Shit Yes Academy (Goh Ballet Academy)
Solo Exhibition at the Ag Galerie, 2019
Objects in the Installation
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
On the Left:
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
————————-
On the Right:
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
————————
Center:
Untitled (Of the Scatological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM
Untitled (Of the Eschatological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM (Image of a dictionary definition of “Shit”)
(بدون عنوان (در باب امر غایط شناختی
Untitled (Of the Escathological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM
(بدون عنوان (در باب امر غایط شناختی
*The clearance between the stretched lace and the surface of the image enables the visitor to peek through the negative parts of the lace and, by moving laterally, see different parts of the image which appear concealed from a remote view. Nevertheless, in order for the visitor to achieve such a task, it is required to physically approach the image up to an unconventional extent.
———————————————————-
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
Untitled (Shit Hi)
Inkjet print, wooden frame, acrylic, lace 23.3 X 35 4.5 cm
(بدون عنوان (سنده سلام
Untitled (The Perspective)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 5.5 cm
(بدون عنوان (چشم انداز
Untitled (The Virtuous’s Letter and its Response)
Inkjet print, wooden frame, acrylic, lace
120 x 80 x 4.5 cm
(بدون عنوان (نامهٔ مخدره و جواب مکتوب
Untitled (The Virtuous’s Letter and its Response)
Inkjet print, wooden frame, acrylic, lace
120 x 80 x 4.5 cm
(بدون عنوان (نامهٔ مخدره و جواب مکتوب
Untitled (Shitgoldshit)
Iron, shadow box frame, acrylic 60 X 60 X 8 cm
(بدون عنوان (گهطلاگه
*the sculpture formally replicates the plan view of the massive gold trading market’s building located across the street from the gallery.
Untitled (Shitgoldshit)
Iron, shadow box frame, acrylic 60 X 60 X 8 cm
(بدون عنوان (گهطلاگه
*the sculpture formally replicates the plan view of the massive gold trading market’s building located across the street from the gallery.
Untitled (Shitgoldshit)
Iron, shadow box frame, acrylic 60 X 60 X 8 cm
(بدون عنوان (گهطلاگه
*the sculpture formally replicates the plan view of the massive gold trading market’s building located across the street from the gallery.
Untitled (Shitgoldshit)
Iron, shadow box frame, acrylic 60 X 60 X 8 cm
(بدون عنوان (گهطلاگه
*the sculpture formally replicates the plan view of the massive gold trading market’s building located across the street from the gallery.
Untitled (Shitgoldshit)
Iron, shadow box frame, acrylic 60 X 60 X 8 cm
(بدون عنوان (گهطلاگه
*the sculpture formally replicates the plan view of the massive gold trading market’s building located across the street from the gallery.
Untitled (Dȯl)
2018
Inkjet print, wooden frame, acrylic, lace 80 x 80 x 4.5 cm
(بدون عنوان (دال
Untitled (Dȯl)
2018
Inkjet print, wooden frame, acrylic, lace 80 x 80 x 4.5 cm
(بدون عنوان (دال
Untitled (Petit a Made General)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (ابژه کوچک "آ" کلا موجود
Untitled (Petit a Made General)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (ابژه کوچک "آ" کلا موجود
Untitled (Petit a Made General)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (ابژه کوچک "آ" کلا موجود
Untitled (A Commandment for Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 45 cm
(بدون عنوان (فرمانی برای کارلو
——————————————
*The text underneath reads: “Carlo, Put your fingers like this and say: "I can’t eat rice with my fingers like this”
Untitled (The Obedient Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (کارلوی فرمانبردار
————————————
•The text underneath reads: “I can’t eat rice with my fingers like this”
Untitled (Dinner Time)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (به صرف شام
Untitled (The Obedient Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (کارلوی فرمانبردار
—————————————
*The text underneath reads: “Carlo, Put your fingers like this and say: "I can’t eat rice with my fingers like this”
At this point the visitors assuming the exhibition ends here, flush down to the basement level of the gallery where they can diffuse into the gallery’s courtyard and visit the bathroom. While in the courtyard, bathroom or in the basement of the gallery they realize the exhibition is continuing.
basement view of the gallery toward the gallery’s bathroom, communal room and courtyard.
Untitled (Public Eye Private Nose)
Inkjet print, lightbox
150 X 100 X 9 CM
(بدون عنوان (چشم عمومی دماغ خصوصی
*At the focal point of this image, the plan view of the gold trading market’s building located across the street from the gallery could be seen —the building that in replication of its plan view the Shitgoldshit sculpture was also made.
On the Right:
Untitled (Public Eye Private Nose)
Inkjet print, lightbox
150 X 100 X 9 CM
(بدون عنوان (چشم عمومی دماغ خصوصی
On the Left:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
Wooden Dinning Table 450 x 250 x 130 cm
On the Right:
Untitled (Public Eye Private Nose)
Inkjet print, lightbox
150 X 100 X 9 CM
(بدون عنوان (چشم عمومی دماغ خصوصی
On the Left:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
On the Right:
Untitled (Public Eye Private Nose)
Inkjet print, lightbox
150 X 100 X 9 CM
(بدون عنوان (چشم عمومی دماغ خصوصی
On the Left:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
The courtyard view to:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (It Is Closer to You Than It Appears)
Three mirrors installed in the bathroom 40 x 60 x 0.5 cm
(بدون عنوان (از آنچه که میبینید به آن نزدیک ترید
Untitled (It Is Closer to You Than It Appears)
Three mirrors installed in the bathroom 40 x 60 x 0.5 cm
(بدون عنوان (از آنچه که میبینید به آن نزدیک ترید
Untitled (It Is Closer to You Than It Appears)
Three mirrors installed in the bathroom 40 x 60 x 0.5 cm
(بدون عنوان (از آنچه که میبینید به آن نزدیک ترید
Untitled (It Is Closer to You Than It Appears)
Three mirrors installed in the bathroom 40 x 60 x 0.5 cm
(بدون عنوان (از آنچه که میبینید به آن نزدیک ترید
Untitled (After Henry Fox Talbot)
Inkjet print, wooden frame, acrylic, lace 17.65 x 22.3 x 4.5 cm
(بدون عنوان (پس از فاکس تالبوت
*This object is the last among all the objects in the exhibition that visitors may come across right as they are about to exit the gallery’s building.
Untitled (After Henry Fox Talbot)
Inkjet print, wooden frame, acrylic, lace 17.65 x 22.3 x 4.5 cm
(بدون عنوان (پس از فاکس تالبوت
*This object is the last among all the objects in the exhibition that visitors may come across right as they are about to exit the gallery’s building.
Untitled (After Henry Fox Talbot)
Inkjet print, wooden frame, acrylic, lace 17.65 x 22.3 x 4.5 cm
(بدون عنوان (پس از فاکس تالبوت
*This object is the last among all the objects in the exhibition that visitors may come across right as they are about to exit the gallery’s building.
Untitled (After Henry Fox Talbot)
Inkjet print, wooden frame, acrylic, lace 17.65 x 22.3 x 4.5 cm
(بدون عنوان (پس از فاکس تالبوت
*This object is the last among all the objects in the exhibition that visitors may come across right as they are about to exit the gallery’s building.
Press Release: “گُه بله آکادمی” (Goh Ballet Academy): The title of the exhibition comes from the name of a ballet academy in Vancouver that once transliterated into the artist’s mother tongue (Persian) would read as “گُه بله آکادمی, meaning “Shit Yes Academy”. The exhibition will feature a recent body of works, comprised of a series of photographic and text-based mixed-media objects, a series of sculptural installations, and an image-based light box, responding to both the architectural and urban-geographical specificities of the gallery’s site in Tehran. An exhibition book including critical essays will be published to accompany the exhibition.
A permeable barrier of black lace mesh stretches against the facade of numerous photographic and text-based images in the exhibition. Visitors are called to engage with a series of flat monopatterns, behind each of which resides a different image and text, which in order to be viewed, require a persistent look from their beholder, perhaps similar to that of a voyeur.The veiled images and texts circumscribe the art attendant’s condition of vision within the long-standing dichotomization of, and reciprocity between, human excrement and gold, as two extremes of a polar value system in art (and beyond). The exhibition attempts to address the state of today’s semiotic problem in which contemporary regimes of image-production condition the individual and group subject’s relationship to the “ideological real”. Correspondingly, “گُه بله آکادمی” concerns the contingent relations between the art object and possibilities of meaning, aspiring to locate signification and objecthood in an internally contradictory scenery – a contradistinction between “gold” and “shit” induced by the intervention of homogenizing patterns of lace.
With the increasing rise of right-wing populism and the striking return of nationalism all across the globe, it is of an imperative for contemporary arts to properly account for the stakes of scrutinizing the mechanisms that condition human vision today. The works in “گُه بله آکادمی” focus on how contemporary art could seize to address the ways in which the optico-political apparatuses engage in transforming the “shit” of what is shown into the “gold” of what is viewed today.
*The exhibition book includes essays by:
Gareth James: Here’s Shit in Your Eye (2020)
Matt Browning: Taking a Signifier, Making a Signifier (2020)
Alphabet Collection/Mo Salemy: Maquillage & Semiopticon: An Epistemological Study of Lace & Mirrors (2020)
Ali Ahadi: Goh Ballet Academy (Shit Yes Academy)
Installation View
On the right:
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
——————————-
Center:
Untitled (Of the Scatological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM
(بدون عنوان (در باب امر غایط شناختی
On the left:
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
————————-
Centre:
Untitled (Of the Scatological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM
(بدون عنوان (در باب امر غایط شناختی
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
On the right:
Untitled (Shit Yes)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (گه بله
———————-
Centre:
Untitled (Of the Scatological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM
(بدون عنوان (در باب امر غایط شناختی
—————————————-
On the left:
Untitled (The Gaze of Shit)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (نگاه گه
Untitled (Of the Escathological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM
(بدون عنوان (در باب امر غایط شناختی
Untitled (Of the Escathological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM
(بدون عنوان (در باب امر غایط شناختی
Untitled (Of the Escathological)
*Image of a dictionary definition of “Shit”
Inkjet print, wooden frame, acrylic, lace 65 X 45 X 4.5 CM
(بدون عنوان (در باب امر غایط شناختی
Untitled (Shit Hi)
Inkjet print, wooden frame, acrylic, lace 23.3 X 35 4.5 cm
(بدون عنوان (سنده سلام
Untitled (Shit Hi)
Inkjet print, wooden frame, acrylic, lace 23.3 X 35 4.5 cm
(بدون عنوان (سنده سلام
On the left:
Untitled (The Perspective)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 5.5 cm
(بدون عنوان (چشم انداز
—————————-
On the right:
Untitled (The Virtuous’s Letter and its Response)
Inkjet print, wooden frame, acrylic, lace
120 x 80 x 4.5 cm
(بدون عنوان (نامهٔ مخدره و جواب مکتوب
Untitled (Shitgoldshit)
Iron, shadow box frame, acrylic 60 X 60 X 8 cm
(بدون عنوان (گهطلاگه
*the sculpture formally replicates the plan view of the massive gold trading market’s building located across the street from the gallery.
Untitled (Shitgoldshit)
Iron, shadow box frame, acrylic 60 X 60 X 8 cm
(بدون عنوان (گهطلاگه
*the sculpture formally replicates the plan view of the massive gold trading market’s building located across the street from the gallery.
Untitled (Shitgoldshit)
Iron, shadow box frame, acrylic 60 X 60 X 8 cm
(بدون عنوان (گهطلاگه
*the sculpture formally replicates the plan view of the massive gold trading market’s building located across the street from the gallery.
Untitled (Dȯl)
2018
Inkjet print, wooden frame, acrylic, lace 80 x 80 x 4.5 cm
(بدون عنوان (دال
Untitled (Dȯl)
2018
Inkjet print, wooden frame, acrylic, lace 80 x 80 x 4.5 cm
(بدون عنوان (دال
Untitled (Dȯl)
2018
Inkjet print, wooden frame, acrylic, lace 80 x 80 x 4.5 cm
(بدون عنوان (دال
Untitled (Petit a Made General)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (ابژه کوچک "آ" کلا موجود
On the left:
Untitled (Petit a Made General)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (ابژه کوچک "آ" کلا موجود
—————————————-
On the right:
Untitled (A Commandment for Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 45 cm
(بدون عنوان (فرمانی برای کارلو
On the left:
Untitled (Petit a Made General)
Inkjet print, wooden frame, acrylic, lace 110 X 110 x 5.5 cm
(بدون عنوان (ابژه کوچک "آ" کلا موجود
—————————————————
Centre:
Untitled (A Commandment for Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 45 cm
(بدون عنوان (فرمانی برای کارلو
—————————————
On the right:
Untitled (The Obedient Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (کارلوی فرمانبردار
On the left:
Untitled (A Commandment for Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 45 cm
(بدون عنوان (فرمانی برای کارلو
————————————-
Centre:
Untitled (The Obedient Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (کارلوی فرمانبردار
———————————-
On the right:
Untitled (Dinner Time)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (به صرف شام
Untitled (Dinner Time)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (به صرف شام
Untitled (Dinner Time)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (به صرف شام
Untitled (The Obedient Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (کارلوی فرمانبردار
Untitled (The Obedient Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (کارلوی فرمانبردار
On the left:
Untitled (A Commandment for Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 45 cm
(بدون عنوان (فرمانی برای کارلو
——————————
On the right:
Untitled (The Obedient Carlo)
Inkjet print, wooden frame, acrylic, lace 46.6 X 70 x 4.5 cm
(بدون عنوان (کارلوی فرمانبردار
At this point the visitors assuming the exhibition ends here, flush down to the basement level of the gallery where they can diffuse into the gallery’s courtyard and visit the bathroom. While in the courtyard, bathroom or in the basement of the gallery they realize the exhibition is continuing.
Communal room in the gallery’s ground level.
Wooden Dinning Table 450 x 250 x 130 cm
On the Right:
Untitled (Public Eye Private Nose)
Inkjet print, lightbox
150 X 100 X 9 CM
(بدون عنوان (چشم عمومی دماغ خصوصی
On the Left:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
On the Right:
Untitled (Public Eye Private Nose)
Inkjet print, lightbox
150 X 100 X 9 CM
(بدون عنوان (چشم عمومی دماغ خصوصی
On the Left:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
The courtyard view to:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
The courtyard view to:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
The courtyard view to:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
*A visitor is looking into the mirror side of the “one-way mirror” and taking a selfie not realizing she is being gazed at by another visitor who is across the one-way mirror inside the “communal room”.
*A visitor from inside “the communal room” is gazing at another visitor who is in the courtyard of the gallery and taking a selfie from mirror side of the “one-way mirror, without realizing she is being gazed at.
The courtyard view to:
Untitled (One-way Mirror to the Communal Room)
One-way Mirror
230 x 109 CM
(بدون عنوان (آینه یکطرفه به اطاق اشتراکی
*A visitor is looking into the mirror side of the “one-way mirror” and taking a selfie not realizing she is being gazed at by another visitor who is across the one-way mirror inside the “communal room”.
*A visitor from inside “the communal room” is gazing at another visitor who is in the courtyard of the gallery and taking a selfie from mirror side of the “one-way mirror, without realizing she is being gazed at.
*The POV of a visitor from inside “the communal room” who is gazing at another visitor standing in the courtyard of the gallery and checking on their look in the mirror side of the one-way mirror, without realizing she is being gazed at.
*The POV of a visitor from inside “the communal room” who is gazing at another visitor standing in the courtyard of the gallery and checking on their look in the mirror side of the one-way mirror, without realizing she is being gazed at.
*The POV of a visitor from inside “the communal room” who is gazing at another visitor standing in the courtyard of the gallery and checking on their look in the mirror side of the one-way mirror, without realizing she is being gazed at.
*visitors to the courtyard of the gallery are taking a group selfie from the mirror side of the one-way mirror, while possibly being gazed at by some visitors to the communal room toward which the window side of the one-way mirror faces.
*A visitor to the courtyard of the gallery checking on herself in the mirror side of the one-way mirror, while being possibly gazed at by some visitors to the communal room toward which the window side of the one-way mirror faces.
*visitors to the courtyard of the gallery are taking a group selfie from the mirror side of the one-way mirror, while possibly being gazed at by some visitors to the communal room toward which the window side of the one-way mirror faces.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Put to Work)
Metal poles, lace, cable 360 x 900 x 6 cm
(بدون عنوان (خرج کار
*a 9 meters long and 3.5 meters high screen of lace mesh diagonally divides the courtyard of the gallery. Hence, upon entering into the courtyard, the visitors should decide on which side of the screen they would like to be, and thus seeing the others as well as the gallery’s building through the permeable surface of the lace.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (Territory of the Semiotic)
49 meters of lace, 4 iron rods, 2 hooks Installation
(بدون عنوان (قلمروامرنشانه شناختی
*Formally, similar to the usage of an Eruv in Judaism, a 49 meters long rope mad of the same lace used in the entire installation has been installed to territorialize the aerial space of the entire gallery’s building in a way that it demarcates the courtyard and the gallery space by literally separating it from the rest of the city space.
Untitled (It Is Closer to You Than It Appears)
Three mirrors installed in the bathroom 40 x 60 x 0.5 cm
(بدون عنوان (از آنچه که میبینید به آن نزدیک ترید
Untitled (It Is Closer to You Than It Appears)
Three mirrors installed in the bathroom 40 x 60 x 0.5 cm
(بدون عنوان (از آنچه که میبینید به آن نزدیک ترید
Untitled (It Is Closer to You Than It Appears)
Three mirrors installed in the bathroom 40 x 60 x 0.5 cm
(بدون عنوان (از آنچه که میبینید به آن نزدیک ترید
Untitled (It Is Closer to You Than It Appears)
Three mirrors installed in the bathroom 40 x 60 x 0.5 cm
(بدون عنوان (از آنچه که میبینید به آن نزدیک ترید
Untitled (After Henry Fox Talbot)
Inkjet print, wooden frame, acrylic, lace 17.65 x 22.3 x 4.5 cm
(بدون عنوان (پس از فاکس تالبوت
*This object is the last among all the objects in the exhibition that visitors may come across right as they are about to exit the gallery’s building.
Untitled (After Henry Fox Talbot)
Inkjet print, wooden frame, acrylic, lace 17.65 x 22.3 x 4.5 cm
(بدون عنوان (پس از فاکس تالبوت
*This object is the last among all the objects in the exhibition that visitors may come across right as they are about to exit the gallery’s building.
Untitled (After Henry Fox Talbot)
Inkjet print, wooden frame, acrylic, lace 17.65 x 22.3 x 4.5 cm
(بدون عنوان (پس از فاکس تالبوت
*This object is the last among all the objects in the exhibition that visitors may come across right as they are about to exit the gallery’s building.