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.

This title was chosen because it depicts the six stages of the creation of heaven and earth before the creation of man on the seventh day.
According to Famori, outside of Rabbani’s writings, apocalyptic writings also refer to Merkaba’s mysticism. Writings found in the Dead Sea and newly discovered Jewish mystical writings address this issue.

Merkaba’s writings provide a detailed description of the seven layers of paradise guarded by angels. The highest layer of heaven has seven stages, and in the highest stage is the Throne of God, which is surrounded by angels. The followers of Merkaba mysticism believed that they could ascend and ascend from these layers of paradise. It is not clear whether these ascension experiences have Jewish origins or non-Jewish sources. This work depicts the six days of the spiritual path in the discovery of creation before the seventh day.

The six curtains depicted in this work move the image by dropping it into an image of a fractal in nature. Because this image is a reflection of the geometry of creation on earth, even when it collapses, its movements seem familiar to the audience and the cornea.

Identity with the image of creation has a manifestation and root within us that stems from the stored genetic codes of our cornea. In his mission as a student in the path of art and the essence of art, Famori sees the creation of a work of art as an opportunity for the audience to discover and express the fractal and geometry of God, which can illuminate only a new light in reading the dark world.

Glitch video art show by Mohammad Ali Famori in the form of a group exhibition “Glitch; “Pixel Language” under the supervision of him and Sadegh Majlesi continued until Friday, March 12, 2021, in the space of -1 Bavan Gallery.

نوشته Familiar geometry; About Mohammad Ali Famori’s Glitch Video Art اولین بار در Honargardi. پدیدار شد.

The visual element of this work for Majlesi is a representation of the fall or fall of rain and visual clutter from the perspective of raindrops and in the background an allusion to Deja Vu or the world of particles. Its audible element is the sound of rain and the noise of the outside and the community and the human crowd, and finally the ecstasy and the spiritual ascent.

Sadegh Majlesi, born in 1989, is a graphic designer and new media artist currently based in Rasht. Majlesi believes that New Media Art is a new medium for expressing the views of the new generation, because in this medium, classical and modern formats reach the audience with a new expression. In this medium, which is often mixed with the digital art space, computer techniques are used to create the work.

Mystical and Sufi texts have inspired the Majlesi to make this work, that man one day descends from a high position and after a while ascends to a higher position, and man, like raindrops of water, and during the ascent like light water vapor goes up.

The sublime goals of the artist in this work are to create a work and the growth of the owner of the work and to reach an eloquent and beautiful language to express thoughts and ideas. Majlesi believes that this work, like his other works, is a bridge between him and the viewers of his mentality and ideas.

Glitch video art show by Sadegh Majlesi in the form of a group exhibition “Glitch; Pixel Language “continued under his own supervision and that of Mohammad Ali Famori in the space -1 Bavan Gallery until Friday, March 12, 2021.

نوشته Image of rain; About Sadegh Majlesi’s Glitch Video Art اولین بار در Honargardi. پدیدار شد.

In this Artwork, Famori examines the morphology between two myths and the ultimate symbol, one of the western culture of the goddess Venus (goddess of beauty) and the other of the east of the goddess Shiva (god of death). One gives beauty and love and the other is destructive in addition to childbirth. One is dressed in white and the other is dressed in the ashes of the cemetery to show us that death is a reality alongside life.

Sublimation has been created by combining and matching images of two myths and transforming them from a two-dimensional photo into a dynamic and three-dimensional video image that is falling and moving. In addition to the overlap between the two myths, the pixel motion technique and the wavy motion of these pixels create an illusion and interfere with object recognition.

Reza Famori, born in 1994, graduated from the Faculty of Art and Architecture, Tehran Branch Central Azad University, and is currently a graduate student in Art Research. The form and spirit of the sculptures of the last two thousand years in two parts of ancient India and Greece and the commonalities between the created goddesses have been the most important sources of inspiration for the creation of this work by Famori.

Glitch video art show by Reza Famori in the form of group exhibition Glitch; pixel language was curated by Mohammad Ali Famori and Sadegh Majlesi in the space of 1- Bavan Gallery until Friday, March 12, 2021.

نوشته Contradiction and similarity; About Reza Famori’s Glitch Video Art اولین بار در Honargardi. پدیدار شد.

The subject of her work is the connection between the elements that exist in our environment. From the geological nature of minerals such as rocks to organic and living elements such as plants to industrial and man-made elements. The exchange between these elements and the events that can occur in the meantime is the main framework of Behrooznia’s video art.

The main issue that the artist has worked on is the tensions that can occur between elements with different natures. Glitch is used to indicate the cycle of destruction of these structured elements.

The creation of this work stems from the artist’s personal concern for the future; How we want the earth to coexist between natural, animal, and human elements in the future. A glitch in Behroznia’s work indicates how every concept is formed, established, destroyed, and reappears in this cycle.

Behrouznia works with various media. From traditional media to new digital media and their integration in creating works for her. In this work, she has worked with Zedbrush modeling, After effects, and Premiere assembly (editing) software. The video was edited by French filmmaker and editor Remy Boulnois, and the soundtrack was designed by Canadian artist Maxime Corbeil-Perron.

Behrouznia believes that the audience should abandon 3D modeling and enter the subject while facing her work. Glitching is a means for her to raise the concern of asking questions in the mind of the audience.

Behrouznia has been studying and observing topics such as ecosystems, biology, and the environment and their dependencies for many years. In her view, the artist’s lofty goal is to respond to the artist’s need of expressing and creating a special language for these subjects.

Glitch Video Art “Morphogenic Tensions” Golnaz Behroznia continued to be shown until Thursday, March 4, 2021, in the -1 Bavan Gallery in the group exhibition “Glitch; Pixel Language »Curated by Mohammad Ali Famori and Sadegh Majlesi.

نوشته Formal conflict of Environment; About Golnaz Behrouznia Glitch Video Art اولین بار در Honargardi. پدیدار شد.

Abarca is a director, photographer, and artist. His work includes advertising, music video production, television shows, fashion industry films, and content production.

SONOSLUX is his latest art project. Sonos comes from the Latin word, Sonus meaning noise and Lux meaning light. SONOSLUX is a timeless space in which matter ceases to exist. In this video art the artist shows us the visual and audio interpretation of technology, physics and the psychotic state of modern society and transports us to a metaphysics world.

In the beginning, there was only darkness

Abarca mainly relies on a white light in the form of lines, grids, and waves against the black and white space and uses sound as a disturbance to his world.

Abarca starts his work with a video camera. He records specific items related to his world, then he changes the film footage and begins to sabotage it digitally, to the point where he actually paints with the elements he has left. When he reaches the design he wants, he passes it through different mediums so that he can destroy it and thus create natural glitches. Then he goes to the sound design, where he takes the soundtrack of the original film and digitally destroys it again.

Abarca believes that the creation of the work is inspired by various things. Especially how we as a society become more and more dependent on technology and how humans’ minds are rapidly moving towards a point of no return. He thinks his art tells that story; The fusion of technology and nature with a dark result.

Independence; Total and complete independence

Abarca wants to have the freedom to fully dedicate his day to work on his art and he constantly is learning new skills or creating new things.

The creation of Abarca’s work changes over time. Obviously, he starts with the main idea, but somewhere in the middle, something happens that all his senses align with his artwork and he starts working without direction until he reaches a point where he feels right. That’s when he stops.

نوشته The story behind the integration of technology and nature; About Abarca’s glitch Video Art 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.

Telecommunication is defined as the transmission of information including word, image, video, and audio. In Shah Ali’s video art, the main subject is the volume, speed, and dispersion of information received by people during the day and night. In this work, firstly, the human and then the digital information is the main element.

Shah Ali states to Platform 101: “Today, such information is being transmitted every second, and the individual is in the midst of a multitude of such information. (Cyberspace and…) In this video, this information affects the character and the world around him in the form of noise. Some parts of it, such as the environment and the animals, have become trendy in this system attracting a lot of attention, which is shown in the video in the form of rocks, plants, and deer antlers. The aura above the character is reminiscent of the unique nature of man. “The CCTV camera at the bottom of the image refers to the system which controls all the information

Shahab Shah Ali (born in 1993 in Tehran, Iran) has a bachelor’s degree in cinema. He is specialized in directing, motion graphics, visual effects, and the new media. He has also been teaching digital art since 2015. He has collaborated in the annual Tehran Digital Art Exhibition (TADAEX) in 2017 and 2018 as an artist and a member of the executive team. Moreover, he Contributed to several exhibitions including the group exhibition of Nokhteh (NOXTE) in Mohsen Gallery the Tehran Contemporary Sounds exhibition in Berlin.

Shah Ali does not agree with the transfer of feeling in works of art, he believes that in this work, no attempt has been made to convey a feeling. It is only a depicted event that with his reading and gaze. The Internet and social media have been the source of inspiration for the artist to create this work, which he considers, a collective and global issue.

Glitch video art shown by Shahab Shah Ali in the form of a group exhibition “Glitch; Pixel Language “curated by Mohammad Ali Famori and Sadegh Majlesi in the space of 1- Bavan Gallery continued until Thursday, February 19, 2021.

نوشته Angel-Demon transformation; About Shahab Shah Ali’s Glitch Video Art اولین بار در Honargardi. پدیدار شد.

This Glitch video art is made of both video and audio media. All materials are made of mathematical functions with programming tools. Its compositional approach is independent of a timeline in which the initiated process has an infinite duration, without ever repeating, and is a non-narrative evolution that invites the viewer to immerse himself in a meditative state.

Francesco Corvi (Nesso) is a Rome-based digital artist. His language is heavily influenced by the need to design complex systems that offer a wide range of unconventional creativity options. In his view, the programmer/executor has a continuous dialogue with the software that influences its behavior during the time and manages not only some parameters but also the structure of the algorithm itself.

Crovi attributes the choice and use of abstract images and sounds to the observation of geometric patterns in Islamic virtual art, as well as to the rich semantic and organic richness of those symbols that can be used for mathematical functions. This work was created during the artist’s isolation, and is due to his tendency to immerse himself in contemplative states by observing systems with very slow changes, as opposed to the very rapid flow of information from the media.

This was an important step for Corey in searching thoughtfully for algorithmic composition. Unlike his previous work, where images and sound were constantly evolving between chaotic dimensions and masses of new information. When designing a design, Corvi tries to start with attractiveness without defining precise structures and without setting rules. The end result is a continuous dialogue between the artist and the algorithm, like working with a human. He does not try to create a tool that does exactly what he commands, but a source of inspiration that works with the artist and suggests new possibilities and ways of the future.

Glitch Video Art “Circular Binary” in the form of a group exhibition “Glitch; Pixel Language »curated by Mohammad Ali Famori and Sadegh Majlesi in the space of 1- Bavan Gallery will continue until Thursday, February 11, 2021.

نوشته Slow Paced Meditation; About Francesco Corvi’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.