Curated by Amirali Ghasemi
The first program “Part of Me” was curated to be shown in a festival in Paris, second “Part of Me”, arrived at limited access four festival at Aaran Gallery in 2013.
“Part of Me 3” has its focal point set on Performance transferred/articulated through the medium of video. The 3rd “Part of Me” is an unorthodox selection of works by Iranian artists across the globe, who communicate through moving image. “Part of Me 3” tries to put together different perspectives across a vast range of disciplines from sound to dance experiments and from performance to happenings.
Tala Vahabzadeh | Untitled | 2’48” | 2010
The garden is full of fake laughing flowers,
Which make everyone think of flower as a waste.
Farrukhi Sistani
Amir Mobed | Virus : documentation of live performance |2012 | 6’19”
The Virus performance was realised in Cite des Arts, Paris, by the artist and his assistants during an art festival, where the preparation and the actual performance alltogether took more than two hours and it was ended by the intervention of the public.
Taimaz Moslemian | lead | 2014 | 5’19”
Returning to the memory of killing sparrows as a child and retelling the story to a non-Iranian audience was the starting point for this work. Selected from the series “LEAD”, the piece narrates a stream of intertwined memories and details that come to mind while thinking about the specific memory. The purpose of presenting these details is to examine the geopolitical condition of an immigrant through juxtaposing the self with one of the most adaptable species, the sparrow. Am I a criminal? Where is West? How about East. Do I deserve punishment? What is morality? The definition of law? And justice? This is an exploration of the relationship between reality, fiction, and memory.
Alireza Bashirrad |Asal | 2010 |9’44”
Asal: It means spear, sword, dagger or any other cutting, pointed and killer tool in the ancient wars, in Arabic language.
Sareh Ghomi |Ebrahim |2014
” When Abraham did not come out of the fire ”
It is better I say , When the fire at Abraham did not become rose garden ,Sarah just looked up in the flames .
According to all the stories and legends Sarah was waiting for Abraham to emerge intact from the fire and put a flower on her hair held and review all the years wonder together , escape from Pharaoh’s court in joined hands , to see she is infertile but , at sixty she embrace her child and Abraham does not sacrifice their child . They pass a thousand and one adventure in health and still live together , but this did not happen Abraham did not come out of the fire , he did not want to come out .
When Abraham was burning in the fire , all these thoughts were passing through Sarah’s head , the wind passed through her hair held and breathed the fire more powerful .
All Sarah dreams in her head was flowing to her hair held . When Abraham did not come out , Sarah felt the heaviness of her head , she did not behead herself , but she cut her hair held to forget the heaviness of her head and for a while her head can not make happy dreams and pass through her hair held .
Yousha Bashir |Under pressure | 2010 | 9’14”
This video-art is the outcome of the failure of one of my sculptures. After working on it in different sequences
for 2 years, what I found was that I’m not pleased with the work, so, I decided to deconstruct it in order to create a new piece. deconstruction not in the sense of annihilation,but, of regeneration.
Ramyar Vala | my GOPRO | 2013 | 12’46”
In this video, a GoPro camera is tortured in various ways, but much like the footage of violence we are constantly exposed to in the media, there is no reflection of pain. Torture therefore becomes a parody, a means of entertainment, something that is consumed, as the audience fails to identify with the object of torture. The camera’s pain is unreal and public, and hence ludicrously exhibitionist. At the same time the equation of privilege of capturing and reporting on things is reversed: the camera, the creator of reality becomes the object of reality’s misfortunes.
Faraz Anoushehpour | Run | 2013 | 3’
Run is a performative video that is structured as a long and uninterrupted tracking shot following a protagonist’s action to the point
of his physical exhaustion.
Neda Zarfsaz | From Outside or Otherwise | 2012-2013 | 23’11”
In Chichast series the video works entitled “From Outside or Otherwise”, which depicts two channel video-installations of the artist dumping buckets of water into the lake in attempt to reverse that trend and entering into the other space where she putting down the buckets. As the artist futilely attempts to resuscitate life, the artist’s initiative calls for human responsibility to the environment and other species in the global community. The force of these videos lies in their conceptual simplicity: they are just as they are staged. In a return to post-pruduction concerns, the works suggest the priority of object over form as the material (water)—not its presentation—constitutes the works’ primary meaning. Collapsing art and action, this performance combine works of art with the less romantic work of physical labour and fulfilling a duty. From a different perspective, this is a woman in the concept of male-centric context appears as an individual confronted with realities larger than herself.
Shirin Fahimi | Knowledge how \ Knowledge that | 4’18”
on example of bicycle
A. shirin cannot ‘ride a bicycle’
B. shirin knows other people’s description on how to ride a bicycle
C. shirin doesn’t know truly how they ride a bicycle
D. They might not know how truly their body act on the bicycle which led them to be able to ride it
E. Before getting on the bicycle, shirin could never know the experience of being on the bicycle nor what the description refers to
F. After getting on the bicycle, she knows the experience of getting on the bicycle, which she could never know before getting on it
G. No one knows why shirin cannot ride a bicycle
H. Shirin does not know, how shirin should ride a bicycle.
I. No one knows how shirin should ride a bicycle
J. until shirin ride a bicycle, the knowledge of how shirin rides a bicycle does not exist.
K. Shirin can never know how to ride a bicycle, until shirin do ride a bicycle.
L. The knowledge never exist before shirin riding it.
Conclusion: Shirin’s Knowledge on How Shirin ride a bicycle come from shirin be able to ride a bicycle.
Shirin Fahimi | Knowledge how \ Knowledge that | 4’18”
Mehraneh Atashi | Gulistan | 2011
In Gulistan video, I take a one-way trip to in an ancient story in literature which restlessly represent. In order to find the way the time machine works. In this piece I revisit the visual interventions that I mentioned above in a literary space. Here I recite and repeat the opening lines of Saadi’s Gulistan, one of the monuments of Persian literature, a literary space highly appropriated by the establishment.
Negar Farajiani | Foot Dance | 2013 | 3’45”
Tehran’s urban public spaces are often defined as a passage and not a place to stop and contemplate. they are dedicated to cars mostly compared to the amount of sidewalks and spaces designated to the pedestrians. In Foot Dance farajiani takes these passages as her playground to perform a simple steady game with a ball.
Hadi kamali Moghaddam – Mina Bozorgmehr | Tehran-Jim | 2013 | 5’40”
Once upon a time there was a bread-winner. while he was
Ahoo Maher – Ayrin Moradi | party |2012 | 5’39” |
“Derang” started in May 2012, with cooperation of Ahoo Maher & Ayrin Moradi. Following their interest in modern music, these two musicians, who had been playing classical music for more than 10 years, try to practice new experiences under the name of Derang. In developing every project, they have a specific concept in mind,
however they don’t simply seek to convey these concepts to the audience, since every individual impressions are of great value for them. Group members had passed courses of free improvisation under the instruction of great musicians such as Burkhard Stangl, Gunter Schneider & Manon-Liu Winter at music university of Vienna. They also have taken part in workshops held by John Tilbury, a well-known pianist and improviser at AMM. The idea of formation and the first 1performance of Derang on stage were conducted by Ayrin Moradi at the 10th anniversary of Free Improvisation at The Music University of Vienna, where they played a piece called “Farakhan”. The second Performance of Derang “Soor” was performed in feb. 2014 in Tehran at Shirin Gallery .
Sara Tavakoli Mehr | Story of an unprepared piano in downtown Tehran |2014 | 4’49’’
Sara Tavakolimehr plays Golliwogg cakewalk from Clause Debussy´s Childern´s Corner, shot in downtown Tehran by Amin Aslani and Sound is designed Vedad Famourzadeh.