NEDA RAZAVIPOUR

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2014 Oscillation

Chaos

Is the quality in Physical-Biological-Sociologisal systems which makes them unpredictable. Sometimes this effect is referred to as the butterfly effect-A butterfly in China flaps its wings, as a result in America a tornado starts roaming. On the other hand major perturbations may happen to a chaotic system and nothing comes of it. This lack of proportionality between the “cause” and the “caused“  is called “Chaos”.

 

The edge of Chaos

Physical systems are not always chaotic, they are often very well ordered. However life cannot persist in a well ordered crystallized environment. On the other hand in a disordered ,  unpredictable chaotic world also cannot have life. Therefore the only place that I can live is that tiny space on the edge of chaos. A living thing some times gets drawn towards chaos and times towards order, both are detrimental to him, so he hurries back to the tiny space at the edge of chaos where he can survive.

 

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“If you could imagine in performing the “Oscillation” at Etemad gallery, in between crystalline and colorful dishes which are placed on trays, Neda Razavipour is strolling along and from time to time picks up a plate, a glass, a cup, or even a handful of marbles and places them in a wooden cupboard. She stares at the placement of her selections, she may slightly rearrange them, and perhaps dusting if needs be, repeating the motions yet again, returning to another tray, removing another dish, reducing the number of plates from the trays while adding more and more items placing in the cupboard…

Have you heard that some animals become super sensitive to the earth oscillations before an earthquake occurs? Exhibiting nervous behavior, or something similar! Here is when suddenly a horrendous sound shatters the gallery’s silence and shaking the audiences to their core. Razavipour has overturned the cupboard. This unexpected turn of event is accompanied by such silence that you could easily hear the cracking of a delicate glass.  But this is not the entire performance.  She does not allow this destruction to be a classical tragic end and turning point of her artwork.  You are still reeling in this shock when the cupboard is returned back to its original stand and the pile of broken and fragmented dishes are being swept away, put back on the trays, and the action has resumed once again while the whole process has also resumed every day for a week. Of course, in referring to this resuming act, one must remain patient, unless naming what we just have witnessed as “cyclical”, which has a sequential beginning and an end. Perhaps, a guiding point of this topic can be named as: “Oscillation”

Although seemingly simple, forming the serving element is yet extremely complex. She delicately with tangible clarity boldly places this artistic nature before the audiences’ judgment.  A judgment that despite of its main argument; the merits of an artistic work, it has become about staking her own role as an artist. But before rendering any judgment here, let me tell you that after the initial destruction, some dishes have survived the crash and some have just slightly damaged. Her work has become more difficult; the absolute machinery does not seem fully functioning.

And now what faith is beheld of the remains of this incident? Keep returning to the cupboards, collapsing once again until the job is done or without any changes in their “absolute” when is freed and they become immune from the continual collapse?  This is where Razavipour makes her choice. This is when she declares her position as an artist or an author; because it is her “decision” that the display is of an “artistic nature”. She in this way and in the most astonishing way displays the works of this factory of absolutisms in the framework of economical artistic institutions.  She challenges the realms of each of the domains of “artist-gallery”, “audience-buyer”, and “critic-art history” in her work…”

From the review “Status of Military arrangement” by Homayoun Askari Sirizi,

Golestaneh magazine n 130

 

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« L’équilibre instable, est le thème de l’artiste Neda Razavipour, dans sa nouvelle œuvre intitulée « Oscillation », (Galerie Etemad, Téhéran 2014). Pendant toute une semaine l’artiste invite le public à une performance artistique, qui diffère de son précédent, « Self-Service » (Galerie Azad, Téhéran 2009; Cité des Art, Paris 2012), un happening qui exige la participation active du public. Ici le spectateur est en dehors de la scène, il est en quelque sorte face à lui même. La performance artistique que met en scène Néda Razavipour, est chargée de questions essentielles, sur l’âme, le temps, l’art, mais c’est aussi une critique de la société iranienne actuelle, et la violence avec laquelle elle continue à détruire toute trace de son histoire.

 

« Oscillation » traite du quotidien…

 

…La répétition de cette même action, assez insignifiante, mais dans laquelle s’engage l’artiste reflète le registre de nos propres activités.  Nous avons tous des rituels auxquels nous nous adonnons, pour remplir le temps, construire nos vies. Mais cette construction n’est pas toujours linéaire, il y a l’échec, et parfois l’autodestruction. Cette destruction ne s’agit-elle pas d’un manque d’équilibre?

 

L’équilibre est un état idéal, où le centre de gravité reste immobile face aux forces induites par l’extérieur. Quand les forces extérieures déplacent le centre de gravité, l'équilibre se défait constamment, pour se rétablir toujours sur de nouvelles bases, c’est une espèce de lutte continuelle, qui met le sujet dans un état transitoire, sans direction, ni repos. Les « oscillations » de Neda Razavipour, ne cessent de construire pour déconstruire. C’est un équilibre instable… »

 

D’après « Les Oscillations » de Neda Razavipour par Sara Kamalvand, Art Press http://www.artpress.com/2014/05/12/bonus-les-oscillations-de-neda-razavipour/

 

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Video link:

https://vimeo.com/162809902

https://vimeo.com/174805814

https://vimeo.com/174830065