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.

Mansouri’s video art statement states: “Mannequin {French}: A human-shaped figure made of wood and other parts, and displayed in clothing stores and clothing stores. (From Larus).

With the industrialization of societies, human beings have become tools in the hands of more powerful tools; In a way, it has become a functional object from a state with a soul and feeling. This object is worn out and decaying in the cycle of modern life systems like a gear. One of the tangible allegories in this regard are mannequins, which in addition to having one hundred percent aspects of the object, are very similar to human appearance; “In this resemblance, mannequins are left in an unused corner with wear and tear, and the humans of our time are forgotten by not using tools in this cycle.”

Mansouri, who made his video art using flash and hyperloop techniques, believes that every media has its own audience and with the globalization of the Internet, the epidemic is spreading and everything can be played with a link.

Expressing feelings and beliefs in the form of art is important for Mansouri and he believes that the effect of this work is overtime and individually, and one may unconsciously realize the existence in the middle of this cycle.

The video art of the “deceased” by Nima Mansouri in the form of a group exhibition “Glitch; Pixel Language “curated by Mohammad Ali Famori and Sadegh Majlesi will continue to be displayed in 1- Bavan Gallery until Thursday, February 25, 2021.

نوشته Repeated decline; About Nima Mansouri’s Glitch Video Art اولین بار در Honargardi. پدیدار شد.

According to her, this experimental glitch animation video art is about the constant war within us and the struggle to stay aware and conscious in a world full of noises and distractions.

This piece of work is layered with glitch 2D animation and video. Ramezani chose one of her old childhood dolls as a nostalgic object and played around with light and shadow while shooting it, then she animated on top of it. Finally, the synchronized sound effects were added to her work in order to add more ambiance and imaginative atmosphere to her work.

Arezou Ramezani is an animator and painter who works in various styles, especially ink painting. She studied visual communication and got her master’s degree in animation from Art University of Tehran and Arts University Bournemouth in the United Kingdom. After making her first experimental animation, she is more active in this style. She currently has a podcast called “Arezou Art” in the field of animation and art and interviews with leading artists in this field.

Ramezani believes:

” We all lose touch with our inner child at one time or another. Being bombarded by information and data on a daily basis keeps us so occupied and distracts us from our core values and integrities. It has become harder to deflect the noises of everyday life, an arduous journey to enlightens and protect one’s, inner child.”

The video artist of “Aberration of Inner Child” uses the glitch to demonstrate the subject of lost and weary souls in today’s world full of noises and distractions and the memories that can be continuously edited, constructed, and reconstructed that have left us but we still cling onto.

According to Ramezani, this glitch animation deploys a dreamy world and shows the thug-o-war within oneself to go from the dark side to the bright side, trying to stay aware and keeping one’s inner child safe while being surrounded by too many noises and parasites.

In every style Ramezani works in, she tries to provoke the audience’s emotions and convey a feeling to them. Art for Arezou Ramezani is an international language without borders and she uses various techniques to achieve this goal. Ramezani believes that in this animation she demonstrates the same with its visuals and sounds. She used glitch language in favor of her work and the message she wanted to deliver to the audience.

Glitch video art show “Aberration of Inner Child” Arezou Ramezani in the form of a group exhibition “Glitch; Pixel Language “curated by Mohammad Ali Famori and Sadegh Majlesi in 1- Bavan Gallery will continue until Thursday, February 11, 2021.

نوشته Constant war within humans; About Arezou Ramezani’s Glitch Video Art اولین بار در Honargardi. پدیدار شد.

In the fifth week of the group exhibition “Glitch; Pixel Language » Platform 101 Arabshahi glitch video titled” Autogenesis “is displayed in the space -1 Bavan Gallery. In his artwork statement, Arabshahi said more about the concept of autogenesis:

Autogenesis is a type of generative art project in which the audience experiences the modeled system of the artist’s mind and a range of variations among the three situations (order, complexity, and disorder) of visual and audio artwork.

To design the algorithms of the Autogenesis core system, the data from the Artist’s physical and mental patterns while painting and drawing are utilized and a simulator model of his method is generated by automatic coding software. Therefore, what is depicted before the observer is the result of a generative system creating the final image and terminal sound autonomously in real-time

To shed more light on how Autogenesis is working, first of all, we shall have a review of the general definition of Generative Art. A field of art in which the artist applies a system to produce artwork is called “Generative Art”. The system can be an integration of natural language, computer programming, or other related innovative mechanisms that are able to render a level of autonomy in part or in the whole fabrication process of the artwork. Generative Art can be Hi-tech or non-high-tech, yet the core system needs to be designed in a way to be able to manage the terminal work autonomously.

As a result, generative art refers to how the core system is working and the creation process of the artwork. Thus, to discover its link with its production reasons and understanding its content, initially, we must investigate system producer algorithms; because despite the fact that the core system is constantly hidden, it is the fundamental and constitutive part of the final artwork.

Autogenesis central system is a complex system. To design the algorithms, an analysis was done on signals from hands’ physical behavior, joints movements, and brain waves frequencies of the artist while painting. The data is recorded by multiple sensors and then assimilated with another algorithm which is able to reconstruct the elements of the artist’s visual language and model their combination method.   

The end result of this research is a combination of patterns for generating information by which designing the final Data Simulator Engine for the genesis of the artwork becomes feasible. This Data Simulator Engine plays the role of the central system intelligence.

By and large, complex systems consist of a series of parts and components interacting with their kind and other corresponding and contiguous components. These inner interactions make the system capable of organizing itself needless of an external controlling and managing agent. For that reason, such systems are also called “self-organizing”. To illustrate complex systems, the human brain can be used as an instance of a typical complex system as biologists describe it and psychoanalysts explain it in their research findings.

Haunting cycle, animals populations within an ecosystem, genes outdoing one another yielding in species evolution, empires rising and falling, cultures forming and developing and the like all entail various parts and components such as cells, chromosomes, citizens, etc. which reach a consistent structure and shape over time by interacting with other homogenous and neighboring components.

 The Autogenesis core system is created by computer generative programming and just as in the brain example above, it has a large collection of components and interacts with each other 30 times per second. Each of these components includes constituents and convert orders from central intelligence into particular operations and add the properties of the operations to the main network.

This network consists of hundreds of components and because there are a considerable number of non-linear variables in each of these components, no identical pattern as the ones before is generated. The output operation of this dynamic system is a series of visual interminable signals turning into an image with a continuous and unrepeatable composition by a Real-time Rendering Engine. 

The visual concept of this artwork is in the continuum of the artist’s previous works and intertwined with painting, drawing, and sound design. Instead of being a constant image as one of “moment” and a possibility among artist’s endless mental possibilities, in this procedure, the artwork is a visual and audio improvisation synthesizing “visual-Sound” variable possibilities and generating a consecutive combination of them. In this situation, the artwork has no definite start point and nor can be an endpoint put to it.

Not a moment before is recorded anywhere but in the viewer’s memory and neither a moment afterward is predictable. To that end, it can be stated that the artwork is more of a reflection of the artist’s thought mirroring on the wall of the pavilion than merely an objective piece of art. The point is to experience coexisting with dynamic artwork and thinking of a world of possibilities of Sounds and images that being created at any moment in front of viewers.

Glitch Video Art Autogenesis Nikzad Arabshahi in group exhibition Glitch; pixel language curated by Mohammad Ali Famori and Sadegh Majlesi will continue to be displayed in the space -1 Bavan Gallery in Tehran until Thursday, January 28, 2021.

نوشته Generating system; About Nikzad Arabshahi’s Glitch Video Art اولین بار در Honargardi. پدیدار شد.

The subject is the eye-catching and mundane effect of the eyes. The title of their work is jrt, which has its roots in the ancient Egyptian language, meaning the eye and the consonant of the word “to do” or “act”.

The sculptor and the world believe that the visible elements in their work are eyes and points. Stop Motion creates manual glitches with dots on the face and video creation software forms the basis of their video glitches.

They believe in the ancient belief that the eyes are the window to the soul. For them, this work is more of personal but universal work, based on which the eyes remain and show everything in themselves. The goal of the world is to express their inner feelings so that they can have their own signature in their works.

Show the fourth episode of “Glitch; Pixel Language »Curated by Mohammad Ali Famori and Sadegh Majlesi continued until Thursday, 21 January 2021 in Space -1 Bavan Gallery in Tehran.

نوشته Soul valve; About Neda Dastafkan and Parnian Donyari Glitch Video Art اولین بار در Honargardi. پدیدار شد.

In Prologue, we encounter elements such as light, fog, and absolute darkness. Farahani and Pour Ismail want the audience to consider the images as a prelude to meeting and being born. With the publication of images, the breadth of the game between life and death, along with the creation of space and many changes, is visible to the audience.

The artists used NASA video images of the sun and starbursts to capture the fetus, as well as brain scans using personal experimental techniques using tools such as Premiere and Audacity.

According to Farahani and Pour Ismail, the story of Prologue was created after the work itself was formed. First, an audio file was created by Behrouz Farahani, and then by opening the file as HEX CODE, they reached a series of numbers and letters. Numbers were placed for the letters obtained for each letter in the English alphabet (for example). A = 1 and B = 2).
The following are several lines of number strings as follows:
000007400 42 52 90 44 44 54 53 53 20 20 20 20

They then created a gradient file from white to vertical black as the image source and translated the resulting string into Premier software.

After this step, a 13-minute video file was obtained that was surprisingly perfectly compatible with the audio file without the slightest interference. In fact, this video honestly represents the moment of the creation of music without any shortcomings, and because this section of life with the assumption that “it is part of the whole” covers the whole life.

This video shows all the mazes that we have all experienced and will continue to experience throughout our lives, and to show this as much as possible, the artists divided the video prologue into five parts, each part of which is a corner. It represents one of these ups and downs.

Part One: Prologue
“The light that tempts you and draws you to itself. “You are forced to do something and it disappears just when you start working.”

Part Two: Construction
“In this part, you find yourself in the middle of death and you start to build something and define the surroundings for yourself; Because you are disgusted and incapable of fully understanding the environment! ”

Part Three: Destruction
“Here you decide to destroy everything you have built so far and free your mind from the chains you have attached!”

Part Four: Nothing
“You still do not reach a clear point, you become nothing, you become absurd!”

Part Five: Vain Efforts
“As you fall into the corner of the ring, you stare around and enjoy the sweat pouring into the tulip. You understand that life was like this: “seductive and absurd,” but you do not regret your presence. “

Living in the moment is a fundamental issue of the voices we hear. The people we see every day have a glorious process and at the same time a desperate effort to be born and to survive. The triumph of darkness over light is the greatest hope of despair that forms the general meaning of the prologue.

Prologue artists reject the notion that the production of a work of art originates without individual and social function, and ultimately see prologue as part of the way of life.

Show Prologue Glitch video art in the fourth week of group exhibition Glitch; pixel language was curated by Mohammad Ali Famori and Sadegh Majlesi in the space -1 Bavan Gallery until Thursday, January 21, 2021.

نوشته Honest expression; About by Behrouz Farahani and Hossein Pour Ismail Glitch Video Art 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.

The artists of this video art believe that melancholy is an attempt to represent a shattered subject in dealing with the gigantic volume of the symbolic system. A giant of letters and symbols that try every day to shape and categorize subjects into predetermined models; A kind of distortion of reality that establishes a preconceived truth.

Melancholy is for Ashourioun and the owner of the time to escape from this category, from these letters. Melancholia is the inverted definition of reality by a schizophrenic subject. To achieve this, the angle of view from the neutral and observer character to the gaze of the inflamed subject has been changed; It is as if the audience is experiencing an abstract journey through the screen to the subject’s mind.

The artists of this video art believe that in melancholy, visual forms (made by Touch Designer) are narrators. Attempts have been made to associate these forms with the general states of several events as if they were distant memories that affected the subject’s mind, and today we recall only an overview of the visual state of those memories.

The Ashouriouns have tried to deform the elements to the point that they are moving on the border between the initial state and complete deformation; This movement and repetition of the elements, this crooked look at the objects will create a kind of distrust in the received affairs for the audience.

Erfan Ashourian is a digital media artist born in 1995 in Isfahan, Iran. Ashourioun is an artist who works in the field of composing and performing music using digital tools. Inspired by nature, organic forms, and phenomena, he shows the concept of decay in abstract forms.

For the Ashourioun, in the construction of joint projects, after the formation of the idea in general and the consideration of different points of view, plans are made separately on an aura of dialogues. Like disjointed lines, which then becomes a coherent poem with the composition related to the original form of the idea of ​​lines.

In this case, form and content become an integral element. The various spatial constructions, gaps, and vocal connections as represented in melancholy become a representation of this.

Mohammad Saheb Zamani was born in 1995 in Tehran. He has a bachelor’s degree in music and is a composer. His current focus is on electroacoustic music and experimental music. His main instrument, which he started playing at the age of 16, is the piano.

Ashourioun and Saheb Zamani believe that melancholy is somehow related to a kind of loss and loss of an object that has disappeared from one’s consciousness. This is also reflected in the poem in the piece; An expression with a dull, mournful tone, along with the melancholy whisper of a melancholy person, shows something extra that is absent in mourning: a remarkable decline in self-esteem, a massive impoverishment of the soul.

According to Ashourioun, if the final work is what was depicted before the idea was made, that pleasure of discovery and the ideas added along the way will be lost. Evolution is the effect of an instantaneous reaction on a prefabricated material. The stronger the material, the more difficult and complex the reactions will be.

نوشته Object losses; About Erfan Ashourioun Glitch Video Art اولین بار در Honargardi. پدیدار شد.