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.