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هنر هادی هزاوه.ای
هنر هادی هزاوه.ای، روزی.ات نو با سحری از نوید. تعالی و شوق. خلّاقیت است و نه یکی از تصاویر مکرر از کارگاه در.آمده، که بستر نبوغ بسیاری هنرمندان شده است.
هنر خلاق، در جستجوی راه خویش، هرگز تاریخ هنر را تکرار نمی.کند. هادی هزاوه.ای فقط با نگرشی تاریخی به هنر نوین خویش می.نگرد. در هنر او، ساختار فوقانی، کل ساختار را پنهان نمی.کند. تک.تک عناصر بر مبنای خودشان استوارند. هر چیزی خود..ــ آشکار است. مجسمه.ی او نشان می.دهد که چگونه اجزای آن کنار هم گذاشته شده.اند و چرا؟ به اعتقاد من، این نمایشگاه، نمایشگاه بسیار مهمی است. به.خصوص امروز در ایران.
جان دویی.. John Dewey می.گوید: «فرهنگ و ادب، معیار جغرافیایی دارد. مکانیّت.ِ هر جایی، با ارزشمندی.های ثبت به مفهوم در.می.آید.» هزاوه.ای بعد از سال.ها نگارگری و مطالعه و تحقیق به آستانه.ی فضایی کاملاً تازه و نو وارد شده است. تجربه.ای نو، حساسیتی نو و توازنی نو در میان جسم و تصویر، ساختار و نمودار و زمین و دیوار.
مجسمه.ی او، فضا را می.شکافد و به آفریشن مجسمه.های نوئی که بوده است، تبدیل می.شوند.ـــ حاکم بر زمین و دیوارها. مجسمه.ای است که سادگی.اش نفی بررسی می.کند و با خلاصه.سازی و تمرکز، خودش را به تمام فضای اطراف می.چسباند.
جسم.شناسی و تصویرشناسی در اینجا، همه متمرکز به نیروی جاذبه.ای است که مجسمه را به جایگاهش میخکوب می.کند. ساختار و چهارچوب مجسمه باز است و استقلال مجسمه و تصویر را نمایان می.سازد. مجسمه به این جایش نیامده که مکان اطرافش را تغییر یا تعالی دهد.
حضورش در اینجا، به همسایگی .است ولی تمام فضای اطاق را هم دربر.می.گیرد. هزاوه..ای فضای اطاق را آنچنان تهی کرده و در آنجا مکانی را آنچنان مهیا نموده که این مجسمه بتواند در آن مکان شکل. گیرد و در آن مکان رو در رو واقع گردد، فضا هم در آن مکان مجسمه را در .بر .بگیرد. ما به نمایشگاه وارد می.شویم ولی نه چون یک فضای هندسی، در میان یک چهاردیواری، بلکه چون راهی به.سوی رو در رو شدن با یک کار هنری. ساختار این مجسمه، ردّ تمام اجسام متداول در مجسمه.سازی را خواستار است. هزاوه.ای فقط آجر به.کار می.بَرَد.
یک منبع اثر بر هنر هزاوه.ای را می.توان در تاریخ طولانی هنر، در ریشه.های ساختار.سازان قرن بیستم . constructivist از جمله راد.چنکو .Rodchenco، پیدا کرد. راد..چنکو که بایستی در میان ساختارسازان، آفریننده.ای بزرگ و هنرمندی ژرف.بین به.شمار .آید، می.گوید: «آنچه در زیربنای «فرم» قرار دارد. تعریف مفهوم .«ساختار» Construction است، در حالی.که برای دیگران مفهوم «ترکیب و یگانگی» Composition مهم بوده است.
این نویسنده اعتراف می.کند که شناخت او از هنر معاصر ایران محدود است ... نه فقط چون
سال.ها از ایران دور بوده، بلکه چون در دیدن آن هنر، تجربه.ی بسیار محدودی داشته است.
سیاوش ارمجانی
مینیا.پولیس
نوامبر ۲۰۱۴
ترجمه.ی دکتر خسرو ریگی
BRICKS with BRICKS & BRICKS
by Hadi Hazavei
It is a new day and a new morning of hope. It is exaltation and joy. It is invention rather than old shop-worn and repetitious imagery which has become the staple of some artists
Original art does not repeat art history as it finds its own new way. Hadi Hazavei looks at his work historically. The work shows that the super structure does not cover the structure. Materials are on their own. Everything is self-evident. His sculpture shows how the parts were put together and why. I believe this is an important exhibition, especially today in Iran.
John Dewey says…”culture is detectable geographically and the idea of region is understood as a term of value.” Hazavei, after years of painting, studying and doing research, has arrived at the footstep of something fresh and a new work. New experience, new sensibility and a new balance between material and imagery. Between brick and floor. Between construction and representation.
Sculpture becomes the division of space and the creation of a new sculpture which dominates the floor and the walls. The work, by its simplicity, excludes analysis. By reduction, the work relates itself to the space engulfing it. The culture of materials and the culture of shape are beholden to a gravitational force which informs the object’s placement. The structure and the framing are open…the structure shows the independence of material and form. The structure of the work is not here to alter or enhance the given place…it is neighborly. It is simply filling the room. For this work Hazavei cleared the room so there is a location within which the work could be built and encountered and so the space could enclose the work. We entered the gallery, not as a ‘thing’ between four walls in a geometric spatial sense, but as a tool for encountering a work of art. The construction demands an abandonment of a traditional list of materials. He simply uses bricks.
One source of influence on Hazavei can be seen by tracing, in the long line of art history, the Twentieth Century Constructivists such as Rodchenko, who must be singled out as a great inventor and visionary artist of that movement. According to Rodchenko “…..what lay at the base of the problem of form was the definition of the concept of construction, whereas for the others the most important thing was composition.”
This writer admits that his understanding of Iranian art is limited….not simply by being away from Iran for many years, but has had a very limited experience in viewing Iranian art.
Siah Armajani
Minneapolis
17 November 2014
نمایشگاه آثار " هادی هزاوه ای" خرداد 1394 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.
