After the great success of Vol.2, Platform 101, a nonprofit and independent art institution, is continuing the Glitch Video Art Group Exhibition in Tehran, Iran Vol.03, entitled “Glitch: Aesthetic of the Pixels”, curated by Mohammad Ali Famori, featuring 27 international glitch artists from 5th-12th November 2021 at Pejman Foundation: Kandovan.

Since 2019, Platform 101 mission, in collaboration with Art Researcher and Famori Studio, revolves around establishing a solid foundation for digital arts and new media in Iran by supporting the artists and musicians and expanding the knowledge of glitch art among the Iranian community. On the third edition of these exhibitions, they are rereading the definition of Glitch Art in collaboration with Aleph Team and supported by  The Holy Art and Fine Art Shippers.

The ambiguity formed in the Glitch language pursues two functions; on one hand, it makes the pixel as the smallest component of the digital image that carries a new form of its independent identity, on the other hand, it allows the audience to look into the distorted and damaged images and participate in the aesthetic effects with their own interpretations.   

Pixel aesthetic in glitch art is a discourse that moves from the whole to parts and subsequently from parts to the whole, creating a cycle that makes us look at pixels as independent and aesthetic elements. Therefore, glitch artists redefine the pixel language and its aesthetics in our minds by creating works to introduce the value and nature of pixels apart from the typical public opinions about noise.

The structural contradictions and apparent similarities between pixel and visual languages have led the glitch artists to use all the available features and strategies of the visual language.

The 27 International Video Artists from countries such as Iran, Brazil, USA, Hungary, Ukraine, Portugal, UK, Azerbaijan, Argentina,Peru, Singapore include:

Abarca, Arash Masoom, Arezou Ramezani, Aqeaq Afkhami, Chris Kore, Diyufang, Elnaz Mohammadi, Erfan Ashourioun, Franco Palioff, Hernando Urrutia, Mohammad Ali Famori, Mohammad Abdollahzadeh, Monika Mihaly, Nazila Karimi, Neda Dastafkan, Nima Mansoury, Parisa Pakzamir, Parnian Donyari, Ramin Saeidian, Reza Famori, Sabato Vissconti, Sadegh Majlesi, Shalala Salamzadeh, Shahab Shahali, Suture Blue/ Brittany Nickels, Shirin Karami Mofrad, Yannet Vilela Medina.

Sound Designers:

Farbod Hamedi, Kamran Mottaghi, Ehsan Masoudian, Mohammad Sahebzamani, Babak Sepanta, Jesper Frederiksen

نوشته Glitch Video Art Group exhibition of Platform 101 at Kandovan building اولین بار در Honargardi. پدیدار شد.

Farbod Hamedi believes that the culture that collapses, the music within it collapses; Many cultures have flourished in history and have collapsed over time. He looks at the causes of the destruction of culture both internally and externally.

By studying the three-stage theory of cultivation, perfection, and destruction for Hegel’s culture, Hamedi has recorded the words of him in his mind: “Every nation grows from within, and gradually grows to perfection, and eventually perishes.”. The categories that are used (to express these stages of upbringing, perfection, and destruction) are culture, multiculturalism, and culturalism; “But the word culture does not give a clear meaning about the basic content of the ethnic spirit; it is a formal category.”

For Hamedi, Hegel’s definition of culture is as follows: “Culture is the form of thought, and its existence is due to man’s ability to rule over himself, due to the fact that man not only follows (natural) desires and tendencies. , But can be self-controlled “-” So culture in the simple sense is that man gives a general character to its content (thought).

In Hamedi’s thought, if the idea of ​​Glitch in the work is considered as the destruction of culture, then the noise is heard like the noise of the tribes, and the tonal motifs and themes return to the flourishing and reconstruction of the lost.

Hamedi considers the main question for the author of the work to be that when the encounter of prosperity and destruction can invite the voices of the tribes to the present and make perfection an auditory reality and recount the thought?

I asked Farbod Hamedi about noise and glitch.

Ramin Saeidian: Tell us about the album formation process?

Farbod Hamedi: The process of making this album describes the audio experiences from the point of view of a citizen, that is, a member of a system that faces hearing impairments in daily commutes and seeks to discover an audio idea.

It is not possible for me to understand and digest music with a common and popular aesthetic approach. As a sound researcher, my job is to extract sounds from the heart of everyday life and experience them in various contexts in random forms, which are then also dissected, and to control the nature of their randomness.

I do my projects at night. For him, the disconnections from the glitch data errors to the concrete layout are a mass of millions of inner voices that have accumulated since the morning and are the time of night to release them.

Saeidian: Can noise be controlled to create music with an underlying nature?

Hamedi: Noise is completely controllable and flexible in music, and in the past decades, noise music was used as the aesthetics of music. Noise music makes perfect sense through illustration.

Saeidian: What range of music has this community targeted?

Hamedi: Music noise can target all sections of society because the goal is to produce music noise that we hear every day in the streets, and how much better to pay attention to these industrial sounds to the music. Platform 101 tries to introduce new ideas to the community by supporting them.

Platform 101 by Mohammad Ali Famori has been operating since 2018. The mission of Platform 101 as an independent and non-profit institution is the personal branding of digital artists, the creation of economic infrastructure for digital art in Iran, and the introduction of emerging digital arts in Iran.

Famori believes that due to the lack of necessary infrastructure to introduce digital artists, lack of investment in Iranian digital arts, and lack of knowledge of emerging arts such as Glitch Video Art, Platform 101 is trying to take measures such as holding exhibition tours for digital artists, publishing books to introduce Digital art and its artists and creating references on the site and producing scientific content by the research department, to take steps towards the development of emerging digital arts in Iran.

Another such advocacy initiative of Platform 101 for Cultural Development is the release of albums for digital music artists. In 2019, Kamran Mottaghi’s electronic music album was released as the first support project of the platform 101, and this year, Farbod Hamedi’s album in five tracks is the second supporting project of the platform.

نوشته Irregular rhythm; About the second electronic music album of the platform 101 اولین بار در Honargardi. پدیدار شد.