Steps to the suspended space between art and handicraft
Regardless of strict definitions of art from the western viewpoint, Iranian handicrafts or traditional arts have been one of the most obvious referents of art through the centuries. Such works have always existed notably in everyday life, architecture and public spaces. Going beyond their functional and decorative aspects without considering their authors, these works mostly represent ritual and religious beliefs. Because of consequences of the age of communication and technology and under the influence of plural attitude in postmodern world, Iran’s contemporary art space has undergone drastic fundamental changes along global community.
At the present time, art institutions clearly differentiate between exquisite handicraft and contemporary art. Although they admit the visual pleasure and traditional values of them but they do not pay serious, critical attention to the handicraft. Thus, the evaluation of such works just has been limited to the material aspects; quality of material, techniques and execution. Meanwhile, innovation and creativity are key words by some artists to merge these boundaries. As a result, the 4 th Exhibition of Fine Craft by interweaving two categories of art and handicraft, widely acclaimed by Iranian artists that have utilized skills of handicraft to express their ideas. They have redefined concept of “technique” to “art”, artists who have taken successful steps to the suspended space between art and handicraft.
Here, artists that formerly have been successful in management and production of their studios, namely Behzad Ajdari, Nafiseh Khalaj, Mohsen Tohidi, Mohammad-Ali Sadjadi, Koroush Arish and Nima Nassiri have achieved a personal expressive way by applying their experiences and techniques. This differentiation between their production and artwork indicates the importance of creative action in art. There are more artists in this respect with unique works. Sculptors such as Mahdi Shir-Ahmadi, Mohammadreza Khalaj and Mohammad Bahabadi were invited here since they have skillfully managed to incorporate works and techniques of handicraft in their works. For instance, Shir-Ahmadi applied Khātam (inlay) techniques in the creation of novelsculptures. Bahabadi made some illegible composition of letters by using blue and white calligraphic tiles all collected from masques traditional tile studios. Performing embossed calligraphy letters as an exotic feature of Persian art, Khalaji made figures that seems as if they attempt to conceal themselves or try to leave the place. Hemmatazad chose Alam(flag); the sign of the Shiite mourning ceremonies and colored it in white, as a symbol of freedom. All these artists have tried to expand handicrafts to art by choosing different structure from old traditional interpretations.
This collection is proud to present works which have implications of history, past, tradition, continuity and universality. Undoubtedly, all these artists have borrowed from tradition, however not from the viewpoint of repetition, but in a totally new critical and even de-sanctified way. Without feeling concern of changing traditional forms, they faced Iranian handicraft with a new contemporary expression. These works convey multi-layered aspects and an oriental person with specific visual, historical and social present memory would be pleased so do the others from other layer.
What made the compilation of this collection satisfying was the quest to answer of this question: how is it possible to reach an agreement or consensus on this subject despite the state of “repetitiveness” in handicraft while expecting “novelty” in art.
Finally, as a curator of this collection from Iran, I am grateful to the International Academy of Ceramics (AIC) who provided me the opportunity to present and exhibit the works of several Iranian artists during “Revelation 2019”.
