Wednesday, August 02, 2006

becoming

My argument may tremble the first brick of the argument. Defining the origin is prior to navigate its relations with politics and Art. Origin's substratum is identity. I wish to discuss this substratum.
A traditional statement known by our hearts mutters in our ears: "be you self". Identity has two literal significations. One is sameness and the other is in its distinctiveness and uniqueness. Thus that true identity is defined the identical identity. The defined identity tethers the otherness and the process of becoming of the "self" (if there's still one). Identity stands out of now. It's an entity out of history. And when it's in, it's completely out of contemporary context; the institutions wants you to remember that you're ancestor has been Kourosh the Great or they define you as being in 1400 years ago in Islam's conception epoch. My idea goes completely against what power-based institutions and even occidental Humanism has known about the Orient. For occidental Humanism in 19 th century the Orient was a simple-minded representation. The Orient couldn't be anything but an object for Orientalists like Ingres. Things last. In contemporary art, Turkish baths, Persian carpets and rugs, Arabian harems and their semi-naked women, Sultans and Bazaars are replaced with Chador [the veil], collages of mystique, Arabesque and religious texts and motives and poorography. Iranian cinema and art usually exports this merchandise; purchasable because of its Tourism and Exoticism. The easiest way for us is to represent ourselves as we are looked at by the white-western-male subject as "the Other"; "gazed at", and sometimes, "gaped at". Our world is simpler this way. It would have become complicated if, for instance, Iran was represented with its bizarre variations and striking extremes and paradoxes; variations of beliefs (like extreme Laïcité to extreme Islamism) and social contradictions.
I replace this kind of "I" with a schizophrenic one lost in intertextuality; one exactly like a Hermit Crab which inserts its abdomen into a gastropod mollusk shell that it carries about with it for protection. In this situation, the common self-portrait becomes nonsense and Rimbaud appears: Je est un autre (I is an other) and Beckett's The unnamable where he/she/it says "Where I am there is no one but me, who am not" or "I, say I, unbelieving". Diderot is useful also where he speaks with twenty mouths.
In my opinion in the very beginning we have to discuss these "the Other"s:
1. As defined by occidental humanism traces and art market.
2. As the future moments of Becoming process of the lost "self".

Barbad Golshiri
http://www.barbadgolshiri.com

Friday, July 14, 2006

First project of “Eastern Expressway”.

Dear Friends,

Let me welcome(ing) you to the first project of “Eastern Expressway”. An Art exhibition accompanied by a series events with an interdisciplinary approach, schedule to start by the of August to mid October, at Protestant (Evangelic) City Academy the Frankfurt/Germany. The project is curated by Jakob Hoffmann, Christian Kaufmann and Marc Petzoldt.

The blog, “Eastern Expressway” (http://easternexpressway.blogspot.com) is a pre-forum to share and enhance the discussion among a selected group of artists, journalists, interested individuals and organizers on the main subject line of this project.

“The troubled region of the Middle East has been a hot spot for media attention for long time. Exemplary “Eastern Expressway” takes two of the most diverse countries, Iraq and Iran. Both countries are marked by a radical breach of culture and society always accompanied by fractured images. To what extent can creativity flourish under such enduring repressive situation prevailing in both countries? Is it possible at all; if so then under what conditions? Which mechanisms of violence and control face the artists in the respective countries? (Introducing of Eastern Expressway, please find the full version at: http://easternexpressway.blogspot.com)

Julia Gerlach, German Journalist and writer of publications focusing on the Arab world, will accompanied this blog during its “lifetime” (schedule from July to mid October), she will lead the discussions, analyse your contribution and assiting the blog participants by focusing on one or two main subject lines. The blog is open forum among the participants of this exhibition, interested visitors and many others. It will be vibrant that you and others will contribute to the blog with your written thoughts, ideas and inputs to make this forum a place that visitors of the exhibition will understand the region within your eyes, thoughts and mind. The blog will be during the exhibition accessible in the show rooms at Protestant (Evangelic) City Academy in Frankfurt/Germany.

Allthough this should be an open forum - open to your discussions and you deciding on the topics discussed we would like to start the discussion by asking you to concentrate on the relationship between art, politics and origin:

Art is a universal language. There should be bounderies and borders between artists and art is understandable all over the world. Art can build bridges between the cultures. Really? From your experience, living in very different countries: In Iran and Iraq or living as Artists of middle Eastern origin in Europe, how would you difine your work. Is your homecountry, your origin your place of living substantial to your artistic expression? (Please be so kind to write some lines on the question. It would also be great if you could - in order to introduce yourself to the other participants - write a little about yourself and your work.

Again, in the name of the curator, I would like exhilarate your interested to contribute with your thoughts to this blog. Please feel free to contact Julia Gerlach (email: gerlach.j@zdf.de), Jakob Hoffmann (email:jakobseiberl@gmx.de) and Marc Petzoldt.(Email:marcpetzoldt@twosize.de).


Marc Petzoldt
Curator 'Eastern Expressway”

Thursday, July 06, 2006

Eastern Expressway

September/October 2006

Eastern Expressway

A Project of the Protestant (Evangelic) City Academy Frankfurt
curated by Jakob Hoffmann, Christian Kaufmann, Marc Petzoldt

The troubled region of the Middle East has been a hot spot for media attention for long time. Exemplary “Eastern Expressway” takes two of the most diverse countries, Iraq and Iran. Both countries are marked by a radical breach of culture and society always accompanied by fractured images. To what extent can creativity flourish under such enduring repressive situation prevailing in both countries? Is it possible at all; if so then under what conditions? Which mechanisms of violence and control face the artists in the respective countries?

“Contemporary art? You are going to be raising so many problems. Why don't you write about positive things? Look outside - the sun is shining. Why don't you write about the sunshine?” is a question from Lisa Farjam, the chief editor of the art magazine Bidoun. One would like to add: art - how can one relate to art at all in the light of escalating violence in the Middle East. The project Eastern Expressway would like to contribute to this debate, while artists in exile, dedicating particular interest to positions developed within the countries, like in Iran/Iraq and others. Can art be presented where apparently there is no way out of the spiral of violence and where first attempts to a mathematical calculation of violence exist? Where do social perspectives exist when politics fail?

The project Eastern Expressway explores artistic strategies. Which aesthetic questions and answers apply to the situation of both countries, the neighbours, are (former) enemies; are there references between the art worlds? The perspective of those who stayed, of foreign visitors and of those exiled will all convene for this project. Precisely the contradictions and significant differences between the countries, seen through Western eyes will be questioned. And as existing forms of contemporary art will be explored.

The project, Eastern Expressway is also an attempt to unsettle pre-existing images of crisis regions in which the participating artists will be given space to develop new positions. Hereby new works will be created for the exhibition as well.

The exhibition will be accompanied by a series of events with an interdisciplinary approach. A film event is planned the movie, “Voices of Iraq” will be shown. The phenomenon of advertisement in Iraq is the discussion topic of another event. The question, what can be shown when nothing is allowed to be shown, may be asked here. Thereby the participating artists should be a part of the discussion. Amongst other types of fora, of special intrestet is existing networking on the World Wide Web, such as blogs.