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بی ماری
ساتن، مخمل، ترمه، منسوجات امامزاده ها و تورسياه سفيدِ دوخته براندام مجسمه های پارچه‌يی آرفه آراد، زندگی روزمره زن ايرانی را ياد می آورد، اما او با دوری از مذّكر سالاری ، از ورود به سرزمين ايده آليزه‌ی زنانه سرباز می‌زند.
به دنبال تشخص بخشی به انسان در موقعيت "بدن" نيست، درنتيجه با شكل‌يابی‌ی انعطاف‌پذير "بدن ها" موقعيتی هيولايی به وجود می آورد : فيگورهای پارچه يی، تحمل ايستايی ندارند و در وضعيت نابسامان و متزلزلی قرار گرفته اند.
اهميت كار او اين است كه "تيپ" می سازد و فيگورها ديگر فاقد شخصيت و فرديت هستند. اين مهم، آدمهای پارچه يی او را به اسطوره ها نزديك می كند.
شيفته ی "بدن" است اما می گويد كه هيچ امر جزئی وجود ندارد، انسان يك كليت "ناجور" است.
رمز اعداد، سرپيچی از عناوين واقعی، و سركوبِ "تمايلِ نشان دادن" اين مجموعه را خاص می كند.
در لغتنامه هاي قديم، مريضخانه را مارستان (شفاخانه) ميگفته اند. آراد در "بی مارستان" ما را به برگهايی از كتاب تاريخ انسان می برد و با اسطوره های هول انگيزی آشنا می كند.
با تكه چسبانی و بخيه كردن، بدن هايی می سازد و با اين كار "وضعيت آغازين بشر" را ياد می آورد.
بدنِ اسطوره هايمان را پيش از آنكه تاريخ اين اسطوره ها تدوين شود، می يابيم. بدون آنكه ارزش نمايانگری‌ی چهره و بدن، ما را پس زند.
نمايش، ثمره ی يك انگيزه درونی از "مار" است، اما اخذ موضع نهايی‌ی هنرمند ناآشكار می‌ماند.
ابتدا حس می كنيد ريشه‌ی "بی ماری"های او در واقعيات اجتماعی نهفته است، اما يك نگرش فردی آنرا هدايت می كند.
او كه پيش از اين تنه های فلزی با قدرتی قالب ريخته است، با كاربرد آشوبگرانه ی وصله دوزی؛ مردان و زنانی را از دل تاريخ با قرائت يك زن امروزی نشان می دهد.
آيا در روز رستاخيز (برخاستن مردگان) اسطوره های ما اينگونه باز خواهند گشت ؟!
داريوش كيارس / دی ۴۹
آرفه آراد
متولد 1362، ساری، ایران
تحصیلات:
1394-1392 دانشجوی فوق لیسلانس نقاشی، دانشگاه هنر و معماری آزاد اسلامی، تهران، ایران
1392-1388 دوره مجسمه سازی، آموزشگاه کارگاه هنر، تهران، ایران
1388 لیسانس نقاشی، دانشگاه علم و فرهنگ، تهران، ایران
نمایشگاه های انفرادی:
1394 "بی ماری"، گالری اعتماد، تهران، ایران
نمایشگاه های گروهی:
1393 "پرتره"، گالری کارگاه هنر، تهران، ایران
1393 "کارت پستال"، گالری کارگاه هنر، تهران، ایران
1393 "حافظه"، نمایش خصوصی، تهران، ایران
1392 نمايشگاه گروهی مجسمه، گالری کارگاه هنر، تهران، ایران
1392 پروژه "ققفنوس"، گالری کارگاه هنر، تهران، ایران
1391 فستیوال "هنرهای در حال اجرا"، گالری شیرین، تهران، ایران
1388 نمايشگاه گروهی طراحی، گالری محسن، تهران، ایران
1387 "برگزیده ای از آثار 50 هنرمند"، گالری ماه، تهران، ایران
Bi Mari
Satin, velvet, termeh, textiles of the holy shrines and the black and white organdy, sewn on the fabric sculptures of Arefe Arad, reminds us of the everyday life of the Iranian woman, while she tries to avoid entering the idealized feminine territory, by staying away from masculinism.
She is not after defining or allocating an individual part called “Body” to human beings. Therefore she creates a monstrous position through flexible forming of the “Bodies”; the textile figures do not stand stagnancy and are placed in an unstable and seismic condition.
What signifies her work is that she creates “Types” whose figures lack identity and individuality. This matter makes her textile models close to mythical characters.
She is in love with “Bodies”, but implies that there is no partiality; human is an “inconsistent” entirety.
The secret of numbers, defying the existent titles and conventions, and suppressing “the will to express oneself”, are all that makes this collection particular.
In old dictionaries, hospitals were called “Marestan”; a place in which people were cured. In this collection, Arad takes us to pages from the book of human history and introduces horrifying legends to us.
She makes bodies by patchwork and suturing pieces to each other. This way, she reminds us of the situation of primitive human beings.
We find the bodies of our myths way before their history was written, but without being repelled by the value of expressing faces and bodies.
This exhibition is the outcome of an inner instinct, taken from “Snake”; however, the final intention of the artist remains unrevealed.
At first sight, one may think that Arefe's sicknesses are rooted in social realities, whereas they are guided by an individual attitude.
Having made powerful metal sculptures before, now she is trying to demonstrate men and women from history, being narrated by today’s woman through riotous use of patchworks.
Would in doomsday, our myths come back to us this way?!
Dariush Kiaras / December 2015
Arefe Arad
Born in 1983, Sari, Iran
Education:
2016-2014 Studying Masters in Painting, Azad Art and Architecture University, Tehran, Iran
2014-2009 Taking Sculpture Courses at Kargah e Honar Institute, Tehran, Iran
2009 BA in Painting, Science and Culture University, Tehran, Iran
Solo Exhibitions:
2016 “Bi Mari”, Etemad Gallery, Tehran, Iran
Group Exhibitions:
2015 “Portrait” (Video Art), Kargah e Honar Gallery, Tehran, Iran
2015 “Post Card” (Painting), Kargah e Honar Gallery, Tehran, Iran
2014 “Memories”, Private Show, Tehran, Iran
2014 Sculpture Group Exhibition, Kargah e Honar Gallery, Tehran, Iran
2013 “The Phoenix” Project, Kargah e Honar Gallery, Tehran, Iran
2011 “Work in Progress” Festival, Shirin Gallery, Tehran, Iran
2009 Drawing Group Exhibition, Mohsen Art Gallery, Tehran, Iran
2008 “An Impressive Representation by 50 Artists”, Mah Art Gallery, Tehran, Iran
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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.
