; an identity that led to new challenges such as the redefinition of socio-gendered positionalities. The print technology gives Samira the ability for a direct transfer of photographs. In her previous series, she creates time improbability and the ghost-like quality of the photographed personages by blurring the portraits or by turning them into negatives in her mise-en-scènes, but in The Unforgottens, the suspension of the screens and the instalment of separate layers in frames resonates this phantomesque quality.
NB 1- Take a look at the military costume of the bride in the wedding photograph, the horse-rider women and ladies in men’s clothing in Samira’s older works.
Third Clause – In the iconography of Samira’s works, unlike their decorative appearances, mirrors are used as a dynamic and appropriate media in order to fulfil the artist’s idea. Mirror is a device for self-recognition, self-creation or even self-destruction. These reflections in her works, situates the audience in an interactive position and reflects the present moment against a lived and old image. In a Lacanian sense, a person interacting with the work, experiences a mirror stage situation within a sort of collective history.
NB 2 – take a look at the paintings and mirror installations of Michelangelo Pistoletto.
Fourth Clause – Samira’s installations especially the ones in this series consist of objects that their nostalgic characteristics bold the essence of memory and affinity to the past. Suitcases and boxes previously consisted of objects mesmerising private lives and had merits beyond capitalistic values. These boxes were usually filled with cashmere and fabrics, photo albums, photographs, letters and certificates. This time, Samira has placed a portrait as a sign of absence inside a suitcase. The dress and the portrait printed on it, or the figure standing on a metal mash with the fabric hanging behind it are yet another nostalgic expression in the process of her search for identity.
NB 3 – Pay attention to the third sequence of the movie ‘Notorious‘ directed by Shahpour Gharib in 1971 or the Criminal Life of Archibaldo de la Cruz by Luis Buñuel made in 1955.
Ali Bakhtiari – Tehran
نمایشگاه آثار " سمیرا علیخان زاده " با عنوان " فراموش نشدگان " دی 1395 گالری اثر
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Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.
