RESILIENCE OR LIGHT TIM
Gabriela Rodríguez Penagos
Museo de Arte Contemporáneo de Isfahan
Isfahan, Irán
Febrero 14 – Marzo 7, 2016
Raoul Moareknejad
From objects to volumes, sculptures, and artifacts, these items are both familiar and, at times, nostalgic to the Iranian psyche. They are familiar because, within the Iranian historical and visual memory, there exists a significant body of volumetric works that are intertwined with rituals and continue to be utilized in various ceremonies. Conversely, over the past half-century, people have encountered such works within the context of contemporary art history. Artists have crafted sculptures from used and discarded materials, such as Jaza Tabatabai, who, by reinterpreting objects, created sculptures that possess symbolic, archaic, and enigmatic qualities for the viewer.
In this context, the works of Mexican artist Gabriela Rodríguez Penagos resonate with the Iranian artistic sensibility. Another commonality between Rodríguez’s creations and Iranian art—despite their differing modes of expression—is the connection to written text, which has a rich history in Iranian art. Works inspired by literature and written text range from illustrations of the Shahnameh to more contemporary pieces, such as those by Parviz Tanavoli, including his work titled “Farhad the Stone-Cutter.”
Based on this, Iranian artworks predominantly express the object within a traditional context while also revealing its transcendent nature. In a sense, they resonate with the expression of Platonic cave theory by amalgamating various disparate objects to create a piece that originates from the transcendent, now manifested as a shadowy representation of the original. However, the distinction between Iranian artworks and their audience, as opposed to Rodríguez’s works and their audience, lies in the differing existential paradigms they embody.
Objects in action are transposed from one layer of meaning to another, allowing them to find their place and adapt within their current existence. Just as electric lamps, which have long been obscured and covered in dust, are now reimagined as new and original concepts, they are showcased in museums and galleries. This represents a displacement from the depths of oblivion to the prominence of a new object. The most significant aspects of this transformation and transposition are, first, that the new object is distinct from the old one, and the audience acknowledges this; second, the new form embodies a novel concept that often replaces and is equivalent to the symbolic representations of the brain, thought, and the human mind.
From an intertextual perspective, these works function within the realms of intercultural and inter-significational discourse.
Interculturality is evident in the transition from Mexican culture to our own (Iranian-Isfahani). Historically, Iranian culture, particularly that of Isfahan, has been open to foreign influences and, in some cases, has even prioritized these influences over its own traditions.
In this intercultural exchange, works may be perceived differently by audiences in a new culture compared to their original context. This is inevitable, as the existence of a work within two cultural environments can lead to diverse interpretations.
Intertextuality also manifests in the relationship between the sculptures and the written texts. These two modes of artistic expression interact to create a new entity. The collaboration between Gabriela Rodríguez Penagos and Sergio de Regules—a visual artist and a literary artist, respectively—further enhances this intertextual relationship.
The inter-significational aspect is evident in the bilingual nature of the written texts. Both texts are composed in different languages—English and Persian—and possess an intercultural dimension. These texts inadvertently encourage the reader to engage with the written word.
Additionally, the inter-significational relationship is evident in the object-like nature of the works. These objects have been repurposed from their original functions, adopting a new form as artistic volumes. The lamps, removed from their historical context, have attained permanence in their new appearance.
Electric lamps are inherently neutral objects; however, they carry implicit meanings within themselves. They are neutral in that they do not succumb to the passage of time, embodying a sense of permanence. The artist has thoughtfully selected this object to convey a general, universal, and transcultural concept: light.
Light serves as an archetype, with its symbolic meaning varying across different cultures. For the Iranian audience, the concept of “light” evokes a multitude of associations. It is deeply embedded in Iranian culture, evident in paintings where light permeates the entire canvas and in traditional religious architectural spaces. The halo of light surrounding religious figures signifies divine selection and the purity of innocence, as exemplified by Christ. Additionally, light symbolizes truth, as illustrated by Icarus’s tragic flight toward the sun. This theme is prevalent in the rich tapestry of Persian literature, including Attar’s “Mantiq al-Tair” and Ayn al-Qudat Hamadani’s exploration of black light.
Once used to display images and sounds, electric lamps were once believed to convey truth. Today, however, they are devoid of content, transforming into sculptures in their own right. The light and image have been stripped away, allowing them to adopt a new form, reminiscent of the Medusa’s gaze that captivated television viewers. Now, the lamps themselves are entranced, akin to the monstrous beings in Aztec mythology that turned to stone at the first light of dawn.
The horror of images that once dominated late modern and mid-postmodern life, permeating every home, has been supplanted by a silent image that has assumed a different form and found symbolic expression. The lamps, which were once sources of light and imagery, have metamorphosed into insects and birds, revealing a new truth to the viewer through their fluttering wings.
Title: The Mind
The Mind:
Thought originates in a distinct realm within the mind. It is this faculty of thought that gives rise to the concepts of darkness and light in human consciousness. The mind possesses the ability to forge various connections with others. These connections may manifest through language, artistic expression, or even a meaningful glance etched in the memory of another.
A sculpture is placed inside a cube. The interior of the cube is bright green, while the exterior is dark. This cube symbolizes thought, reason, perfection, and the masculine principle. According to traditional philosophers, it represents the most complete form in the universe. Just as the Kaaba is a cube, the ancient Egyptians also carved statues of pharaohs from cubic stones. The darkness of the cube signifies a return to the totality of existence and the world beyond earthly confines—an infinite and profound realm that can also be terrifying. In contrast, the bright green interior is as limited as the human domain. Everything that falls within the realm of human thought and reason is represented by the color green, while all that lies beyond the human realm is dark and barren.
The cube is open at the front and back, exposing both the face and the back of the head, while remaining closed on the other sides. This design illustrates the idea that humans perceive more through sight than through sound. As they speak, they also attune themselves to the harmonious green melody within the cube, which serves as a reflection of their inner selves.
The sculpture is earth-toned and features a clay-like texture. It gazes downward, as if having witnessed everything. Its lips are sealed and silent, contemplating another realm. This introspection has transformed its surroundings into a lush green.
When we examine the back of the sculpture, we notice a lamp. This lamp appears to serve as the source of thought, reflection, and imagery within the sculpture, positioned inside its head. The presence of the lamp alters and undermines some of the meaning conveyed by the front of the face, giving it a robotic appearance. It is no longer solely a representation of thought but also embodies a mechanical and, in a sense, obedient quality. On the lamp, in a color that contrasts with the green, is the name of its manufacturer and place of origin, indicating that a portion of the sculpture’s conceptualization originates from elsewhere.
Despite all this, the sculpture’s face embraces this notion, exuding a meditative quality in its expression that imparts a sense of peace to the viewer. Essentially, this contemplation, tranquility, and meditation are encapsulated within a vessel positioned atop the head. The vessel is crafted from the same electrical equipment. It appears as though the head has been severed and presented to the viewer, rendering the other parts of the body unnecessary, as the head is the most vital component. Optimistically, it is shaping the world around it, and we hope that it will harbor pure thoughts to foster a better world.