Ali Ahadi: Goh Ballet Academy
The title of the exhibition, 鈥溭徺� 亘賱賴 丌讴丕丿賲蹖鈥� (Goh Ballet Academy), comes from the name of a ballet academy in Vancouver that once transliterated into the artist鈥檚 mother tongue (Persian), would read as 鈥溭徺� 亘賱賴 丌讴丕丿賲蹖, meaning 鈥淪hit Yes Academy鈥�. The exhibition will feature a recent body of works, comprised of a series of photographic and text-based mixed-media objects, a series of sculptural installations, and an image-based light box, responding to both the architectural and urban-geographical specificities of the gallery鈥檚 site in Tehran.
A permeable barrier of black lace mesh stretches against the facade of numerous photographic and text-based images in the exhibition. Visitors are called to engage with a series of flat monopatterns, behind each of which resides a different image and text, which in order to be viewed, require a persistent look from their beholder, perhaps similar to that of a voyeur.
The veiled images and texts circumscribe the art attendant鈥檚 condition of vision within the long-standing dichotomization of, and reciprocity between, human excrement and gold, as two extremes of a polar value system in art (and beyond). The exhibition attempts to address the state of today鈥檚 semiotic problem in which contemporary regimes of image-production condition the individual and group subject鈥檚 relationship to the 鈥渋deological real鈥�. Correspondingly, 鈥溭徺� 亘賱賴 丌讴丕丿賲蹖鈥� concerns the contingent relations between the art object and possibilities of meaning, aspiring to locate signification and objecthood in an internally contradictory scenery 鈥� a contradistinction between 鈥済old鈥� and 鈥渟hit鈥� induced by the intervention of homogenizing patterns of lace.
With the increasing rise of right-wing populism and the striking return of nationalism all across the globe, it is of an imperative for contemporary arts to properly account for the stakes of scrutinizing the mechanisms that condition human vision today. The works in 鈥溭徺� 亘賱賴 丌讴丕丿賲蹖鈥� focus on how contemporary art could seize to address the way in which the optico-political apparatuses engage in transforming the 鈥渟hit鈥� of what is shown into the 鈥済old鈥� of what is viewed today.
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The title of the exhibition, 鈥溭徺� 亘賱賴 丌讴丕丿賲蹖鈥� (Goh Ballet Academy), comes from the name of a ballet academy in Vancouver that once transliterated into the artist鈥檚 mother tongue (Persian), would read as 鈥溭徺� 亘賱賴 丌讴丕丿賲蹖, meaning 鈥淪hit Yes Academy鈥�. The exhibition will feature a recent body of works, comprised of a series of photographic and text-based mixed-media objects, a series of sculptural installations, and an image-based light box, responding to both the architectural and urban-geographical specificities of the gallery鈥檚 site in Tehran.
A permeable barrier of black lace mesh stretches against the facade of numerous photographic and text-based images in the exhibition. Visitors are called to engage with a series of flat monopatterns, behind each of which resides a different image and text, which in order to be viewed, require a persistent look from their beholder, perhaps similar to that of a voyeur.
The veiled images and texts circumscribe the art attendant鈥檚 condition of vision within the long-standing dichotomization of, and reciprocity between, human excrement and gold, as two extremes of a polar value system in art (and beyond). The exhibition attempts to address the state of today鈥檚 semiotic problem in which contemporary regimes of image-production condition the individual and group subject鈥檚 relationship to the 鈥渋deological real鈥�. Correspondingly, 鈥溭徺� 亘賱賴 丌讴丕丿賲蹖鈥� concerns the contingent relations between the art object and possibilities of meaning, aspiring to locate signification and objecthood in an internally contradictory scenery 鈥� a contradistinction between 鈥済old鈥� and 鈥渟hit鈥� induced by the intervention of homogenizing patterns of lace.
With the increasing rise of right-wing populism and the striking return of nationalism all across the globe, it is of an imperative for contemporary arts to properly account for the stakes of scrutinizing the mechanisms that condition human vision today. The works in 鈥溭徺� 亘賱賴 丌讴丕丿賲蹖鈥� focus on how contemporary art could seize to address the way in which the optico-political apparatuses engage in transforming the 鈥渟hit鈥� of what is shown into the 鈥済old鈥� of what is viewed today.
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