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Curriculum Mortis (Exordium) 2013 Sanatçının Izniyle | Courtesy the Artist

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Curriculum Mortis (Exordium) 2013 Sanatçının Izniyle | Courtesy the Artist fragMENtaTION 8 Barbad Golshiri Curriculum Mortis (Exordium) 2013 Sanatçının izniyle | Courtesy the artist Küratör: NECMİ SÖNMEZ Editör: MİNE HAYDAROĞLU BU DÜNYA! Barbad Golshiri Projesi Kavramsal çalışmalarında görsel ve yazılı imgeler arasında farklı bir dünya yolculuğuna çıkmış olan kişileri de içine alan hatırlama eyleminin diyalog kurmayı başaran Tahranlı sanatçı Barbad Golshiri tutkulu bir parçalarıdır. edebiyatseverdir. Onun fragMENtaTION dizisi için hazırlamış olduğu Güncel zamanın akışkanlığı içinde Unutmamak her türlü olumsuzluğa, proje, son on beş yıllık çalışmalarının ana ekseni olan mezarlık, mezar hoyratlığa, baskıya rağmen bir tür direniş aracı olduğu için, sanatçı taşları, kitabeler gibi konular etrafında şekilleniyor.1 Golshiri kendi bu olguyu vanitas estetiğine boğmadan, detaylardan arındırarak çektiği fotoğraflar, çizimler ve gerçekleştirdiği heykellerle her ne kadar kavramsallaştırıyor. Çektiği fotoğrafların birçoğu, kendi elinden çıktıktan Yunan mitolojisinde ölümü temsil eden Thanatos2 gibi öbür dünyaya sonra kırılan mezar taşlarını göstermesine rağmen Golshiri konunun trajik ait imgeler üzerine yoğunlaşsa da, tuhaf bir şekilde, bu dünyayı ve boyutlarıyla fazla ilgilenmeden, olgular geliştirmeyi başarıyor. Nedir bu bugünün sorunlarını etraflı şekilde yorumlayan bir tavır geliştiriyor. olgular? Her şeyden önce cesaret, bilginin paylaşılması, yaşanmışlıkların Golshiri İran’daki günümüz mezarlıklarını büyüteç altına alırken sosyal, bellekte bıraktıkları izler. Maddesellikten özellikle kaçınan Golshiri, tarihsel ve geleneksel olarak bu ülkenin yakın tarihinde iz bırakmış bizzat yakın çevresindekiler için geliştirmiş olduğu mezar taşlarında kimi olguları, az bilinen, hatta dile bile getirilmeden sadece uygulanan kimi şifreler geliştirerek, hayatını kaybedenlerin özel hayat sınırlarına girecek “ayinleri” görsel kodlara çevirmeyi başarıyor. Babasının (Houshang her türlü davranıştan uzak durmayı başarıyor. Golshiri) kırılmış mezar taşından başlayarak geliştirmiş olduğu anlatım Golshiri, projesinde geliştirmiş olduğu metaforlarla, düşüncel tarzı özyaşamsal notlar, göndermeler ve yaşanmışlıklarla yüklü. Tek tek imgelere açılan bir koridor oluşturuyor. Birçok yaratıcı sanatçının dile getirilemeyecek denli detaylarla yoğun yakın tarih bilgisi gerektiren, arkalarında bıraktığı izleri de derleyen Golshiri, şimdiki zamanın adeta ince bir kumaş gibi dokunmuş olan bir proje karşısındayız. Golshiri karşısına güncel taleplerin ötesinde bir noktada çıkmayı tercih ediyor. politik nedenlerden ötürü, hatırlanmaları bile yasaklanmış kişiler için Sanatçının kendisi için tasarladığı mezar taşıyla sonlandırılan bu proje, İran’da yapılmış özel mezar taşlarını bir imge olarak gündeme getirirken, küçük bir kurşunkalemin yazı yazarken gösterdiği akışkanlıkla, izleyiciye sadece Yakın Doğu’nun sınırları içinde kalmıyor. Marquis de Sade için de başka odaları, başka kapıları aralamayı hedefliyor. Bu etkileyici yalınlık, anıtsal bir mezar üzerinde son iki yıldır çalışan sanatçı3, ressam Van Eyck konuşmaktan çok susmaya davet eden bir karaktere sahip. başta olmak üzere, ilgi duyduğu birçok yaratıcı için mezar taşı tasarlamış ve gerçekleştirmişti. Golshiri’nin bu çalışmaları, yakın çevresindeki öbür İstanbul-Düsseldorf, Mayıs, Haziran, 2013 1 Sanatçının 1.6.2013 tarihli e-postasından. 2 http://en.wikipedia.org/wiki/Thanatos, Erişim tarihi 3.6.2013. 3 Sanatçının 1.6.2013 tarihli e-postasından. THIS WORLD! Barbad Golshiri’s Project Tehran based artist Barbad Golshiri is a passionate lover of fiction including those close to him who have passed away. who establishes a dialog between visual and textual images in his In the fluidity of current times, To Remember, is a vehicle of resistance conceptual works. His project for the fragMENtaTION series is built against all kinds of negativity and oppression; this is why the artist around issues that have been the main axis for his work the past fifteen conceptualizes it, and without drowning in an esthetics of vanitas, by years: cemeteries, tombstones and epitaphs.1 In his photographs, keeping it pure, void of details. Many of the photographs he takes drawings and sculptures he focuses on images that pertain to “the other show broken tombstones, but Golshiri does not dwell too much on the world”, such as Thanatos2 who represents death in Greek mythology; tragic dimensions of the subject, and manages to raise some facts. What yet in doing so, he develops a style that interprets this world and are these facts? First and foremost courage, sharing of information, the today‘s problems in a comprehensive manner. traces of experiences left in each and every one’s memory. Golshiri As Golshiri looks at the current cemeteries in Iran, he transforms to bewares of materiality and by creating various codes on the tombstones visual codes, events that have had social, historical impact on this country, specifically built for people in his close environs, he stands clear from and traditions, even some less known “rituals” that are conducted but any type of behavior that might impinge upon the privacy of those who never spoken of. His expressive style evolving from his father Houshang have lost their lives. Golshiri’s broken gravestone is laden with autobiographical notes, Via the metaphors he develops in his project, Golshiri forms a references and experiences. We are faced with a project that is woven corridor that opens to ideational images. In doing so, he also compiles like a fabric and dense with details that require knowledge about history the traces left by many creative artists. He prefers to face the present and the recent past. While Golshiri brings forward the image of the time at a point beyond current requests. This project that ends with the gravestones made in Iran for people whose memory even have been tombstone the artist has prepared for himself, has the fluency of a small banned for political reasons, he does not limit himself to Near East only. pencil in the process of writing; and as such aims to lead the reader to He has been working on a monumental sarcophagus for Marquis de open other rooms, to push other doors ajar. This impressive modesty is Sade the last two years3; and has designed and realized tombstones defined more by a call to honoring in silence rather than talking. for many creative people; one of the first ones was for painter Van Eyck. These works are a part of the artist’s action for remembering people, Istanbul-Düsseldorf, May-June, 2013 1 From the artist’s email dated June 1st, 2013. 2 http://en.wikipedia.org/wiki/Thanatos Access date June 3rd, 2013. 3 From the artist’s email dated June 1st, 2013. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 künyeler / captions senin ayaklarını öperim.” aynı cümleyi dünyevi bir şekilde kalmamış, sadece metal harfleri Saber. Tombstone of Saeed Emami, the söyledi: “Evet, Hova al-Bâqi, tutmuş olan delikler görülüyor. Haleh was killed in his father’s 1. deputy minister of intelligence Mohammad Makhtari ebedidir.” Not a letter of the epitaph funeral (Golshiri was there when Sassari Mezarlığı, Sardunya, who masterminded serial killings A shattered and burnt cow skull is remains, only holes that once held it happened) and to protest İtalya of Iranian intellectuals. His epitaph again joined with wax, wires and metallic letters. Haleh’s death, Hoda went on Sassari Cemetery, Sardigna, Italy reads: “A loyal servant of Islam screws. The epitaph engraved hunger strike in Evin prison and 2011 and a devoted husband. Martyr on its forehead is in Thuluth 9. died - reportedly he was also Haj Saeed Emami, son of Ali- calligraphy style and reads in Guerrier Contre Dieu beaten. 2. Akbar. I wish that you come back Arabic: Perpetual is He. [Tanrı’ya karşı savaşan] Sanatçının babası Houshang and I kiss your feet.” Apart from artistic connotations 2010 13. Golshiri’nin kırılmış mezar taşı. and the very history of Vanitas Balmumu, is Borges’in suikasta kurban giden Yanında suikaste kurban giden 4. and its failure, it refers to what Wax, soot çevirmeni için mezartaşı. aydınlar Mohammad Mokhtari ve Charenton Akıl Hastanesi; many expect of tragic political ~6 x ~55 x ~125 cm Tombstone for the assassinated Mohammad Jafar Pouyandeh’in günümüzde Saint-Maurice deaths. “Perpetual Is He” is a Kitabedeki tersten yazı körler translator of Borges mezar taşları Hastanesi translation of “Hova al-Bâqi” and alfabesiyle Farsça/Arapça Broken tombstone of Houshang Marquis de Sade burada gömülü it is a religious precept. It is a “Mohareb”. Islam Cumhuriyeti’nde Sefid Chal Mezarlığı Golshiri. Next to it tombstones ama yeri bilinmiyor. reminder of mortals’ inevitability ölüm cezası verilen Mohareneh: Sefid Chal Cemetery of assassinated intellectuals: Charenton Asylum, today Saint- of death and imperishabilty and Tanrıya ve devlete karşı savaş 2012 Mohammad Mokhtari and Maurice Hospital. immortality of God. In his speech suçunun faili. Sefid Châl, İran’ın kuzeyinde Mohammad Jafar Pouyandeh Marquis de Sade was buried at Mohammad Mokhtari’s burial The reversed epitaph in Persian/ Galoogâhi Mazandaran’da 1000 here, but is not known where Houshang Golshiri uttered the Arabic Braille reads “Mohareb”, yıldır varolan bir mezarlıktır. Yöre Sanatçının babası Houshang exactly. sentence in an earthly manner: the perpetrator of the crime halkı köylülerin hayattayken kendi Golshiri’nin kırılmış mezar taşı. “Yes, Hova al-Bâqi, Mohammad Mohareneh: war against God and mezartaşlarını seçip hazırladıklarını Barbad, babasının kısa öyküsü Perpetual is He [Ebedidir O] Mokhtari is perpetual.” the state, a capital crime
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