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اميد مهديزاده
"خون شويي"
عکسهای امید مهدیزاده تجربه شهری را در ساحت دست نیافتنی "امر واقعی" در دلالت با سوژه شهری مدرن به نمایش می گذارند، به دین معنا که مخاطب را مدام دچار این چالش می نماید که دیگر هرگز و هرگز نگوید که وحشت واقعی در آنجا اتفاق می افتد، نه در اینجا... چرا که هنرمند ما به این توفیق دست یافته که بدون نمایش مستقیم قتل ، موقعیت قتل وقاتل مقتول را همزمان به میانجی ذهن مخاطبینش در نا خودآگاه یکایک آنان باز تولید و حک نماید. بدین ترتیب سوبژکتیویته ای عمیق و درون ماندگار را در موقعیتی بین الاذهانی برای مخاطبینش خلق می کند که همگان را در مواجهه با امری اجتماعی شریک می نماید. بدین ترتیب مخاطب هنگام ترک نمایشگاه با مازادی از تجربه شهری مواجه است که ساخته و بر ساخته ذهن خودش است و عکسها فقط نشانه هایی را بیدار کرده اند که تا مدتها ما را همراهی خواهد کرد.و مدام با خود خواهد گفت که هرچند من انجام نداده ام اما شبح آن به پایداری ادامه می دهد. فوکو در فصل پایانی اراده به دانستن می نویسد: قدرت قدیمی مرگ که نماد قدرت حاکم بود، دیگر جای خود را کاملا به اداره بدنها و مدیریت حسابگرانه زندگی داد. و در نتیجه، تکنیک های گوناگون و پرشماری برای به انقیاد در آوردن بدن ها و کنترل جمعیتها به گونه ای سرسام آور افزایش یافت. می خواهم با استفاده از این متن به این نکته اشاره نمایم که نگاه موشکاف این آثار به تحجر نهادینه شده در مقوله قتل بی نهایت درخشان است، امید مهدیزاده با نگاهی فوکویی (خواسته یا نا خواسته)، اما در روندی معکوس و به بیان دقیق تر به شکل علیت های رو به پس! ، یعنی به جای اینکه به سراغ ساختار کلان قدرت برود به سراغ خورده ساختارهای زندگی روزمره میرود و بدویت موجود در قتل و اِعمال خشونتهایی از این دست را به وضوح در تقابل و تناقض با تجربیات و هستی شناسی سوژه مدرن بر می شمارد. و در نهایت ترومای نهفته در این آثار به این نکته کاملن انسانی اشاره می نماید که قاتل از طریق حذف کردن سوژه خود نه تنها او را از خود دور نمی نماید بلکه در فرایندی راوانکاوانه او را در خود ادغام می نماید، و بدین ترتیب همواره این تجربه تروماتیک را به مثابه ویروسی مسری و کشنده در اجتماع حمل میکند و تسری می بخشد، حتی اگر دیگر نشانی از خون بر دیوارهای شهر نباشد....!
مایلم این نوشته را با جمله اي از فرويد كه در آغاز كتاب تفسیر خواب آورده است به پایان برسانم : "اگر نمی توانی مجموعه ی آشکار قواعد ایدئولوژیک را عوض کنی، می توانی در راه تغییر مجموعه ی زیرین قواعد نانوشته ی وقیح تلاش کنی."
امير حسين بياني
خرداد 1393
Omid Mehdizadeh
“Blood Laundering”
Omid’s pictures present city experience through unreachable “Actual matter” involved with modern city subject, that perpetually challenges the audience to never say a word about the real panic happens there, not here...that is because the artist had success to present the situation of murder, decedent and a murderer which simultaneously springs to audiences’ minds and reproduces in their own unconscious. So, it creates some deep and permanent subjectivity in an intersubjective
Situation for the audience which makes everyone encounter this social situation. Hence the audience leaves the exhibition encountering lots of city experiences which is derived and originated from their own mind and the picture has just been waken them up, which accompanies them for long time. They would tell themselves from time to time that I haven’t done so but its specter stays for long. In the last part of The Will to Knowledge (Vol.I of History of sexuality), Foucault says: The old power of death which was a sign of the capitalism has been completely replaced with governing the bodies and prudent management of life.
Therefore, different techniques of subjugation and controlling the societies have been excessively increased. I want to say in these words that this subtlety point of view to the petrifaction internalized in the topic of murder is incredibly brilliant, Omid Mehdizadeh with his Foucault like view (consciously or not), but in reverse and in more exact words in the form of back ward causality! Seeks the constructions of everyday life instead of challenging the authority constructions. The primitiveness of murder and violence like this are clearly in contrast with the experiments and exist... of the modern subject. At the end the sleeping of trauma in these artworks indicates this truly humanistic point that the murderer eliminating the subject not even leaves the decedent behind but also merges it in oneself during some kind of psychological process. Thus he carries this traumatic experience as a killing virus through the society and spread it, even if there is no trace of blood on walls anymore...!
I would like to end these words with a sentence of Freud at the beginning of interpretation of if you can’t change all the explicit ideological rules, but at least you can try to change the unwritten hideous rules.
Amirhossein Bayani
June-2014
نمایشگاه آثار " امید مهدیزاده " خرداد 1393 گالری شیرین
http://www.artin360.com/Shirin.htm
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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.
