{"title":"Barbad Golshiri's Acts of Alterity","authors":"Sandra Skurvida","doi":"10.1162/artm_a_00338","DOIUrl":null,"url":null,"abstract":"Abstract In his transdisciplinary practice, artist, writer, and translator Barbad Golshiri interprets from his viewpoint located in Iran the iconic pieces of the European art history, including paintings by Jan van Eyck, Jacques-Louis David, and Kazimir Malevich. Inserting his own artistically inscribed body into the material milieus of these artists, Golshiri activates the present via transfer of the past onto the future, in an attempt to differentiate the script of history. Deleuzian approach of repetition as a means of differencing instigates this interrogation of Golshiri's Malevich cycle, comprising Quod (2010), which references Malevich's Black Square (1915); Cura; the Rise and Fall of Aplasticism, (2013), restaging in Moscow and Tehran the Last Futurist Exhibition of Paintings 0.10 (Petrograd, 1915); and post-performance object “.” (2013); as well as a series of QR code actions that continue the process of dematerialization of Black Square via social mediation. In their coded language, these works speak truth to power.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"73-91"},"PeriodicalIF":0.2000,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"ARTMargins","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1162/artm_a_00338","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract In his transdisciplinary practice, artist, writer, and translator Barbad Golshiri interprets from his viewpoint located in Iran the iconic pieces of the European art history, including paintings by Jan van Eyck, Jacques-Louis David, and Kazimir Malevich. Inserting his own artistically inscribed body into the material milieus of these artists, Golshiri activates the present via transfer of the past onto the future, in an attempt to differentiate the script of history. Deleuzian approach of repetition as a means of differencing instigates this interrogation of Golshiri's Malevich cycle, comprising Quod (2010), which references Malevich's Black Square (1915); Cura; the Rise and Fall of Aplasticism, (2013), restaging in Moscow and Tehran the Last Futurist Exhibition of Paintings 0.10 (Petrograd, 1915); and post-performance object “.” (2013); as well as a series of QR code actions that continue the process of dematerialization of Black Square via social mediation. In their coded language, these works speak truth to power.
摘要在他的跨学科实践中，艺术家、作家和翻译家Barbad Golshiri从伊朗的角度解读了欧洲艺术史上的标志性作品，包括Jan van Eyck、Jacques Louis David和Kazimir Malevich的画作。Golshiri将自己艺术化的身体插入这些艺术家的物质环境中，通过将过去转移到未来来激活现在，试图区分历史的脚本。德勒兹将重复作为一种差异手段的方法引发了对戈尔希里的马列维奇循环的质疑，该循环包括Quod（2010），该循环引用了马列维奇的《黑广场》（1915）；Cura；《Aplastism的兴衰》（2013），在莫斯科和德黑兰重新举办了最后一届未来主义绘画展0.10（彼得格勒，1915）；以及业绩后目标“。”（2013年）；以及通过社会调解继续黑广场非物质化进程的一系列二维码行动。用他们的编码语言，这些作品向权力说出了真相。
期刊介绍：
ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.
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