Can any display in a space named an exhibition or gallery be called an art exhibition? Is it an artistic activity merely because individuals are invited by a person or group to the gallery, take commemorative photos, and post stories?
In this brief text, we explore two different approaches to art and, consequently, two methods of organizing art exhibitions. In one approach, art becomes something dead, decorative, and useless, as if displayed like a corpse in a morgue; in the other approach, we witness efforts to breathe life into the artistic endeavor, adhering to the minimum standards of exhibition organization.
What is meant by dead art? This type of art emerges in the most suppressed and dominated realms of life; that is, form and technique. In other words, dead (or dormant) art is a kind of art that does dress any idea or social issue with its form and technique and is therefore not progressive in any way. Perhaps the motto of these artists is "Art means form and technique." Such art turns to subjects like solitary trees, empty urban buildings, lifeless nature, and the like, ignoring contemporary human issues and making no reference to embodiment as an individualizing factor of today's existence. For such art, addressing humans, society, embodiment, and related issues is not on the agenda, because these areas define the boundaries of suppression and censorship (in dictatorship countries). Therefore, dead art can neither be a realistic reflection of contemporary life and social fabric nor position itself as a pioneering entity. At best, it displays a form and shape devoid of the spirit of contemporary life, finding itself in the contrast between tradition and modernity.
Dead art is the result of two major factors in recent decades in Iran. The first factor is the widespread suppression and censorship that has now become internalized and natural for many artists; as a result, they suppress the courage and boldness in their art students and censor themselves as much as possible. The second factor is the theoretical weakness of many artists who still believe in the mental cliché of experimental artists from previous generations in Mashhad, asserting that "an artist has practical skills but lacks research, reading, and writing abilities." As a result of such a mental cliché, in most exhibitions held in Mashhad, the accompanying textual content is less than what you would find on a shampoo bottle. On a shampoo bottle, all the necessary information for use, ingredients, and manufacturing process is listed. Moreover, a catalogue with detailed explanations is included in the packaging. However, most art exhibitions in Mashhad offer nothing more to the audience than the exhibition name on a poster. The exhibition’s name is usually a complex play on words or form. But during the exhibition, hundreds of photos of people gathering around unattributed works on the exhibition walls are shared as stories. In fact, dead art displays products that, rather than representing life, exhibit an old and traditional affair in a promotional gathering. It's an event similar to other decorative (or ornamental) ceremonies of today's Iranian society; harmless and repetitive but filling and reinforcing various discriminatory social and political traditions.
In contrast, what is living art? It is art that relies on artistic research, writing, problem-oriented ideation, and criticism of obstructive societal traditions. Such art bases itself on ideas grounded in writing and strives to open new paths in a suppressed and censored society. In recent years, we have witnessed a new generation of young artists who has produced informal and non-exhibition but living art in the digital space, transcending the old and conservative values of mainstream art. Some experienced artists and teachers who are engaged in research and writing also support this movement.
The " Present Moments " exhibition can be seen in such a context; the collaboration and support of an experienced artist with a group of artists and students who intend to move beyond the old and traditional values of society. This exhibition is a good example of living art, which is evident in the text written by the photography course instructor, Kiarang Alaei, for the exhibition. In this text, we encounter key terms such as transition, path, discovering individuality, a path to walk together, moving from alienation to belonging and kinship, moulting, departure, and effort. The text, with its clear and straightforward expression, accurately explains the subject, idea, and process of work. Surprisingly, it is rare to find an exhibition in Mashhad that describes the exhibition’s idea, subject, and process in a few fluid and simple sentences. Most texts that are written on the exhibition’s wall as "statements" not only lack the most basic principles of Persian writing but also have no relation to simplicity and explaining the idea of the works. In other words, the statement of dead art is also decorative, ambiguous, and complex, but living art expresses its idea and subject simply and fluently.
The analysis of the students' photographs indicate a deep and critical perspective on the social and cultural issues prevalent in society. Through focusing on the theme of consumerism, the artists have critically reflected on the widespread cultural phenomenon of excessive consumption, advertising, environmental consequences of consumption, accumulation of goods, and recycling. The theme University’s Non-Places presents photographs showcasing forgotten and neglected spaces, effectively illustrating the pressure imposed by the educational system through manipulation of space and architecture, through sealed windows, corridors leading to darkness, aged spaces, and the stress stemming from control and surveillance. Additionally, the participating students in this exhibition have depicted the dominance of patriarchal dominance in family and commemorative photos. These photographs, while emphasizing the importance of documenting individuals' lives, make us aware of the changes in perception and living conditions over the past decades in Iran.
Self-awareness and environmental consciousness, prioritizing intention over form and technique, revitalization and appropriation are contemporary lessons that can be learned from this exhibition, as it is unlikely to encounter these modern and contemporary concepts (in Mashhad) in other events. Thus, the " Present Moments " exhibition is the result of research on the subject, reliance on narrative, and addressing contemporary and current issues.
To see the catalogue of the exhibition click here.
Majid Heidari
February 2023