یک مجله آنلاین در حوزه فرهنگ اروپایی، آسیایی با تمرکزبر پژوهش در هنر شرق است. این مجله اینترنتی که در لندن منتشر می شود بزودی بینالی از آثار هنر تصویری شرق را نیز در همان شهر برگزار خواهد کرد.
این مجله از سپتامبر سال 2010 فعالیت رسمی خود را آغاز کرده است و دربرگیرنده جمعی از منتقدان، تاریخ نگاران، کیوریتورها، موزه داران و علاقه مندان جدی هنرهای تصویری است که اغلب معرفی هایش در حوزه هنر مفهومی و اینستالیشن آرت است.
این مجله در معرفی جدید خود به مجموعه «پرده دوم اتفاق» پرداخته است. نوشتار خانم نیوشا توکلیان (در پیش گفتار این نمایشگاه) و ویدیئویی در معرفی این پروژه (این ویدئو توسط آقای مهدی شهسوار تولید شده) ضمیمه این معرفی است.
آنچه در پی می آید مطلب منتشره در این مجله است
| Without The Presence Of Human and to Narrate The Untold Stories of A Land and Its People |
Newsha Tavakolian on Kiarang Alaei’s The Second Scene Of The Adventure Being Freed At Down : Humans are rarely found in the photo project of ‘The Second Scene of the Adventure’. In this project, the subjects are often concentrated in the centre of the frame, standing far from the lens of the camera–the photographer himself. Such a distance, when combined by a relative absence of human, could be interpreted as photographer’s unacquaintance with the subject and his attempt to merely document it. In fact, by shining such nonhuman subjects, the photographer plans to concentrate on them and ask questions about them, but he intends not to provide answers for these questions.The photos of Kiarang in this project, are conceived with the concepts driven from ‘identity’ and the challenges around it: though human-self is rarely explicitly present in these photos, their main theme is playing around human’s view of the concept of ‘identity’.The following could serve as evidence:One of the photos shows an earth with burned sunflowers and human footprint: where people had been present and where people had walked. The light and its presence as it is seen in this photo is the international symbol of hope and happiness. But the picture recorded in this frame is that of a diseased earth, hoping to recover though torn and wounded. In another photo a small cottage is presented, standing all alone in the skirts of a plain. This object points the solitude of humankind: human might be not absolutely alone, but human life and loneliness are mingled concepts. This picture has yet another side: how each of us is trying to make his/her life outstanding in the ebb and flow of the ocean of city life, and how we are attempting to save it out of the ocean. In another picture we witness the symbolic presence of the bird of peace, standing in contrast to the sky which is now empty of birds, showing lack of urgent need of human society. In the photo of the lining-up trees there are two allegories: the first is the soldier-like position of the trees, as if they are lining up to respect an important member of their society, all saluting. The second is the mourning features seen in the trees, as if they are gathering in a cemetery -and not a garden- to hold funeral of a youth. This way, when seeing the whole collection, we understand that they all come from the same land, that they are so acquainted though standing distanced.In the photos of the collection ‘The Second Scene of the Adventure’, the subjects are so freed in the space and environment, and so entangled with the darkness, that they make the audience ask, ‘Are the subjects viewed as they are presented?’ or ‘Is the picture presented from the subject congruent with their quality or is it distanced from them?If the objects are seen as symbols or features of material or spiritual needs and tendencies of human, then what calls the audience’s attention is their: being freed at down, meaning the beginning of drowning in absolute darkness (death) or gradually moving out of it (rebirth). At a general abstraction of Kiarang’s photos, the audience can feel the landscape without the presence of human- to narrate the untold stories of a land and its people(N. Tavakolian)
KIARANG ALAEI (1976 in Iran, Mashhad) Alaei is a self-taught photographer who has tried ten years of film-making. Kiarang started his experiences of court metrage and amateur film making since 1994, the result of which is 9 short and long films in narrative and animation. His films have been awarded in different national and international festivals including the best animation of Da Kino Festival in Romania (2005), silver medal of Ebensee Festival in Austria (2006), bronze medal of Amateur filmmaking union, UNICA in Poland (2005), and silver medal of Brno Festival in Czech Republic (1997), yet he sees his most important success in his being invited to the Berlin Talent campus (2005).In 1999 Kiarang founded the Abrang Amateur Photography Festival.This festival received more than seven thousand photos from the Iranian amateur photographers in the last year. His resume also include his works of fiction and translation, Also some of his projects is published by Private Magazine: the International Review of Photographers on a review of Iran’s contemporary photography