it is not a wonder that artists who have inherited the traditions of intertwining text and image (particularly in reference to Persian Illustrated Manuscript art), should use words to create art. Nowadays new contexts are also added, whereby with no changes in meaning and shape of words and only by relocating and altering the context, implications and associations are transformed. Now words are moved and repositioned, and not only in books and inscriptions, but in every surface and space that can be seized. Words slide from one context to the next, and in this movement both the pitch of the slide and the subject are of importance. But in every new encounter, there is more microscopic attention to meaning and texts are read word by word. In the labyrinth of contexts and in all languages, any disruption and multiplied references add to the complexity of meaning. Of course in a language as formal and as courtesies’ as Farsi, ambiguity can sometimes be received as literal meaning and sometimes as a complex and deceptive metaphor. Quoting a notable phrase can now be a critic of dominant powers, the most ordinary words can reference a trend, the most common words can become personal manifestos. Any intimate word can become the voice of the public’s demands and any suggestion can be perceived as an insult and any ridicule a political and social action. In this way even elimination and absence of meaning, can be considered meaningful and the fieriest texts a castrated stammer…. Akram Ahmadi Tavana

Curator: Akram Ahmadi Tavana

Artists

• -  Mahmoud Bakhshi
• -  Mahdieh Pazoki
• -  Allahyar Najafi
• -  Hossein Valamanesh
• -  Anahita Razmi
• -  Iman Safaei
• -  Zarvan Rouhbakhshan
• -  Navid Salajeghe
• -  Amirhossein Shahnazi
• -  Arita Shahrzad
• -  Nico Vascellari
• -  Mahoor Toosi
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