MANUMart RESIDENCY
SAINTE GENEVIEVE LES GASNY
*GIVERNY /NORMANDY / FRANCE - 2018
MANUMart RESIDENCY
SAINTE GENEVIEVE LES GASNY
*GIVERNY /NORMANDY / FRANCE - 2018
safpem institute
fmica organizers
Cultural institute of SAFPEM (Middle East & Europe Specialized Institute of Contemporary Arts) was founded by some artists of different fields in France and Canada in 2016. Since 2013, this group was also registered in France as FMICA Organizers in form of non-profit associations, which are managed by directors of some countries. SAFPEM – FMICA Organizers has well known artists from different group of ages in these two regions and attempts to improve quality of different-generation works by combining different artistic generations and supporting them professionally and adequately. Moreover, this group has encouraged cooperation with cultural associations, international festivals, International press, philharmonic and symphonic orchestras, and Educational departments of different universities in France, Italy, Iran, China, England, Arab Emirates, Tunisia, Morocco, Turkey, USA, Aljazeera. And, they attempt to encourage their cooperation with other countries.
safpem institute
fmica organizers
Cultural institute of SAFPEM (Middle East & Europe Specialized Institute of Contemporary Arts) was founded by some artists of different fields in France and Canada in 2016. Since 2013, this group was also registered in France as FMICA Organizers in form of non-profit associations, which are managed by directors of some countries. SAFPEM – FMICA Organizers has well known artists from different group of ages in these two regions and attempts to improve quality of different-generation works by combining different artistic generations and supporting them professionally and adequately. Moreover, this group has encouraged cooperation with cultural associations, international festivals, International press, philharmonic and symphonic orchestras, and Educational departments of different universities in France, Italy, Iran, China, England, Arab Emirates, Tunisia, Morocco, Turkey, USA, Aljazeera. And, they attempt to encourage their cooperation with other countries.
THE LIFE & DEATH OF MARINA ABRAMOVIC
La Galleria Weber&Weber ospita “The Life and Death of Marina Abramović” mostra fotografica ad opera Omid Hashemi, fotografo ufficiale del progetto operistico e stretto collaboratore della celebre artista performativa Marina Abramović.
L’idea di questa pièce teatrale, meditazione generale di vita e di morte, inizia nel 2007 quando l’Abramobić telefona al noto regista teatrale Robert Wilson affinché lui mettesse in scena la sua morte -“ Solo se posso anche mettere in scena la tua vita” rispose. All'incrocio tra teatro, opera e arte visiva, il regista d’avanguardia Robert Wilson dirige e racconta la straordinaria vita e il prolifico lavoro dell'artista Marina Abramović partendo dalla sua difficile infanzia in una Belgrado controllata dai sovietici. L’opera ha come protagonista l’artista che recita nei panni di sé stessa e della madre, e vede come co-protagonista l’attore Willem Dafoe, il tutto accompagnato dalla splendida colonna sonora del cantante e compositore Antony Hegarty. I racconti di vita dell’Abramović si alternano così a intime canzoni, significativamente come in “Santi Ascendono”: "Dio condanna / Coloro che feriscono gli altri / Ma cosa pensa / Di una donna che affligge il dolore / Su sé stessa?
La performance ebbe la sua prima mondiale negli Stati Uniti, al Manchester International Festival nel 2011, e da allora è stato replicato numerose volte sul palcoscenico con un grande successo di pubblico.
Per la mostra sono state selezionate alcune fotografie dell’artista iraniano Omid Hashemi che da anni collabora con l’artista serba e insegna la sua Méthode. Omid realizza ritratti intimi di questo incredibile pezzo poetico di teatro biografico. Gli elementi macabri dei ricordi di Marina sono trasformati, capovolti, in qualcosa di meraviglioso e dalle tinte umoristiche. Su sfondi dai chiaroscuri cangianti si stagliano le figure che, seppur reali visivamente, sembrano appartenere a un rituale misterico in un affondo nel dramma e durezza dell’esistenza. L’atmosfera è onirica dove dimensione umana e ultraterrena si confondono acquisendo un effetto ipnotico - sulle note di Antony: "That is my destiny. I became a Volcano of Snow".
Omid Hashemi fissa in scatti leggeri e visionari il dramma di una delle più celebri e controverse personalità dell’arte contemporanea dalla sua nascita fino alla sua ipotetica fine, in un continuo gioco dove il protagonista resta il proprio corpo e i propri limiti.
La rassegna narra i racconti sopravvissuti di questa “quasi opera”.
“The Life and Death of Marina Abramović” prosegue collateralmente alla manifestazione fotografica The Phair presso il Padiglione Nervi di Torino Esposizioni (27/28/29 maggio).
La mostra è stata curata da Saeed Khavar Nejad e realizzata grazie alla collaborazione con l’Istituto internazionale SAFPEM (Middle East & Europe Specialized Institute of
Contemporary Arts), con sede a Parigi e Toronto, che da anni è attivamente impegnato nel valorizzare e promuovere l’arte contemporanea del Medio Oriente nel contesto artistico occidentale.
Biografia Omid Hashemi
Nato nel 1986 a Teheran, Omid è un artista e ricercatore. Si è trasferito frequentemente a causa della sua situazione familiare; dal 1989 al 1993 in Turchia, poi in Pakistan. Nel 2006 si è trasferito a Parigi per completare i suoi studi presso l'Università di Parigi VIII con una tesi di dottorato in Aesthetics, Science and Technology of the Arts, presso questa Università è poi diventato docente.
È stato nel febbraio 2009, a Parigi, che Omid ha incontrato Marina Abramović. L'ha poi accompagnata nel giugno 2009 a Manchester per seguire il suo lavoro, e l'anno successivo a Madrid. Marina Abramovic accettò di diventare la sua insegnante. Marina Abramovic ha seguito la sua strada, consigliandolo.
@omid.hashemi.p
Special Thanks to my Life Master, @Marina_Abramovic
Omid_Hashemi (Photographer)
@Saeed_Khavar_Nejad (Curator of the Exhibition in Italy) @SAFPEM_Institute (Exhibition Organizer in Middle East & Europe) @Carlomaria_Weber and @Alberto_Weber (@Weber_Gallery Owners) @Eleonora_Tartarelli (Texts & Member of Managing board in Italy) @De_Ketelfactory_Gallery (Video materials)
L’idea di questa pièce teatrale, meditazione generale di vita e di morte, inizia nel 2007 quando l’Abramobić telefona al noto regista teatrale Robert Wilson affinché lui mettesse in scena la sua morte -“ Solo se posso anche mettere in scena la tua vita” rispose. All'incrocio tra teatro, opera e arte visiva, il regista d’avanguardia Robert Wilson dirige e racconta la straordinaria vita e il prolifico lavoro dell'artista Marina Abramović partendo dalla sua difficile infanzia in una Belgrado controllata dai sovietici. L’opera ha come protagonista l’artista che recita nei panni di sé stessa e della madre, e vede come co-protagonista l’attore Willem Dafoe, il tutto accompagnato dalla splendida colonna sonora del cantante e compositore Antony Hegarty. I racconti di vita dell’Abramović si alternano così a intime canzoni, significativamente come in “Santi Ascendono”: "Dio condanna / Coloro che feriscono gli altri / Ma cosa pensa / Di una donna che affligge il dolore / Su sé stessa?
La performance ebbe la sua prima mondiale negli Stati Uniti, al Manchester International Festival nel 2011, e da allora è stato replicato numerose volte sul palcoscenico con un grande successo di pubblico.
Per la mostra sono state selezionate alcune fotografie dell’artista iraniano Omid Hashemi che da anni collabora con l’artista serba e insegna la sua Méthode. Omid realizza ritratti intimi di questo incredibile pezzo poetico di teatro biografico. Gli elementi macabri dei ricordi di Marina sono trasformati, capovolti, in qualcosa di meraviglioso e dalle tinte umoristiche. Su sfondi dai chiaroscuri cangianti si stagliano le figure che, seppur reali visivamente, sembrano appartenere a un rituale misterico in un affondo nel dramma e durezza dell’esistenza. L’atmosfera è onirica dove dimensione umana e ultraterrena si confondono acquisendo un effetto ipnotico - sulle note di Antony: "That is my destiny. I became a Volcano of Snow".
Omid Hashemi fissa in scatti leggeri e visionari il dramma di una delle più celebri e controverse personalità dell’arte contemporanea dalla sua nascita fino alla sua ipotetica fine, in un continuo gioco dove il protagonista resta il proprio corpo e i propri limiti.
La rassegna narra i racconti sopravvissuti di questa “quasi opera”.
“The Life and Death of Marina Abramović” prosegue collateralmente alla manifestazione fotografica The Phair presso il Padiglione Nervi di Torino Esposizioni (27/28/29 maggio).
La mostra è stata curata da Saeed Khavar Nejad e realizzata grazie alla collaborazione con l’Istituto internazionale SAFPEM (Middle East & Europe Specialized Institute of
Contemporary Arts), con sede a Parigi e Toronto, che da anni è attivamente impegnato nel valorizzare e promuovere l’arte contemporanea del Medio Oriente nel contesto artistico occidentale.
Biografia Omid Hashemi
Nato nel 1986 a Teheran, Omid è un artista e ricercatore. Si è trasferito frequentemente a causa della sua situazione familiare; dal 1989 al 1993 in Turchia, poi in Pakistan. Nel 2006 si è trasferito a Parigi per completare i suoi studi presso l'Università di Parigi VIII con una tesi di dottorato in Aesthetics, Science and Technology of the Arts, presso questa Università è poi diventato docente.
È stato nel febbraio 2009, a Parigi, che Omid ha incontrato Marina Abramović. L'ha poi accompagnata nel giugno 2009 a Manchester per seguire il suo lavoro, e l'anno successivo a Madrid. Marina Abramovic accettò di diventare la sua insegnante. Marina Abramovic ha seguito la sua strada, consigliandolo.
@omid.hashemi.p
Special Thanks to my Life Master, @Marina_Abramovic
Omid_Hashemi (Photographer)
@Saeed_Khavar_Nejad (Curator of the Exhibition in Italy) @SAFPEM_Institute (Exhibition Organizer in Middle East & Europe) @Carlomaria_Weber and @Alberto_Weber (@Weber_Gallery Owners) @Eleonora_Tartarelli (Texts & Member of Managing board in Italy) @De_Ketelfactory_Gallery (Video materials)
Waiting For Marina Abramovic - By Fabrizio Dividi
The inspection between Ogr and Mole by some collaborators of the famous artist lights up the hope of his visit to the city on the occasion of the photographic exhibition at Weber & Weber and The Phair
And if, in Turin, the Artist were really "present"? Paraphrasing one of the most famous performances by Marina Abramovic, who with The Artist is present had redesigned the maps of contemporary art, one wonders if the most famous bodyartist on the planet will really be able to reveal herself in the city. The rumors in this sense have been chasing each other for weeks, without any confirmation of her presence but with explicit admissions from her entourage that this can happen.
The pretext for an impromptu visit, moreover in an already record period in terms of international visibility for our city, would derive from two important artistic events that concern it. From Friday (inauguration tomorrow at 6 pm) until Saturday 23 July, the Weber and Weber Gallery in via San Tommaso 7 hosts The life and Death of Marina Abramovic , a photographic exhibition that will continue alongside "The Phair", an event scheduled for Torino Esposizioni between 27 and 29 May.
"These are 12 shots - Carlomaria Weber anticipates - that the Iranian artist Omid Hashemi had captured from behind the scenes of the play directed by Robert Wilson and interpreted by Abramovic herself and by Willem Dafoe".
“Do you really want me to stage your death? I will do it on condition that you allow me to do it also with your life ». This is how the great avant-garde director had replied to the artist in 2007. And it was thus that the work that gives its name to the Turin W&W exhibitions was born, based on the life of the protagonist, from childhood in Belgrade, where she was born in 1946, up to the story of his existence devoted to art. «In our gallery - adds Alberto Weber - Hashemi's solo show will be enriched by the official video of the show; then, in the days of The Phair, part of the exhibition will be shown in the fair dedicated to photography ».
Finally he explains the origins of his admiration for the artist: «It dates back to 1977, the year of Imponderabilia in Bologna. In what I believe to be one of her most memorable performances, the visitors had to pass between her and Ulai's naked bodies leaning against a doorpost; I was one of them ».
The exhibition was curated by Saeed Khavar Nejad, in collaboration with the Safpem Institute which for years has been committed to spreading and enhancing contemporary art from the Middle East and Africa in the West and in Asian countries. «With this institution - he explains - we have created something that did not exist before: a sort of living archive made up of young artists, about 2,000 between 18 and 40 years old, united in a single movement. I am not interested in binding their art, but directing them towards markets and cultures that are more congenial to them. The presence of Marina and other few and selected figures already established in the art world also serves to accredit them at international museums and galleries ».
Returning to the «Abramovic affair», the recent and reserved inspection by some of the artist's assistants in a couple of spaces deemed suitable for a possible intervention by the performer - not necessarily linked to the May events - bodes well. Locations such as the Aula del Tempio in Mole and the imposing post-industrial spaces of the Ogrs are leaking; a "double" choice dictated by the opposite possibility of expression of the performer in a "vertical" sense, in the case of the Antonelli building, or "horizontal" in that of the former factory in Corso Castelfidardo. And there would also be some unusual and, why not, flattering requests: Abramovich would appreciate a meeting with Mayor Stefano Lo Russo.
In short, after the hangover from Eurovision and with the Book Fair now upon us, with its load of books and writers, Turin could become (at least for a day and without waiting for the traditional "Contemporary" in November) also the city of contemporary art: as long as Marina dissolves her reservations and decides to give the Turin stage a further moment of sharing and citizen pride.
And if, in Turin, the Artist were really "present"? Paraphrasing one of the most famous performances by Marina Abramovic, who with The Artist is present had redesigned the maps of contemporary art, one wonders if the most famous bodyartist on the planet will really be able to reveal herself in the city. The rumors in this sense have been chasing each other for weeks, without any confirmation of her presence but with explicit admissions from her entourage that this can happen.
The pretext for an impromptu visit, moreover in an already record period in terms of international visibility for our city, would derive from two important artistic events that concern it. From Friday (inauguration tomorrow at 6 pm) until Saturday 23 July, the Weber and Weber Gallery in via San Tommaso 7 hosts The life and Death of Marina Abramovic , a photographic exhibition that will continue alongside "The Phair", an event scheduled for Torino Esposizioni between 27 and 29 May.
"These are 12 shots - Carlomaria Weber anticipates - that the Iranian artist Omid Hashemi had captured from behind the scenes of the play directed by Robert Wilson and interpreted by Abramovic herself and by Willem Dafoe".
“Do you really want me to stage your death? I will do it on condition that you allow me to do it also with your life ». This is how the great avant-garde director had replied to the artist in 2007. And it was thus that the work that gives its name to the Turin W&W exhibitions was born, based on the life of the protagonist, from childhood in Belgrade, where she was born in 1946, up to the story of his existence devoted to art. «In our gallery - adds Alberto Weber - Hashemi's solo show will be enriched by the official video of the show; then, in the days of The Phair, part of the exhibition will be shown in the fair dedicated to photography ».
Finally he explains the origins of his admiration for the artist: «It dates back to 1977, the year of Imponderabilia in Bologna. In what I believe to be one of her most memorable performances, the visitors had to pass between her and Ulai's naked bodies leaning against a doorpost; I was one of them ».
The exhibition was curated by Saeed Khavar Nejad, in collaboration with the Safpem Institute which for years has been committed to spreading and enhancing contemporary art from the Middle East and Africa in the West and in Asian countries. «With this institution - he explains - we have created something that did not exist before: a sort of living archive made up of young artists, about 2,000 between 18 and 40 years old, united in a single movement. I am not interested in binding their art, but directing them towards markets and cultures that are more congenial to them. The presence of Marina and other few and selected figures already established in the art world also serves to accredit them at international museums and galleries ».
Returning to the «Abramovic affair», the recent and reserved inspection by some of the artist's assistants in a couple of spaces deemed suitable for a possible intervention by the performer - not necessarily linked to the May events - bodes well. Locations such as the Aula del Tempio in Mole and the imposing post-industrial spaces of the Ogrs are leaking; a "double" choice dictated by the opposite possibility of expression of the performer in a "vertical" sense, in the case of the Antonelli building, or "horizontal" in that of the former factory in Corso Castelfidardo. And there would also be some unusual and, why not, flattering requests: Abramovich would appreciate a meeting with Mayor Stefano Lo Russo.
In short, after the hangover from Eurovision and with the Book Fair now upon us, with its load of books and writers, Turin could become (at least for a day and without waiting for the traditional "Contemporary" in November) also the city of contemporary art: as long as Marina dissolves her reservations and decides to give the Turin stage a further moment of sharing and citizen pride.
The Phair 2022
From 27 May 2022 to 29 May 2022
TURIN
PLACE: Turin Expositions
ADDRESS: Corso Massimo D'Azeglio 15b
In May 2022, the third edition of The Phair takes place in Turin , a three-day event dedicated to photography and the image together with art galleries, collectors, publishing houses and artists. The Phair is a neologism that is a manifesto, a synthesis of Photography and Fair , an annual event that celebrates the language of photography and its multiple forms. The appointment takes place from 27 to 29 May 2022 . Italian and foreign galleries will participate in the event, some of them engaged in the creation of new collaborations, which will present shared exhibition projects.
Also for the 2022 edition, the event takes place in the space of Pavilion 3 of the former exhibition center of Torino Esposizioni , designed by Ettore Sottsass senior in 1938 with the collaboration of Pier Luigi Nervi. The area of almost 4 thousand square meters, which for over half a century was the seat of the most important international events that took place in Turin, will host 50 exhibitors with The Phair.
TURIN
PLACE: Turin Expositions
ADDRESS: Corso Massimo D'Azeglio 15b
In May 2022, the third edition of The Phair takes place in Turin , a three-day event dedicated to photography and the image together with art galleries, collectors, publishing houses and artists. The Phair is a neologism that is a manifesto, a synthesis of Photography and Fair , an annual event that celebrates the language of photography and its multiple forms. The appointment takes place from 27 to 29 May 2022 . Italian and foreign galleries will participate in the event, some of them engaged in the creation of new collaborations, which will present shared exhibition projects.
Also for the 2022 edition, the event takes place in the space of Pavilion 3 of the former exhibition center of Torino Esposizioni , designed by Ettore Sottsass senior in 1938 with the collaboration of Pier Luigi Nervi. The area of almost 4 thousand square meters, which for over half a century was the seat of the most important international events that took place in Turin, will host 50 exhibitors with The Phair.
24th Edition of the DIGI CON 6 ASIA Digital Art Festival - 2022 / Tokyo, Japan
SAFPEM Institute will curate for the 24th edition of the DIGICON 6 ASIA festival in Tokyo, Japan in 2022
Special Thanks to:
Takafumi Yuki
Sahel Rosa
Shoayb Shahabi
A video festival sponsored by TBS Holdings, Inc. with the aim of discovering excellent content creators from 15 regions in Asia. DigiCon6 Regional Awards were held in advance in each region of China, Hong Kong, India, Indonesia, Iran, Japan, South Korea, Laos, Malaysia, Mongolia, Singapore, Sri Lanka, Taiwan, Thailand and Uzbekistan, and the creators selected there We will ...
Special Thanks to:
Takafumi Yuki
Sahel Rosa
Shoayb Shahabi
A video festival sponsored by TBS Holdings, Inc. with the aim of discovering excellent content creators from 15 regions in Asia. DigiCon6 Regional Awards were held in advance in each region of China, Hong Kong, India, Indonesia, Iran, Japan, South Korea, Laos, Malaysia, Mongolia, Singapore, Sri Lanka, Taiwan, Thailand and Uzbekistan, and the creators selected there We will ...
MANIPULATED GENES Exhibition - 2022
The Iranian New Media Artists in Europe
Weber Gallery - Turin/Italy
From 24 March to 7 May
Weber Gallery - Turin/Italy
From 24 March to 7 May
The Iranian New Media Artists in Europe 2022
Manipulated Genes – The Iranian New Media Artists in Europe da Weber & Weber
Con gli artisti Shirin Abedinirad, Elmira Abolhasani, Morteza Ahmadvand, Avazeh Almasi, Nikzad Arabshahi, Melina Clade, Samad Ghorbanzadeh, Omid Hashemi, Behnam Kamrani, Soheil Kheirabadi, Alireza Khosroabadi, Alireza Memariani, Mandana Moghaddam, Nima Nikakhlagh, Mehrnoosh Roushanaei, Kambiz Sabri, Nastaran Safaei, Hamed Sahihi, Bijan Sayfouri, Farideh Shahsavarani, Rosita Taheri. A cura di Saeed Khavar Nejad. In collaborazione con SAFPEM Institute.
Con gli artisti Shirin Abedinirad, Elmira Abolhasani, Morteza Ahmadvand, Avazeh Almasi, Nikzad Arabshahi, Melina Clade, Samad Ghorbanzadeh, Omid Hashemi, Behnam Kamrani, Soheil Kheirabadi, Alireza Khosroabadi, Alireza Memariani, Mandana Moghaddam, Nima Nikakhlagh, Mehrnoosh Roushanaei, Kambiz Sabri, Nastaran Safaei, Hamed Sahihi, Bijan Sayfouri, Farideh Shahsavarani, Rosita Taheri. A cura di Saeed Khavar Nejad. In collaborazione con SAFPEM Institute.
"MANIPULATED GENES" ALLA GALLERIA WEBER & WEBER
Dal 24 Marzo al 07 Maggio 2022
dalle ore 18.00 alle ore 23.59
Via San Tommaso 7, Torino VEDI MAPPA
011/19500694
dalle ore 18.00 alle ore 23.59
Via San Tommaso 7, Torino VEDI MAPPA
011/19500694
AUTOGENESIS / Nikzad Arabshahi - Exhibition 2022
France / Netherlands / Iran
Chapelle de Beaurepaire, 45 Rue Eugène Gilbert, Clermont-Ferrand
Opening time:
Tuesday to Saturday from 1 pm to 7 pm
Sunday from 2 pm to 6 pm
The work:
After a series of studies on generative arts and artificial life systems, artist Nikzad Arabshahi had the idea to reconstruct the essence of his paintings as an artificial life ecosystem (Soft Alife) to give the visual elements/components a certain degree of autonomy, and certain control over its own production to grow, develop and perform as a group of autopoiesis agents in real-time through algorithmic computer renderings.
The outcome of this idea/self-reflection is turned into living computational algorithms and implemented into the coding platforms by the artist to allow him to develop an artificial synthetic ecosystem formed on creating probable Alife (Artificial Organisms). This project does not simulate living components digitally on the computer. Instead, it is an experience of the possibilities of generating visual art as a “living computation” beyond the chemical solution. Therefore, it is constructed for synthesizing generative art based on the collective data and determined protocols. These data were captured, collected, and re-engineered by the artist during his study on underlying mechanics of behavioral decisions through the art-making process. and filtered via the established evolutionary protocols that were created for the Autogenesis project. The outcomes of these protocols provide all the necessary computation for the challenges of existence to the software-based system. An Alife that can develop the painterly experiences by growing artificially, as a consequence of a continuation of living computations, evaluating, reviewing, reflecting, and reinterpreting with no need of the creator/artist’s presence to control.
The artist:
Nikzad Arabshahi was born in Tehran-Iran, He is a Den Haag (Netherlands)-based interdisciplinary artist, educated ArtScience at Koninklijke Academie van Beeldende Kunsten (Royal Academy of Art, The Hague, The Netherlands). He has been actively working in the fields of fine art, generative art, and interdisciplinary art since 2003.
Nikzad concentrates on creating and developing immersive multimedia environments, visual installation, and audiovisual performances by designing custom-made tools and generating visuals based on algorithms and creative coding. Nikzad collaborates with creative professionals in the fields of creative industries, architecture, urban lighting, festival organization, performing arts, and theater show to grasp a deeper understanding of interdisciplinary arts.
Chapelle de Beaurepaire, 45 Rue Eugène Gilbert, Clermont-Ferrand
Opening time:
Tuesday to Saturday from 1 pm to 7 pm
Sunday from 2 pm to 6 pm
The work:
After a series of studies on generative arts and artificial life systems, artist Nikzad Arabshahi had the idea to reconstruct the essence of his paintings as an artificial life ecosystem (Soft Alife) to give the visual elements/components a certain degree of autonomy, and certain control over its own production to grow, develop and perform as a group of autopoiesis agents in real-time through algorithmic computer renderings.
The outcome of this idea/self-reflection is turned into living computational algorithms and implemented into the coding platforms by the artist to allow him to develop an artificial synthetic ecosystem formed on creating probable Alife (Artificial Organisms). This project does not simulate living components digitally on the computer. Instead, it is an experience of the possibilities of generating visual art as a “living computation” beyond the chemical solution. Therefore, it is constructed for synthesizing generative art based on the collective data and determined protocols. These data were captured, collected, and re-engineered by the artist during his study on underlying mechanics of behavioral decisions through the art-making process. and filtered via the established evolutionary protocols that were created for the Autogenesis project. The outcomes of these protocols provide all the necessary computation for the challenges of existence to the software-based system. An Alife that can develop the painterly experiences by growing artificially, as a consequence of a continuation of living computations, evaluating, reviewing, reflecting, and reinterpreting with no need of the creator/artist’s presence to control.
The artist:
Nikzad Arabshahi was born in Tehran-Iran, He is a Den Haag (Netherlands)-based interdisciplinary artist, educated ArtScience at Koninklijke Academie van Beeldende Kunsten (Royal Academy of Art, The Hague, The Netherlands). He has been actively working in the fields of fine art, generative art, and interdisciplinary art since 2003.
Nikzad concentrates on creating and developing immersive multimedia environments, visual installation, and audiovisual performances by designing custom-made tools and generating visuals based on algorithms and creative coding. Nikzad collaborates with creative professionals in the fields of creative industries, architecture, urban lighting, festival organization, performing arts, and theater show to grasp a deeper understanding of interdisciplinary arts.
37th Video Formes Digital Arts Festival 2022
Clermont Ferran / France
ACTES NUMERIQUES #3
Saeed Khavar Nejad
(Curator and Artistic Director of SAFPEM Institute)
Nikzad Arabshahi (Artist)
Golnaz Behrouznia (Artist)
Elise Aspord (Co-Presodent of Video Formes)
Espace Municipal Georges-Conchon
ACTES NUMERIQUES #3
Saeed Khavar Nejad
(Curator and Artistic Director of SAFPEM Institute)
Nikzad Arabshahi (Artist)
Golnaz Behrouznia (Artist)
Elise Aspord (Co-Presodent of Video Formes)
Espace Municipal Georges-Conchon
ART CAPITAL PARIS 2022
Du 16 au 20 Février 2022, au Grand Palais Ephémère sur le Champ de Mars, à Paris
> SALON DES ARTISTES FRANÇAIS
> SALON DESSIN & PEINTURE À L'EAU
> SALON DES ARTISTES INDÉPENDANTS
> SALON COMPARAISONS
> SALON DES ARTISTES FRANÇAIS
> SALON DESSIN & PEINTURE À L'EAU
> SALON DES ARTISTES INDÉPENDANTS
> SALON COMPARAISONS
23rd DigiCon 6 ASIA - Japan
Iran - Japan
Curated by:
SAFPEM Institute
Kiyarash Zandi
Special Thanks to:
Takafumi Yuki
Sahel Rosa
Shoayb Shahabi
Curated by:
SAFPEM Institute
Kiyarash Zandi
Special Thanks to:
Takafumi Yuki
Sahel Rosa
Shoayb Shahabi
JOCONDE Exhibition
An exhibition by Italian artist Gianni Fornarresio entitled "Jaconde" is on display at the Vista Art Gallery. This artist has been present in Tehran for this occasion. According to Dr. Parisa Pahlavan, director of Vista Gallery, the first part of this art exchange was held in parallel with the annual Artissima event, entitled Residence Call and "Micro_Macro" exhibition, presenting works by 70 Iranian artists from October 26 to November 7, 2021 in Fornarzio Gallery in Turin, Italy.
TORINO MAGAZINE - 150
micro_ MACRO è un progetto artistico che ha l’intento di creare uno scambio culturale a livello internazionale nel mondo dell’arte contemporanea tra Italia e Iran.
Lo scambio culturale micro_MACRO ha inizio con una mostra presso lo Studio Fornaresio a Torino in Via le Chiuse 1/A. La Galleria torinese è lieta, infatti, di presentare una collettiva di cinquanta artisti iraniani scelti tramite concorso. All’interno della mostra si potrà ammirare una collezione di ben 100 miniature di artisti, noti ed emergenti, molto diversi sia per formazione che per stile artistico.
L'iniziativa è stata possibile grazie all'Istituto internazionale SAFPEM con sede a Parigi e Tehran.
L'inaugurazione si terrà il giorno 26 Ottobre alle ore 18:30.
La mostra si potrà visitare da Lunedì al Sabato dalle ore 15:30 alle 19:30.
Lo scambio culturale micro_MACRO ha inizio con una mostra presso lo Studio Fornaresio a Torino in Via le Chiuse 1/A. La Galleria torinese è lieta, infatti, di presentare una collettiva di cinquanta artisti iraniani scelti tramite concorso. All’interno della mostra si potrà ammirare una collezione di ben 100 miniature di artisti, noti ed emergenti, molto diversi sia per formazione che per stile artistico.
L'iniziativa è stata possibile grazie all'Istituto internazionale SAFPEM con sede a Parigi e Tehran.
L'inaugurazione si terrà il giorno 26 Ottobre alle ore 18:30.
La mostra si potrà visitare da Lunedì al Sabato dalle ore 15:30 alle 19:30.
IRAN IN ITALIA - ITALIA IN IRAN
micro_ MACRO is an artistic project that aims to create an international cultural exchange in the world of contemporary art between Italy and Iran.
The micro_MACRO cultural exchange begins with an exhibition at Studio Fornaresio in Turin in Via le Chiuse 1 / A. In fact, the Turin Gallery is pleased to present a group show of fifty Iranian artists selected through a competition. Inside the exhibition you will be able to admire a collection of 100 miniatures by well-known and emerging artists, very different in terms of both training and artistic style.
The initiative was made possible thanks to the SAFPEM international institute based in Paris and Tehran.
The inauguration will take place on October 26th at 6:30 pm.
The exhibition can be visited from Monday to Saturday from 15:30 to 19:30.
The micro_MACRO cultural exchange begins with an exhibition at Studio Fornaresio in Turin in Via le Chiuse 1 / A. In fact, the Turin Gallery is pleased to present a group show of fifty Iranian artists selected through a competition. Inside the exhibition you will be able to admire a collection of 100 miniatures by well-known and emerging artists, very different in terms of both training and artistic style.
The initiative was made possible thanks to the SAFPEM international institute based in Paris and Tehran.
The inauguration will take place on October 26th at 6:30 pm.
The exhibition can be visited from Monday to Saturday from 15:30 to 19:30.
micro_MACRO Exhibition
micro_MACRO_Exhibition_News, [07.10.21 16:22]
micro_MACRO
PAINTING EXHIBITION IRAN*ITALY
Studio Fornaresio, Torino
26 ottobre - 5 novembre 2021
micro_ MACRO è un progetto artistico che ha l’intento di creare uno scambio culturale a livello internazionale nel mondo dell’arte contemporanea tra Italia e Iran.
Questo progetto è stato possibile grazie al sostengo e alla collaborazione con l’istituto culturale SAFPEM (Middle East & Europe Specified Institute of Contemporary Arts) con sede Parigi e Toronto – Considerate le difficoltà politiche nell’esporre all’estero o ad essere in contatto con il mercato dell’arte occidentale, l’istituto si è impegnato nell’offrire visibilità agli artisti emergenti del Medio Oriente.
Lo scambio culturale micro_MACRO ha inizio con una mostra presso lo Studio Fornaresio a Torino. La Galleria torinese è lieta, infatti, di presentare una collettiva di cinquanta artisti iraniani scelti tramite concorso. All’interno della mostra si potrà ammirare una collezione di ben 100 miniature di artisti, noti ed emergenti, molto diversi sia per formazione che per stile artistico.
La mostra si sviluppa e costruisce attraverso la molteplicità e la diversità dei linguaggi espressivi con il fine ultimo di condurci attraverso la bellezza dell’arte iraniana contemporanea.
Lo scambio culturale prosegue il 19 novembre 2021 con la mostra personale dell’artista italiano Gianni Fornaresio ospite con i suoi lavori presso la fervida Galleria Vista, situata nel cuore di Teheran.
Attraverso lo scambio, la condivisione di idee, e il dialogo tra culture diverse, crediamo nella formazione di nuove sinergie.
Vernissage martedì 26 ottobre ore 18.30
GREEN PASS RICHIESTO
Data: 26 ottobre - 5 novembre 2021
Dove: Studio Fornaresio, Via le Chiuse, 1/A, 10144 Torino
Orari: 15.30 – 19.30
Artisti del concorso micro-Macro:
Fatemeh Maryam DOWLATABADI / Nazanin KARBALAEI RAMEZAN / Mani MEHRZAD / Sadaf SABOUHI / Arman KHORRAMAK / Sogol JAVAHERI / Zohreh SOLATI / Fatemeh BAHMAN / Azim MORAKABATCHI / Azin ROSTAMI / Zahra SOLTANINEJAD / Zahed SHEIKHBAHAEI / Arash FESHARAKI / Mahsa MASHHADI RAJABI / Donya ROSTAMI / Mahsa HEYRANI / Faezeh KHAN MOHAMMADI / Farzad CHEGINI / Maryam SALEHI / Narges FARAHANI / Tabasom TAHAM / Somayeh ATAELLAHI / Behnoush POUYAN / Tirdad MOHAMADI / Fereshteh HEMMATI / Roya KARIMI / Elaheh FARMANIAN / Zahra DEHGHAN / Fahimeh KARGAR / Milad POORHAGHGOU / Fatemeh ESKANDARI JAHMANI / Nazila MOGHADAM / Razieh SEDIGHINA KASHI / Elaheh SOLEIMANI / Niloofar SALEHI / Tina EBTEHAJ / Farzaneh TAAK / Sepideh ZAREI Roya MAZROEI /
VISTA Permanent and Invited Artists:
Pooya ARYANPOUR, Najva ERFANI, Daryoush HOSSEINI, Behnam KAMRANI, Saeed KHAVAR NEJAD, Mahta MOEINI, Rezvan SADEGHZADEH, Amir SOGHRATI, Adel YOUNESI, Negin FARAHANI, Eisa JABARI, Shadi NOYANI, Majid ABBASI FARAHANI, Banafsheh AHMADZADEH, Sormeh ARAB, Navid ARTVASH, Neda AZAMI, Fatemeh EBRAHIMI, Sheida GORJIDOOZ, Gelareh GOUDARZI, Ibrahim HASSANZADEH, Setareh HOSSEINI, Neda JALILI, Hamid JAFARI SHAKIB, Ashkan MAHROEI, Roya MAZROEI, Ghader MANSOORI, Sara MOTAMED NIA, Farnaz NIKOOKHAK, Erfan SHAHYAD, Nazanin ZADMEHR
Contatti:
STUDIO FORNARESIO
Via Le Chiuse, 1/A – Torino, Italy
Tel. 011.19702207
Cell. 333.6187277
E-mail: info@fornaresio.com
VISTA GALLERY
No. 11, Twelfth street, Miremad Ave. Teheran 15878461114, Iran
Tel. (+9821) 88513933-34
E-mail: info@vistaart.gallery
Website: vistaart.gallery
SAFPEM Institute
No. 10, Via Gustave Rouanet, 75018 - Parigi / Francia
Tel. +33 (0) 637698951
E-mail: safpeminstitute@gmail.com
Website: www.safpeminstitute.com
micro_MACRO
PAINTING EXHIBITION IRAN*ITALY
Studio Fornaresio, Torino
26 ottobre - 5 novembre 2021
micro_ MACRO è un progetto artistico che ha l’intento di creare uno scambio culturale a livello internazionale nel mondo dell’arte contemporanea tra Italia e Iran.
Questo progetto è stato possibile grazie al sostengo e alla collaborazione con l’istituto culturale SAFPEM (Middle East & Europe Specified Institute of Contemporary Arts) con sede Parigi e Toronto – Considerate le difficoltà politiche nell’esporre all’estero o ad essere in contatto con il mercato dell’arte occidentale, l’istituto si è impegnato nell’offrire visibilità agli artisti emergenti del Medio Oriente.
Lo scambio culturale micro_MACRO ha inizio con una mostra presso lo Studio Fornaresio a Torino. La Galleria torinese è lieta, infatti, di presentare una collettiva di cinquanta artisti iraniani scelti tramite concorso. All’interno della mostra si potrà ammirare una collezione di ben 100 miniature di artisti, noti ed emergenti, molto diversi sia per formazione che per stile artistico.
La mostra si sviluppa e costruisce attraverso la molteplicità e la diversità dei linguaggi espressivi con il fine ultimo di condurci attraverso la bellezza dell’arte iraniana contemporanea.
Lo scambio culturale prosegue il 19 novembre 2021 con la mostra personale dell’artista italiano Gianni Fornaresio ospite con i suoi lavori presso la fervida Galleria Vista, situata nel cuore di Teheran.
Attraverso lo scambio, la condivisione di idee, e il dialogo tra culture diverse, crediamo nella formazione di nuove sinergie.
Vernissage martedì 26 ottobre ore 18.30
GREEN PASS RICHIESTO
Data: 26 ottobre - 5 novembre 2021
Dove: Studio Fornaresio, Via le Chiuse, 1/A, 10144 Torino
Orari: 15.30 – 19.30
Artisti del concorso micro-Macro:
Fatemeh Maryam DOWLATABADI / Nazanin KARBALAEI RAMEZAN / Mani MEHRZAD / Sadaf SABOUHI / Arman KHORRAMAK / Sogol JAVAHERI / Zohreh SOLATI / Fatemeh BAHMAN / Azim MORAKABATCHI / Azin ROSTAMI / Zahra SOLTANINEJAD / Zahed SHEIKHBAHAEI / Arash FESHARAKI / Mahsa MASHHADI RAJABI / Donya ROSTAMI / Mahsa HEYRANI / Faezeh KHAN MOHAMMADI / Farzad CHEGINI / Maryam SALEHI / Narges FARAHANI / Tabasom TAHAM / Somayeh ATAELLAHI / Behnoush POUYAN / Tirdad MOHAMADI / Fereshteh HEMMATI / Roya KARIMI / Elaheh FARMANIAN / Zahra DEHGHAN / Fahimeh KARGAR / Milad POORHAGHGOU / Fatemeh ESKANDARI JAHMANI / Nazila MOGHADAM / Razieh SEDIGHINA KASHI / Elaheh SOLEIMANI / Niloofar SALEHI / Tina EBTEHAJ / Farzaneh TAAK / Sepideh ZAREI Roya MAZROEI /
VISTA Permanent and Invited Artists:
Pooya ARYANPOUR, Najva ERFANI, Daryoush HOSSEINI, Behnam KAMRANI, Saeed KHAVAR NEJAD, Mahta MOEINI, Rezvan SADEGHZADEH, Amir SOGHRATI, Adel YOUNESI, Negin FARAHANI, Eisa JABARI, Shadi NOYANI, Majid ABBASI FARAHANI, Banafsheh AHMADZADEH, Sormeh ARAB, Navid ARTVASH, Neda AZAMI, Fatemeh EBRAHIMI, Sheida GORJIDOOZ, Gelareh GOUDARZI, Ibrahim HASSANZADEH, Setareh HOSSEINI, Neda JALILI, Hamid JAFARI SHAKIB, Ashkan MAHROEI, Roya MAZROEI, Ghader MANSOORI, Sara MOTAMED NIA, Farnaz NIKOOKHAK, Erfan SHAHYAD, Nazanin ZADMEHR
Contatti:
STUDIO FORNARESIO
Via Le Chiuse, 1/A – Torino, Italy
Tel. 011.19702207
Cell. 333.6187277
E-mail: info@fornaresio.com
VISTA GALLERY
No. 11, Twelfth street, Miremad Ave. Teheran 15878461114, Iran
Tel. (+9821) 88513933-34
E-mail: info@vistaart.gallery
Website: vistaart.gallery
SAFPEM Institute
No. 10, Via Gustave Rouanet, 75018 - Parigi / Francia
Tel. +33 (0) 637698951
E-mail: safpeminstitute@gmail.com
Website: www.safpeminstitute.com
INVISIBLE MIRROR
Seven Beauties Music Projects
Singers:
Alim Qasimov
Shoayb Shahabi
Composer:
Saeed Khavar Nejad
Violincello Soloist:
Gwendeline Lumaret
Mix and Mastering:
Sina Talebi
Producer:
Maqam Productions
Singers:
Alim Qasimov
Shoayb Shahabi
Composer:
Saeed Khavar Nejad
Violincello Soloist:
Gwendeline Lumaret
Mix and Mastering:
Sina Talebi
Producer:
Maqam Productions
Persian AITAI - NHK TV in Japan
AITAI! I Wanna See You
Aitai project is using a song to unite us through our human desire to connect. Aitai! is to express the emotions of people missing their loved ones during the coronavirus pandemic.
Aitai project is using a song to unite us through our human desire to connect. Aitai! is to express the emotions of people missing their loved ones during the coronavirus pandemic.
FIC 2021 Tunisia
مردی با صدای جادویی درباره ی زندگی و آثار عالیم قاسیماف خوانندهی آذربایجانی/ محمود توسلیان
Iranian Article about Master Alim Qasimov
Text by:
Mahmoud Tavassolian
بدیع، متفاوت، پویا، خلاق و آزاد؛ این واژهها به لحاظ دستوری در یک جمله معمولا نقش صفت را بازی میکنند و همگی از صفات مثبت یک پدیده محسوب میشوند. پس چه خوشبخت و بلند طبع است، انسانی که نه فقط این صفات بلکه صفات دیگری را با هنرش به وجود میآورد. اندک اند هنرمندان بزرگی که در دنیای مسخشده و آسانطلب امروز این فضایل را در هنر خود داشته باشند؛ اما “عالم قاسیماف” خوانندهی برجسته و مطرح آذربایجانی از زمرهی خوشنامانی است که با تلاش و ورود به حوزه ی اندیشهی هنری راه خود را به خوبی پیدا کرده و به قول نشریهی “فلک روتس” (Folk Roots) یکی از بزرگترین خوانندگان قرن بیستم شده است.
عالیم قاسیماف در آذربایجان و در خانوادهای متوسط به دنیا آمد. از دوران نوجوانی به موسیقی علاقهمند شد و با تمام مرارتهایی که در این راه وجود داشت، راه موفقیت خود را پیدا کرد. وی در بخشی از خاطراتش که به دریافت جایزهی بزرگ یونسکو (IMC) مربوط میشود، نوشته است: “ در چهار سالگی در یک مسابقهی موسیقی شرکت کردم، اما حضورم از طرف مردم جدی گرفته نشد، با گریه صحنه را ترک کردم، ولی این اتفاق نه تنها باعث نشد که من از طی طریق در موسیقی باز بمانم، بلکه من را مصممتر کرد.” طبیعی است که چنین چشماندازی به لقب “نابغهی موسیقی شرق” منجر میشود.
صدای استثنایی عالیم، او را به محضر بزرگان موسیقی اصیل آذربایجان کشاند. او در جوانی از آموزش موسیقی دانانی همچون “حاجی بابا حسیناف”، “نریمان علیاف” و “آقا عبداللهاف” سود جست و در بیست و پنج سالگی بهعنوان بهترین خوانندهی کلاسیک نسل خود، “جایزهی بزرگ آواز” را از آن خود کرد و رفتهرفته از سرآمدان اجرای مقام در آذربایجان شد. اما چطور میشود که خوانندهای مانند عالیم قاسیماف که راه اسلافش را میپیمود به یک خوانندهی جهانی معتبر و شناختهشده مبدل شود؟
عالیم قاسیماف از خصیصهای اندیشگانی برخوردار است که اغلب هنرمندان تراز اول دنیا بهواسطهی آن راه به افتخار میبرند. دلایل متعددی را در ماندگاری و محبوبیت این هنرمند میتوان ذکر کرد که از آن میان به شیوهی اجرا، انتخاب اشعار و فراز و فرودهای بسیار متفاوت در اجرای اشعار میتوان اشاره کرد. عالیم قاسیماف مانند سایر هنرمندان برجسته از استقلال و فردیت خاصی برخوردار است و همین مساله او را منحصر بهفرد کرده است. این انحصار از خود هنرمند آغاز میشود. قاسیماف پس از پاسخدادن به تقاضای مردم در محافل و مجالس به این نتیجه رسید که تقلید محض از گذشتگان و اجرای موسیقی - یعنی این که خواننده فقط مجری موسیقی باشد و نتواند محدودهای را با توانایی و خلاقیت خودش اجرا کند – نمیتواند او را فراتر از خودش و در نهایت فراتر از استادانش ببرد. رسیدن به این مرحله که هنر باید در وهلهی اول درونی باشد، نخستین گام برای رسیدن به تازگی و پویایی در موسیقی است.
قاسیمف دربارهی کارش میگوید:
وقتی میخوانم، انگار وارد دنیای دیگری میشوم، در آن دنیا احساس آرامش میکنم و دوست دارم تا ابد در آن دنیا بمانم، اما متاسفانه وقتی خواندنم به پایان میرسد، باز خودم را در این دنیا میبینم.
همین درونیکردن، اندیشهها، پرسشها و دریچههای جدیدی را به روی هنرمند باز میکند که عالیم از این قاعده مستثنا نیست. به همین سبب است که طی کنسرتها و تجربههای صحنهای مختلف، او در اجرا به شیوهای رسید که به یک نشانه و مولفه در آثارش تبدیل شد. او روی صحنه آرام و قرار ندارد. مدام دستهایش را تکان میدهد، به آسمان می برد، روی گوشهایش میگذارد، روی زانوهایش قرار میدهد و باز در هوا میچرخاند. گاهی هم در خلال اجرا، به سنت موسیقی آذربایجانی قاوال (دایره) مینوازد. او معتقد است که تحرک در اجرا سبب آزادی او روی صحنه و برقراری ارتباط بهتر با مردم میشود و محدودیتهای خواندن آواز را از او سلب میکند.
افزون بر این دو مولفه، عالیم قاسیماف در اجرای اشعار به معانی آنها بسیار توجه دارد و سعی میکند هنگام انتخاب شعر و اجرای آن تناسب پیوند شعر و موسیقی را لحاظ کند. با شنیدن چند قطعه از او میتوان دریافت که درست خواندن شعر - و انتقال صحیح و سلامت آن به شنونده برای دریافت معنا و فراغت از تکنیکهایی که موجب عدم دریافت واژهها میشود - در کارش از جایگاه خاصی برخوردار است. او واژهها را شمرده و بر اساس ریتم مقامها میسنجد و سپس اجرا میکند. البته این نکته نافی تکنیک بالا و استفاده ار فرمهای صوتی جدید و خلاق در آثار او نیست، بلکه او هنگام به کار بردن تحریر به خوبی از تکنیکها برای معرفی گسترهی تواناییهایش استفاده میکند و از خود خوانندهای کامل میسازد.
طبیعی است که قدم برداشتن در این مسیر، روز به روز اندیشهی او و هنرش را گستردهتر کرد، تا جایی که در سال 1999 جایزه موسیقی یونسکو را از آن خود ساخت. جایزهای که هر موسیقیدانی آرزوی بهدست آوردن آنرا دارد و موسیقیدانان بزرگی چون “شوستاکوویچ”، “برنشتاین”، “راوی شانکار” و “نصرت فاتح علی خان” به آن دست یافتهاند. عالیم قاسیماف پس از گرفتن این جایزه گفت: “باورم نمیشد این جایزه را بگیرم”. اما به نظر میرسد اعطای این جایزه به او زیاد دور از باور نباشد. موسیقی قاسیماف به قدری متفاوت، خلاق و پویا است که هر انسانی از هر فرهنگ و جغرافیایی میتواند راه به آن ببرد و به قول حضرت مولانا “سر دلبران در حدیث دیگران” گفته شود. به هر حال امروز دیگر، شهرت این خواندهی سرشناس از مرزهای آذربایجان فراتر رفته و به کشورهایی همچون آمریکا، برزیل، ژاپن، اسپانیا، بریتانیا، فرانسه و ایران رسیده است. حالا دیگر عالیم قاسیماف یک چهرهی جهانی است که نه فقط در ایران و آذربایجان بلکه در تمام دنیا برای اهل موسیقی - و حتی عامهی مردم - شناخته شده است.
به هر حال عالیم قاسیماف با شناخت و دریافتهای شهودی خود کار را به جایی میرساند که روزنامه فرانسوی “لو موند” از او بهعنوان “مردی با صدای جادویی” یاد میکند.
Text by:
Mahmoud Tavassolian
بدیع، متفاوت، پویا، خلاق و آزاد؛ این واژهها به لحاظ دستوری در یک جمله معمولا نقش صفت را بازی میکنند و همگی از صفات مثبت یک پدیده محسوب میشوند. پس چه خوشبخت و بلند طبع است، انسانی که نه فقط این صفات بلکه صفات دیگری را با هنرش به وجود میآورد. اندک اند هنرمندان بزرگی که در دنیای مسخشده و آسانطلب امروز این فضایل را در هنر خود داشته باشند؛ اما “عالم قاسیماف” خوانندهی برجسته و مطرح آذربایجانی از زمرهی خوشنامانی است که با تلاش و ورود به حوزه ی اندیشهی هنری راه خود را به خوبی پیدا کرده و به قول نشریهی “فلک روتس” (Folk Roots) یکی از بزرگترین خوانندگان قرن بیستم شده است.
عالیم قاسیماف در آذربایجان و در خانوادهای متوسط به دنیا آمد. از دوران نوجوانی به موسیقی علاقهمند شد و با تمام مرارتهایی که در این راه وجود داشت، راه موفقیت خود را پیدا کرد. وی در بخشی از خاطراتش که به دریافت جایزهی بزرگ یونسکو (IMC) مربوط میشود، نوشته است: “ در چهار سالگی در یک مسابقهی موسیقی شرکت کردم، اما حضورم از طرف مردم جدی گرفته نشد، با گریه صحنه را ترک کردم، ولی این اتفاق نه تنها باعث نشد که من از طی طریق در موسیقی باز بمانم، بلکه من را مصممتر کرد.” طبیعی است که چنین چشماندازی به لقب “نابغهی موسیقی شرق” منجر میشود.
صدای استثنایی عالیم، او را به محضر بزرگان موسیقی اصیل آذربایجان کشاند. او در جوانی از آموزش موسیقی دانانی همچون “حاجی بابا حسیناف”، “نریمان علیاف” و “آقا عبداللهاف” سود جست و در بیست و پنج سالگی بهعنوان بهترین خوانندهی کلاسیک نسل خود، “جایزهی بزرگ آواز” را از آن خود کرد و رفتهرفته از سرآمدان اجرای مقام در آذربایجان شد. اما چطور میشود که خوانندهای مانند عالیم قاسیماف که راه اسلافش را میپیمود به یک خوانندهی جهانی معتبر و شناختهشده مبدل شود؟
عالیم قاسیماف از خصیصهای اندیشگانی برخوردار است که اغلب هنرمندان تراز اول دنیا بهواسطهی آن راه به افتخار میبرند. دلایل متعددی را در ماندگاری و محبوبیت این هنرمند میتوان ذکر کرد که از آن میان به شیوهی اجرا، انتخاب اشعار و فراز و فرودهای بسیار متفاوت در اجرای اشعار میتوان اشاره کرد. عالیم قاسیماف مانند سایر هنرمندان برجسته از استقلال و فردیت خاصی برخوردار است و همین مساله او را منحصر بهفرد کرده است. این انحصار از خود هنرمند آغاز میشود. قاسیماف پس از پاسخدادن به تقاضای مردم در محافل و مجالس به این نتیجه رسید که تقلید محض از گذشتگان و اجرای موسیقی - یعنی این که خواننده فقط مجری موسیقی باشد و نتواند محدودهای را با توانایی و خلاقیت خودش اجرا کند – نمیتواند او را فراتر از خودش و در نهایت فراتر از استادانش ببرد. رسیدن به این مرحله که هنر باید در وهلهی اول درونی باشد، نخستین گام برای رسیدن به تازگی و پویایی در موسیقی است.
قاسیمف دربارهی کارش میگوید:
وقتی میخوانم، انگار وارد دنیای دیگری میشوم، در آن دنیا احساس آرامش میکنم و دوست دارم تا ابد در آن دنیا بمانم، اما متاسفانه وقتی خواندنم به پایان میرسد، باز خودم را در این دنیا میبینم.
همین درونیکردن، اندیشهها، پرسشها و دریچههای جدیدی را به روی هنرمند باز میکند که عالیم از این قاعده مستثنا نیست. به همین سبب است که طی کنسرتها و تجربههای صحنهای مختلف، او در اجرا به شیوهای رسید که به یک نشانه و مولفه در آثارش تبدیل شد. او روی صحنه آرام و قرار ندارد. مدام دستهایش را تکان میدهد، به آسمان می برد، روی گوشهایش میگذارد، روی زانوهایش قرار میدهد و باز در هوا میچرخاند. گاهی هم در خلال اجرا، به سنت موسیقی آذربایجانی قاوال (دایره) مینوازد. او معتقد است که تحرک در اجرا سبب آزادی او روی صحنه و برقراری ارتباط بهتر با مردم میشود و محدودیتهای خواندن آواز را از او سلب میکند.
افزون بر این دو مولفه، عالیم قاسیماف در اجرای اشعار به معانی آنها بسیار توجه دارد و سعی میکند هنگام انتخاب شعر و اجرای آن تناسب پیوند شعر و موسیقی را لحاظ کند. با شنیدن چند قطعه از او میتوان دریافت که درست خواندن شعر - و انتقال صحیح و سلامت آن به شنونده برای دریافت معنا و فراغت از تکنیکهایی که موجب عدم دریافت واژهها میشود - در کارش از جایگاه خاصی برخوردار است. او واژهها را شمرده و بر اساس ریتم مقامها میسنجد و سپس اجرا میکند. البته این نکته نافی تکنیک بالا و استفاده ار فرمهای صوتی جدید و خلاق در آثار او نیست، بلکه او هنگام به کار بردن تحریر به خوبی از تکنیکها برای معرفی گسترهی تواناییهایش استفاده میکند و از خود خوانندهای کامل میسازد.
طبیعی است که قدم برداشتن در این مسیر، روز به روز اندیشهی او و هنرش را گستردهتر کرد، تا جایی که در سال 1999 جایزه موسیقی یونسکو را از آن خود ساخت. جایزهای که هر موسیقیدانی آرزوی بهدست آوردن آنرا دارد و موسیقیدانان بزرگی چون “شوستاکوویچ”، “برنشتاین”، “راوی شانکار” و “نصرت فاتح علی خان” به آن دست یافتهاند. عالیم قاسیماف پس از گرفتن این جایزه گفت: “باورم نمیشد این جایزه را بگیرم”. اما به نظر میرسد اعطای این جایزه به او زیاد دور از باور نباشد. موسیقی قاسیماف به قدری متفاوت، خلاق و پویا است که هر انسانی از هر فرهنگ و جغرافیایی میتواند راه به آن ببرد و به قول حضرت مولانا “سر دلبران در حدیث دیگران” گفته شود. به هر حال امروز دیگر، شهرت این خواندهی سرشناس از مرزهای آذربایجان فراتر رفته و به کشورهایی همچون آمریکا، برزیل، ژاپن، اسپانیا، بریتانیا، فرانسه و ایران رسیده است. حالا دیگر عالیم قاسیماف یک چهرهی جهانی است که نه فقط در ایران و آذربایجان بلکه در تمام دنیا برای اهل موسیقی - و حتی عامهی مردم - شناخته شده است.
به هر حال عالیم قاسیماف با شناخت و دریافتهای شهودی خود کار را به جایی میرساند که روزنامه فرانسوی “لو موند” از او بهعنوان “مردی با صدای جادویی” یاد میکند.
WOP ART 2020
The #SAFPEM_Institute, in collaboration with the #MA_EC Center in Milan, is exhibiting the Artworks of #Middle_Eastern_artists at this year's Switzerland Art Fair #WOPART_2020 (from 27 November to 27 December).
#Melina_Clade (from IRAN) and #Mina_Bazari (from Sweden) are the two artists selected for the WOPART exhibition. This is also the first time that Iranian artists will attend this event.
From the beginning of its activity, WOPART has been the stage for showing the works of prominent artists such as: #Banksy, #Marina_Abramovic, #Pablo_Picasso, #Joan_Miro, #Luigi_Pericle, #Marino_Marini, #Fabio_Viale, #Seren_Maisto, #Karen_Bystedt, #Hsiao_Chin, #Yayoi_Kusama, #Fernand_Leger, #Andy_Warhol, #Egon_Schiele and #Alberto_Giacometti.
Curated by:
#MA_EC Gallery
#saeed_khavar_nejad
#Melina_Clade (from IRAN) and #Mina_Bazari (from Sweden) are the two artists selected for the WOPART exhibition. This is also the first time that Iranian artists will attend this event.
From the beginning of its activity, WOPART has been the stage for showing the works of prominent artists such as: #Banksy, #Marina_Abramovic, #Pablo_Picasso, #Joan_Miro, #Luigi_Pericle, #Marino_Marini, #Fabio_Viale, #Seren_Maisto, #Karen_Bystedt, #Hsiao_Chin, #Yayoi_Kusama, #Fernand_Leger, #Andy_Warhol, #Egon_Schiele and #Alberto_Giacometti.
Curated by:
#MA_EC Gallery
#saeed_khavar_nejad
WOP ART 2020
The #SAFPEM_Institute, in collaboration with the #MA_EC Center in Milan, is exhibiting the Artworks of #Middle_Eastern_artists at this year's Switzerland Art Fair #WOPART_2020 (from 27 November to 27 December).
#Melina_Clade (from IRAN) and #Mina_Bazari (from Sweden) are the two artists selected for the WOPART exhibition. This is also the first time that Iranian artists will attend this event.
From the beginning of its activity, WOPART has been the stage for showing the works of prominent artists such as: #Banksy, #Marina_Abramovic, #Pablo_Picasso, #Joan_Miro, #Luigi_Pericle, #Marino_Marini, #Fabio_Viale, #Seren_Maisto, #Karen_Bystedt, #Hsiao_Chin, #Yayoi_Kusama, #Fernand_Leger, #Andy_Warhol, #Egon_Schiele and #Alberto_Giacometti.
Curated by:
#MA_EC Gallery
#saeed_khavar_nejad
#Melina_Clade (from IRAN) and #Mina_Bazari (from Sweden) are the two artists selected for the WOPART exhibition. This is also the first time that Iranian artists will attend this event.
From the beginning of its activity, WOPART has been the stage for showing the works of prominent artists such as: #Banksy, #Marina_Abramovic, #Pablo_Picasso, #Joan_Miro, #Luigi_Pericle, #Marino_Marini, #Fabio_Viale, #Seren_Maisto, #Karen_Bystedt, #Hsiao_Chin, #Yayoi_Kusama, #Fernand_Leger, #Andy_Warhol, #Egon_Schiele and #Alberto_Giacometti.
Curated by:
#MA_EC Gallery
#saeed_khavar_nejad
Mina Bazari
WOP ART 2020
Mina vill värna miljön med sina detaljrika bilder
Publicerad i fredags kl. 10:30
Mina vill värna miljön med sina detaljrika bilder
Publicerad i fredags kl. 10:30
Published Book by:
Storia Editions
France-England
2020
Storia Editions
France-England
2020
ALIM QASIMOV IN 60 YEARS
Published Book by:
Storia Editions
France-England
2020
Storia Editions
France-England
2020
VERNON PHILHAR ORCHESTRA Théâtre de l’Espace Philippe-Auguste 24 novembre, 2019
La Société Philharmonique de Vernon organise son traditionnel concert de Sainte Cécile dimanche 24 novembre à l’Espace Philippe-Auguste. Un rendez-vous entre Orient et Occident avec un invité de marque.
Le Moyen-Orient a fait rêver bien des compositeurs. C’est ce que nous invite à découvrir l’orchestre d’harmonie de la « Philhar’ » lors de son grand concert annuel. « La première partie du spectacle sera dédiée aux influences de l’Orient sur la musique occidentale », souligne Marc Aubry, président de la vénérable association, fondée en 1886. L’occasion pour le public de (re)découvrir des extraits d’œuvres teintées d’orientalisme comme Shéhérazade de Rimski-Korsakov, la Bacchanale de Saint-Saëns ou Caravan de Duke Ellington. Mais également une pièce originale : « Les Ruines de Palmyra », musique descriptive aux airs de B.O. de péplum.
Le kamânche iranien
Dans la deuxième partie, les musiciens quitteront l’Orient fantasmé pour s’attaquer au répertoire traditionnel perse. Un choix motivé par un coup de foudre artistique. « J’ai fait, par hasard, la connaissance de Saeed Khavarnejad, compositeur iranien et joueur de kamânche », raconte Dominique Collemare, le chef d’orchestre. Les spectateurs pourront donc entendre plusieurs pièces de ce musicien voyageur, ardent promoteur de la musique iranienne. Sur scène, il sera accompagné par les musiciens de la Société Philharmonique, mais également par la jeune chanteuse folk tunisienne Wafa Harbaoui. « A la Philhar’, nous aimons sortir des sentiers battus », affirme Dominique Collemare, « nous n’avions jamais abordé les musiques du monde, il était donc temps ». Un challenge pour la cinquantaine de musiciens, de 15 à 80 ans, qui répètent dans une salle du Grévarin. Mais le jeu en vaut la chandelle car, chaque année, le concert de Sainte-Cécile fait salle comble. Cette année, il est organisé en partenariat avec l’Espace Philippe-Auguste, ce qui permet de réserver en ligne ou au guichet. Alors ne tardez pas !
Le Moyen-Orient a fait rêver bien des compositeurs. C’est ce que nous invite à découvrir l’orchestre d’harmonie de la « Philhar’ » lors de son grand concert annuel. « La première partie du spectacle sera dédiée aux influences de l’Orient sur la musique occidentale », souligne Marc Aubry, président de la vénérable association, fondée en 1886. L’occasion pour le public de (re)découvrir des extraits d’œuvres teintées d’orientalisme comme Shéhérazade de Rimski-Korsakov, la Bacchanale de Saint-Saëns ou Caravan de Duke Ellington. Mais également une pièce originale : « Les Ruines de Palmyra », musique descriptive aux airs de B.O. de péplum.
Le kamânche iranien
Dans la deuxième partie, les musiciens quitteront l’Orient fantasmé pour s’attaquer au répertoire traditionnel perse. Un choix motivé par un coup de foudre artistique. « J’ai fait, par hasard, la connaissance de Saeed Khavarnejad, compositeur iranien et joueur de kamânche », raconte Dominique Collemare, le chef d’orchestre. Les spectateurs pourront donc entendre plusieurs pièces de ce musicien voyageur, ardent promoteur de la musique iranienne. Sur scène, il sera accompagné par les musiciens de la Société Philharmonique, mais également par la jeune chanteuse folk tunisienne Wafa Harbaoui. « A la Philhar’, nous aimons sortir des sentiers battus », affirme Dominique Collemare, « nous n’avions jamais abordé les musiques du monde, il était donc temps ». Un challenge pour la cinquantaine de musiciens, de 15 à 80 ans, qui répètent dans une salle du Grévarin. Mais le jeu en vaut la chandelle car, chaque année, le concert de Sainte-Cécile fait salle comble. Cette année, il est organisé en partenariat avec l’Espace Philippe-Auguste, ce qui permet de réserver en ligne ou au guichet. Alors ne tardez pas !