Magazine number zero (0)

 

Borjass magazine, with an analytical and dialogue approach, intends to open a file with artist-citizen subject each session and open up discussions about the general matters.

Borjass magazine supports the theoretical part of Borjass dialogue projects, which is based in the contemporary art space of Isoo.

This file: dialogue projects

Editor’s note

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There is a huge gap between the visual arts that are produced in Iran with the social, cultural and political background of the Iranian society.

We are faced with a large number of works that we mistakenly label as contemporary. Without considering the fact that today we are faced with lifeless and unreal art.

An art that is so far removed from its society as if it is produced on another planet.

The distance between the artist and the audience and the lack of introduction of real art to the society, without knowing what art and what people have artistic authority, have been shocked by the short sentences of celebrities and cultural parvenus!

In the meantime, the artistic community showed several reactions to this crisis:

1_ A group aligned themselves with these populist conditions and drowned in this vortex.

 

2- Another group gave up hope and turned to seclusion.

 

3- Another group looked for the culprit. Finally assumed the audience to be backward and foolish and found it impossible to talk to the audience.

4-Another group tried to change the situation by making changes in themselves and their works and the way of facing the audience (either in the form of producing a work that gives the audience the opportunity to interact with the artist’s idea or in the form of presence. The physical meeting of the artist with the audience) create conditions and produce art that is formed together with people. An art that is not so unbiased and without judgment that you can’t give it any meaning, and not an art that considers itself so perfect that it negates the need for audience participation and dialogue.

Our intention of publishing the 0th issue of this magazine is to narrate the formation of “Dialogue Projects of Borjass” and finally to narrate a “statement” which is not in the measure of an artist, but our effort is to express our thoughts as an artist/citizen regardless of the project. We will convey the practical things that we have shown to artists, critics and art lovers in a specific framework that is based on “dialogue”.

Borjas’ dialogue projects are an attempt to diminish this great void that exists between the artist and the audience of the work of art and the context of society. We believe that Iranian contemporary art should address public culture more than anything else, and addressing the public sphere does not mean superficial and mediocre art. The art we consider is a sociological art that seeks a solution to create a platform for dialogue and bring closer the two basic sides of society, intellectualism and people.

In the first step, we have tried to cover the communication gap between the artwork and the audience by making changes in our point of view towards the subject, concept and media.

The purpose of this publication is to try to systematize the method that we have chosen today according to the needs of the time. To implement this method, we saw the need to re-examine the areas of language and media that communicate with the audience which are very effective.

Calendar of Visual Arts

 

Analytical-critical

 

Editor: Mustafa Masoumi

 

Managers: Hamid Asadzadeh – Forouzan Soleimani

 

writers:

 

Hamid Asadzadeh – Visual Artist, Director of Borjas Art Group and Curator

 

Forouzan Soleimani – Visual Artist, Curator and Director of ISO Gallery

 

Mostafa Masoumi – Visual Artist

 

Saeed Yaghoubi – writer and poet

 

Translators:

 

Saeed YaghoubiSarina Fazeli

 

Number of pages of Persian version – 66 pages

 

Number of English version pages – 73 pages

Excerpts from articles

Absence of the public spaces in contemporary Iranian art / Hamid Asadzadeh

In the constitutional era, Iranians faced a multi-dimensional discourse that today, almost a hundred years after the constitution, they have never been able to respond to this contradictory multiplicity. Instead of understanding and teaching the independent democratic individuality, each artist created a charismatic and selfish individuality in order to create harmony between the text and the context, and this crisis had turned every Iranian artist and intellectual into a lonely island.

Iranian artist, without paying attention to the public sphere and knowledge of popular culture, created a combination of modern Western styles with Iranian forms and colors (Iranian Cubism, Iranian Impressionism, Iranian Fauvism or Iranian Naturalism…) that are not related to their history or useful for audience.

The art that could be a bridge between people and cause friendship and preoccupation of the moment in the fifties and sixties decades became a weapon for the political propaganda of certain parties and as a motivating arm for political purposes. The avant-garde artist is homeless or has to forget the house or be a guest in another house, where being a guest also defines its customs. The artist must be silent, not speak and sometimes not even breathe too much because his breathing may not be appealing to some people and narrowing their space. Imposing gallery owners view on the artist by a power that is mistakenly given to them, takes the artist away from the reality of his society. The reality of art production is the relationships and presentation of an inverse relationship that the artist becomes a producer under this pyramid. But market is one of the most important problems for artists and galleries outside of Tehran. Selling artworks requires following the same unwritten rules of galleries that artists are strangely accustomed to. Many artworks are detached from the reality of our artists lives in the society. Works that fit the market but do not fit reality. Many artists in the counties have to make a living through education or a second job unrelated to their art, which is a serious problem for the artist living in the counties. This sometimes causes the artist to be silent and turn himself into what the gallery owner wants.

The role of objects and documents in Borjas dialogue projects:

Mustafa Masoumi is our connection to the street in the dialogue projects of Borjas “objects” and “documents”. Every object can be a gateway for our analysis and entry into the cultural and political history of Iranian society which is narrated by objects.

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