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Double sides of the "pop coin"

  • Double sides of the

In the last days of February 1395, the "Shut the pop off" exhibition was held in Shenakht café-Gallery. The exhibition put together 2 different artists' artworks with two different styles; painting and mass. Shut the pop off, as the name suggests, rises from the disappointment and the suppressed anger of a culture which metamorphoses the existence of us (ordinary people) and draws out something as "Pop" from the real culture of the majority of people and that’s when they deceive us towards it. Eating, devouring, and being devoured are the main subjects of this exhibition that were ironically displayed in a place to eat (Café-Gallery).

Kaveh Khanabadi put his expressive painting into some faces without mouth. He drew his painting with the use of spoons and forks instead of paint brushes. The kind of drawings in medium-sized that you can recognize the movement of forks and spoons upon them. And Aseman Oraeei exhibits the kind of masses that contain many spoons, forks, and other various tools that move from inside to outside; they are also like a great group of ants devouring and taking a reading light into their hole.

Not only considering the pop as the one that follows the pop rules and the taste of young men, but also the exhibition did a good job by putting these two artists next to each other because each of them has two different point of views along with their small similarities. Putting spoon and fork make all these artworks a kind of reminder of eating and devouring that comes into mind straightly. Thus the differences between two artists make a balanced contradiction.

With the use of contradictory colors between the background color and all the other ones; Kaveh Khanabadi added more misery and death to the faces in the pictures. He used yellow and gray in a black background, red in gray, white and gray in black, and brown in yellow in order to portray the contradiction. Most of these faces are all alone and their eyes are wide open, gazing at you or completely close. As mentioned before they have no mouth. Mouth is the source of entering the outside world into the inside one. Khanabadi points out that our capacity gets full by eating, and that’s why we lose our tendency to make connections to the world outside. Kind of capacity that is exploding gradually and turns to a dangerous disease that cuts us into pieces; the pop disease. Generally speaking, Khanabadi has a negative point of view. He wants for the nightmares to be over.

Somewhere he has told that, he has no mouth to take the medicine even in disease time. Actually he pointed out that there is no connection between the outside world and the inside one. The inside that is full of outside and now it shuts all the doors to stop letting things entering inside. The faces that he created are all people who could not vomit and now they are leaking from all over their face.

However, Aseman Oraeei looks at the subject from another perspective. She looks at the world as a trend going in and out. In some of her artworks, she throws everything out or drags everything in; kind of artworks that are crystal clear and try not to blind fold you. The negative spaces of these artworks are inter-connected; inside and outside and make them flexible and dynamic though tough. Oraeei uses ready-made objects in all her works which is rather a technical weakness. Making sculptures out of raw materials is considerable for a sculptor because that enables him/her to create new objects by only playing with those materials. However, Oraeei gives up all these grants to get to her intended meaning and that is why she made idea-oriented artworks. Although not all these materials are at the service of the sculpture but they all help to enhance the quality of it. Her positive point of view towards subjects like the public contemporary and culture makes her artworks dynamic and progressive. Oraeei's artworks are made out of her everyday appliances as a mother. Appliances such as plates, dishes, and a memorable tool box from her educating time in sculpturing. Oraeei sees her world both challenging and changing that goes up, in, or out and all the other convict ones moves toward change not explosion; as if it seems all of them had been free out of cage or a shell. She points out to the tools that got out the box to fly to the world dedicated to use.

And this is how the artworks of two artists in two different paths get along together without even knowing each other and they could connect the shared idea of the used world. They could present their idea in the dark black to the neutral gray. Khanabadi talks about his feelings in painting; although they are bitter, they are straight forward and their connection to the audience don't make rational enjoyment. However, Oraeei tries to look at this pop in a fair way and she uses meaning oriented art for that matter to show the different angles of a fact. These two people tried their best to define the world's melancholia together. In this way Oraeei uses feelings to recognition as an existent fact and Khanabadi throws his fears out to do so. They both tried to step out from the consequences of their artworks.               

     

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