چند سال پیش رابطه ای که 10 سال از عمرم را گرفت، پایان یافت.
خانه را فروختیم و اسباب خانه به من رسید.
هرگز نمی دانستم آن خانه و اسباب درونش که در خیالم اسکلت رابطه ما بود،
در حقیقت صلیبی بود که ما را مصلوب کرده بود.
5 سال همه چیز را در زیرزمین خانه جدیدم انبار کردم.
امروز جرات پیدا کردم که تمام بسته ها را باز کنم،
با اره و چکش اشیایی که مرا به اسارت گرفته بودند از نو بسازم.
امروز، دکوراسیون خانه را تغییر دادم.
خانه را فروختیم و اسباب خانه به من رسید.
هرگز نمی دانستم آن خانه و اسباب درونش که در خیالم اسکلت رابطه ما بود،
در حقیقت صلیبی بود که ما را مصلوب کرده بود.
5 سال همه چیز را در زیرزمین خانه جدیدم انبار کردم.
امروز جرات پیدا کردم که تمام بسته ها را باز کنم،
با اره و چکش اشیایی که مرا به اسارت گرفته بودند از نو بسازم.
امروز، دکوراسیون خانه را تغییر دادم.
If we consider the efforts of modernist artists in Iran during the 1960s as a starting point to comprehend the concept of national identity and establish an Iranian subjectivity, this endeavour paved the way for various approaches in subsequent generations either in works of the artists who followed the diversified legacy of the first generation or those who attempted to utilise newer and more expressive tools within the context of what is perceived as contemporary art were part of this exploration.
The political, social, and cultural events, as well as economic and class struggles, throughout different decades of modern Iranian history increased the need for this search. At the same time, the questions posed by this investigation are entangled with concepts such as contemporary art and its requisites.
The outcome of these explorations in artistic expression took the form of diverse artistic creations, sometimes critical or curious, and at times emphasising national or local identity or aiming to depict the existing needs and deficiencies.
The path initiated by the modernists decades ago continues, seemingly accompanied by the same questions. It's as if this current effort is now followed by various social questions and necessities, placing us in front of the concept of national identity. Perhaps to grasp how one can be an Iranian artist (or not), we need to revisit that fundamental and primary concept of what we perceive as Iranian culture and identity and how it has blended over the decades with ideas and ideologies.
Hafez Rouhani
The political, social, and cultural events, as well as economic and class struggles, throughout different decades of modern Iranian history increased the need for this search. At the same time, the questions posed by this investigation are entangled with concepts such as contemporary art and its requisites.
The outcome of these explorations in artistic expression took the form of diverse artistic creations, sometimes critical or curious, and at times emphasising national or local identity or aiming to depict the existing needs and deficiencies.
The path initiated by the modernists decades ago continues, seemingly accompanied by the same questions. It's as if this current effort is now followed by various social questions and necessities, placing us in front of the concept of national identity. Perhaps to grasp how one can be an Iranian artist (or not), we need to revisit that fundamental and primary concept of what we perceive as Iranian culture and identity and how it has blended over the decades with ideas and ideologies.
Hafez Rouhani
