masoumi/amol/1993 Visual Artist Member of borjass art group Group exhibition: The collection of pains/Borjass projects/ Isoo Gallery, Amol 2020 /Atomization/Borjass projects/Isoo Gallery/Amol 2019 Borjass projects/ Ostrale Biennale/ deressden/ Germany/ 2019 postcard/ Isoo Gallery in collaboration with the Azad Art Gallery/Tehran 2018
Kajcook/gozaar gallery /Esfehan/2018 Mazandaran artists/Nouran Gallery/Ghaemshahr 2018 Borjass art group exhibition7Aaran Projects/Gallery/Tehran/2017 Borjass art group exhibition/ Aaran Gallery/Tehran/2016 Self portrait/ Isoo Gallery/Amol/2016 Painting exhibition of Iranian artists/Isoo Gallery/Amol/2015
Borjass art group exhibition/Art Gallery/Sari 2014/ -Curator at Painting exhibition “Experimental darawing “/Isoo Gallery/Amol 2016 Solo exhibitions : Performance/Context-text =?/Da-theater house/ Tehran/ 2019 Performance/Context-text =?/Isoo Gallery/Amol/2019 Death Preachers/Isoo Gallery/Amol/2018 seasickness/Isoo Gallery/Amol/2016
1. I used objects as documents that narrate historical and contemporary events with their historical-cultural language and identity in this collection. 2. I think inanimate objects have retained the events and memories that we humans have gone through, like the footprints of a cat carved on wet cement forever. On the other hand, since objects are tied to our individual, collective, and social memories, it seemed to me that they could be a bridge between all people in this geography. 3. In many of the works in this collection, I used the element of “sound” along with inanimate objects and paintings, so that I could make the objects look like audio recorders that record the sounds around them.
The school was a place to achieve bliss. In the last minutes of the dictation class, whenever the teacher was happy, he would set up a game chair. We arranged the chairs in a circle. The teacher played the cassette of national anthem that we sang every day in the lines, and then we quickly ran around the chairs. We were 13, and the number of chairs we turned around was 12 We turned, we turned, we turned, we turned and we turned … 12 people and 11 chairs. We turned, we turned, we turned and we turned … 11 people and 10 chairs. We turned, we turned and we turned … 10 people and 9 chairs. We turned and turned … 9 people and 8 chairs. We turned … 8 people and 7 chairs. We turn…. 7 people and 6 chairs. We tu.. 6 people and 5 chairs. We … 5 people and 4 chairs. W… 4 people and 3 chairs … 3 people and 2 chairs … 2 people and 1 chair And
Preachers of Death
1-What does living in the moment mean? Which toubles prevent leavung in the moment? Or according to what Nietzsche said: In fact the one who doesn’t leave in an apropos way how does he/she want to die in an apropos way? These were the questions I asked myself and I was looking for a proper template to express my concern. 2. A piece of this template was created with legacy from the late nineteenth century to places in Europe and those legacy was photographs taken from the dead, but not in coffins but they sat them in the chair, dressed up and then photographed them. As if they were alive, they leaned in the chair and taking nap. People at that time believed that their lives would continue in these pictures after death. But what attracted me in these pictures was not the philosophy and beliefs of the people of that time, but the suspension of the figures between the two realms of death and sleep, which could address the questions and crises of my concern with the help of the signs that I came up with figures. 3-The figures I portrayed are neither ugly nor beautiful to me, but they are what they are.They were biult according to the situation in which they were placed. I took picture of them and then I summoned the existences that are prowling around me in their body.
4-About Preachers of Death , it’s the title of a small part of the book “Thus Spoke Zarathustra” from Friedrich Nietzsche. In this part he considered some intellectual doctrine the same which seem to be different and call them death reachers. Real death preachers in my paintings are hidden and my figures are their victims. The victims which are unintentionally preached to death.