Exhibition in Berlin
16 – 20 August 2022
organized and curated by GaleriaZero, The Netherlands in collaboration with Forum Factory, Berlin.
Dear Mr Moareknejad!
We at GaleriaZero are so happy to be able to show one of your works during our exhibition in Berlin 26th -30th of August. In connection to this we would like to ask you some questions.
□ You are an artist with a large field of expression. You present yourself mainly as a video artist but also as a painter and poet. The three components are equally essential, I think. Could you please tell us more about what creation means for you and how you see art’s role in society and in the human existence at large?
- In the society where I live, words and literature hold greater significance than all other art forms due to their rich use of metaphors, proverbs, and irony. Consequently, poetry and storytelling are often regarded as more important than films and music. In the Middle East, particularly in Iran, the acceptance of multimedia and conceptual arts has made visual narration increasingly appealing. While a single image, such as a painting, possesses its own narrative, conveying a series of narratives and sub-narratives necessitates a sequence of images, compelling me to utilize video, whether I prefer it or not. Interestingly, in my city, Isfahan, video art is more widely accepted than all other contemporary art forms. Although I began my artistic journey with painting in 1989, I transitioned to video art in 1994. What is my story now? Video artists in every society strive to depict dilemmas and challenges, often overlooking the beauty of social life. In some countries, economic issues dominate, while in others, problems within the academic system take precedence. In Iran, however, the majority of concerns revolve around women’s issues and ideological challenges. Iranian video artists can be categorized into two groups: 1) those who focus on the form and aesthetics, often neglecting narrative and symbolic expression—this group is gradually diminishing; and 2) those for whom narrative expression is paramount, albeit often intertwined with aesthetic considerations. I identify with the second group. I endeavor to express concepts that are universal, transcending my regional context, even as I draw form and narrative from the world in which I live. Furthermore, artists can be divided into two categories based on their production methods: 1) artists who rely on technicians for each aspect of their work—video artists, for instance, may employ professional videographers, audio recorders, and editors; and 2) artists who strive to master all facets of production independently, managing the entire process from inception to completion. I belong to the latter category, handling every step of my work myself. Today, it is increasingly difficult to separate my challenges from those faced by others. Our dilemmas, particularly those related to conceptual issues such as environmental and climate concerns, have become intertwined with fundamental human questions. Moreover, the contemporary world has fostered an environment where individuals, regardless of geographical distance, can connect instantaneously. As a result, we often confront similar issues in our respective homes. This shared experience resonates within my work, allowing viewers to see reflections of their own challenges and realities. Perhaps my references to symbolic expression and the use of archetypes illustrate this desire, as I employ these symbols and archetypes to ensure that my works can be appreciated across a broader spectrum.
□ You touch the audience/viewers at several levels as social, philosophical, existential. There is a strong feeling of melancholia, sadness, a feeling of a lost paradise acting as a gravity pulling the viewer inside your complex Universe. Could you mention a couple of areas/ questions of high interest for you as an artist?
- What engages my mind in creating art is not an abundance of questions, but rather fundamental inquiries about humanity, existence, the world, and human relationships. I am influenced by my environment and the concerns of my life within the society I inhabit. These questions have been posed countless times in both ancient and contemporary literature, and despite the myriad of answers that have been offered, they remain largely unresolved. It is not merely about contemplating existence, gazing at the sky, or observing the depths of the stars; even a stain of paint on a wall or the mold on a piece of bread can evoke this desire. Most importantly, the subject of which has inspired countless narratives since the time of Gilgamesh, continues to be a profound mystery to me, accompanied by a deep-seated fear of confronting it.
□ Always great art gives a feeling of simplicity in all its complexity. Without big gestures you let strong feelings hit the viewer connecting him/ her to own pain and loss. Sometimes the strength is hidden in a detail, a small gesture, a short sequence as if it is accidental which is intriguing as a riddle. Could you tell us something about your symbolic language of expression?
- It is one of my primary concerns to convey my art to the audience in the simplest manner, whether through video art or poetry. However, I aim to achieve this not through clear and obvious means, but rather through symbolic and indirect expression. In my video art, I strive to transform the entire work into a pivotal moment. To illustrate my point, consider the films you have watched. Each film leaves you with one or more memorable scenes that linger in your mind. For instance, in the film by Krzysztof Kieślowski, the main character, played by Juliette Binoche, punches her right hand and drags it along the surface of a wall as she passes by. In another scene, she sits in front of a fireplace and, instead of sucking on candies, she crushes them and eats them, the sound of the candies breaking echoing in the silence. Many films have similar impactful moments, and I aspire to make my video art evoke that same sensitivity and significance, creating scenes that resonate with the audience long after viewing. This is undoubtedly a challenging yet achievable task. Additionally, I incorporate poetry into my work. As a poet, I infuse a poetic theme into the video, embracing the doubts and ambiguities that can enrich the overall experience.
□ With our last question we would like to look into the future. Could you tell us something more about your future projects?
- Everyone has similar plans in life that cannot be avoided; however, when it comes to my future, I often find myself in challenging and introspective situations. Naturally, there must be certain conditions to effectively convey my ideas through video. For me, the realms of thought, life, and artistic expression are not distinct; I struggle to discern when it is time to rest and when it is time to engage in creative activities and contemplation. There is no need for a designated space, as these elements are intertwined and inseparable. My decisions are formed spontaneously in the moment. Based on my abilities and circumstances, I often encounter mental conflicts arising from my surroundings, and I grapple with these until they are visually represented. This is why it can take me a year to produce a one-minute video artwork. I continuously live with the themes I discover, experimenting in various contexts until I can bring them to fruition. Consequently, I do not make many long-term decisions; rather, they seem to draw me in. In my environment, there is little emphasis on future planning. We cannot predict tomorrow, so we must make decisions as they arise. On paper, I can keep my mind engaged through photography. Currently, I am contemplating a project that has occupied my thoughts for quite some time: I have written a book that I hope will be published, and I am also working on curating an exhibition.