Zurvan is the god of time in Zoroastrianism and is known for his oneness and loneliness, which embodies infinity. Zurvan is neutral in terms of good and bad, as well as genderless. According to Salamzadeh, in the digital age, concepts such as time, infinity, gender, and morality have been distorted and lost their familiar meaning.

Salamzadeh believes that miniatures in the East, despite some religious beliefs about the prohibition of depicting humans, are still well developed. Using artificial intelligence and coding, he distorted and three-dimensionalized all the “living” elements of the miniatures of the Middle East and the faceless god of Zurvan, in his own words about the compromises of globalization, without being independent, the equality of the Internet age and Orthodoxy (meaning adherence to norms, especially in religion) promotes thinking.

In her works, Salamzadeh deals with human psychology in the digital age, computer technology, and social issues in the cyber age. Her art includes digital art, created through multimedia features such as film, photography, and layout. Her work is a constant experiment and searches for ways to influence technology to present it as a living object.

The issue of duality has always been important to Salamzadeh, and in fact, part of her has always remained faithful to traditional culture, but at the same time, her work is completely “digital”. Zurvan’s true character is associated with the oneness of time, beyond stereotypes and between darkness and light in infinity; A dynamic symbol for Salamzadeh to use as a creator in creating video art.

Salamzadeh’s goal is to find a way to reconcile traditional culture, national identity, and the global age of digital technology. For her, glitch art is a way of conveying the “distortion” of the modern age and presenting technology as a living body with unpredictable results.

Salamzadeh initially wanted to reflect on the above issues, and her goal was to create a work of art as close to his expectations as possible. In this process, some elements, such as rotating the pixels and destroying parts of the miniatures, are the result of the decision of Glitch technology that was used to create Zurvan video art.

Glitch’s video art show by Shalala Salamzadeh in the group exhibition “Glitch; Pixel Language »curated by Mohammad Ali Famori and Sadegh Majlesi in -1 Bavan Gallery in Tehran for a week until Thursday, January 16, 2021.

نوشته Visualization alone; About Shalala Salamzadeh’s 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 practice of using this digital visual interval has created an art called glitch art. This is not the first time in the history of contemporary art that a superfluous or anti-aesthetic concept in appearance creates the expression of a nascent art that ultimately leads to visual beauty through the artist’s creativity.

Technological errors that are the product of defects in digital devices give us incomplete images. These incomplete and intertwined lines of video, audio noise, pixel, and digital motifs from the glitch art aesthetics. In the process of creating the work, on the one hand, we rely on the digital broadcaster as a medium, and on the other side, there is the artist, and the third side is interpreted by the audience.

the human eye has a hidden role in the path of making images by the brain. We come across many examples of the contribution to the history of art. A clear example of this matter is the usage of eye defects to see real images and simplifying their pixels by putting them together to form an object or landscape that we witnessed before in the emergence of the Impressionist style in painting.

A century later, with the arise of glitch art, we face the simplification or destruction of the form of pixels in digital art, which is accompanied by the increase of pixels and the bombardment of images. In Glitch, we encounter a delay or rhythm in the process of sending and receiving data and displaying pixel defects in the image, and playing audio noise in the sound.

Glitch is a genre of visual art that and has the potential to become a tangible language for all human beings to reach a single concept of digital art.

One of the tangible examples of human products in which the concept of collapse feature of glitch rhythm has taken place is the leftovers of warp and knots of the famous Pazyryk carpet, Or our collective memory of the sound of home computers connecting to the Internet in the form of dial-up has created a kind of audio noise in contemporary life, which can be another example for the glitch in sound.

Dutch curator and visual artist Rosa Menkman is one of the pioneers of glitch art. Menkman is more of a scientific theorist in Glitch than an artist of this genre. She first became acquainted with Glitch in 2005 when she visited the World Wrong Exhibition by Belgian-Dutch artists Judy (Juan Himskerk and Drake Pismans) at the Amsterdam Art Institute. But the work that most influenced her was Untitled game (1996-2001), which was about video shaking in video games.

In Menkman’s 2006 master’s thesis, which focused on untitled play, she did not yet refer to Judy’s artwork as “glitch art” – she only referred to the words such as”glitch” and “buggy”. This is probably because the concept of glitch art only transcended the culture of sound and joined the culture of the visual arts in a sporadic way. When he began his artistic collaboration with the Goto80 musician, Glitch was fully immersed in his vocabulary for the visual arts and media.

In Glitch’s thesis, Menkman recounts how Andres Carlson explained to him in 2007 how he used the Commodore 64 sound chip (SID chip) to create music. The bugs used in Goto80 gave a very clear texture to the sound (the result of noise artifacts), and Menkman began to develop and recognize visual equivalents with the process. At the time, most online art activities were more artifact-based correspondence between audio and video technologies, such as combinations, feedback, and harms.

The Menkman Manifesto of Glitch Study contains passionate expressions of why there is such an important phenomenon that its potential lies in every byte of data. Her experiments with video compression have focused on creating unique images in the field of digital media.

The Glitch Menkman Study Manifesto tells of fingerprints and defects in any search for noise-free paths. She also forbids artists from getting caught up in the vortex of digital and analog confrontation and encourages them to pursue the unknown in avant-garde art.

Menkman sees Glitch as an outer shell and seeks salvation in disintegration. According to her, Glitch promises us new standards created by deviation and casting. She informs us about the damage to automatic glitch duplication software.

Menkman believes that the artist should force the audience to travel through his digital video and use this element of noise and defect as a galaxy in the envelope of technology and its internal functions. Menkman welcomes the critical aesthetics of interdisciplinary media, and at the end of her manifesto, she sees Glitch theory as something that everyone can relate to, and that the concept of flow cannot be understood without interruption.

نوشته Glitch Art; Aesthetics of the break in the pixel 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.

These videos are based on fractals produced by the artist, in the form of a short film. Diyu Fang was inspired by the fractal nature of the world, the complex architecture, and the infinite concept to make these video arts. His goal is to bring the infinite complexity and nature of fractals to life in the form of challenging films.

Di Yoo Aka Diyu Fang is a Singapore-based filmmaker, artist, and composer working primarily as an animator and filmmaker. Diyu Fang has been interested in visual arts and music since childhood and has always been interested in creative expression.

His job is to create artistic formats that bridge the gap between different genres by combining different styles and techniques and using unconventional methods to create something innovative and completely new.

He visualizes all the stages of his activity before starting work; Even if his vision changes without progress or with progress.

While working on a myriad of themes, Diyu Fang maintains a distinct line of refinement, emotional impact, and intricate detail. He has learned himself; His art and work originate from his pure passion and ambition. Diyu Fang began his artistic career as a composer and producer and then turned to filmmaking, animation, and screenwriting.

He is very interested in creating stories and plans to one day produce and direct his own TV series and movies.

The exhibition of Diyu Fang’s Artworks in the form of a group exhibition of Platform 101, curated by Mohammad Ali Famori and Sadegh Majlesi, will be held until Thursday, January 9, 2017, at -1 Bavan Gallery in Tehran.

نوشته Fractal Nature; About Diyu Fang’s Glitch Video Art اولین بار در Honargardi. پدیدار شد.

There are three other creatures around this building that do not have a face or identity compared to the main creature inside the cavity. These three creatures have an abnormal shape and move with a lot of vibrations.

Franco Palioff was born in 1988 in Argentina and has lived in Brazil since 2014. He holds a degree in nuclear engineering. Part of his study focuses on interactive robotic objects, intelligent layouts, and part on his three-dimensional poetic videos based on the evolution of humans and machines and the religious beliefs of humans. He is currently conducting anthropological and historical studies of gender in Latin America.

The subject of this video is Palioff’s research line, which he is currently pursuing various works of art. His goal is to analyze the different methods and social causes of the destruction of the human inner self.

Palioff uses 3D Blender software to design volume, animation, and rendering. His source of inspiration in an attempt to understand why different cultures and societies have different self-destructive mechanisms. He now lives in Brazil, and these mechanisms are different from other communities in which he has lived, such as Argentina and Spain.

He has found that this mechanism is strongly related to how sin is treated and, consequently, how it is understood and lived with religious beliefs. He calls these connections the word sacrifice.

Palioff’s ultimate goal as an artist is based on two pillars. One is his personal enjoyment of living with art, and the other is his attempt to show some of the feelings and thoughts of societies based on social complexities through research and publicity to the world. He is now interested in algorithms and their critique and the topic of Internet manipulation in an artistic way.

Glitch Video Art Franco Palioff continued to show in the group exhibition of Glitch; Pixel Language until Thursday, January 1, 2017, in -1 Bavan Gallery in Tehran.

نوشته Sin treatment; About Franco Palioff Glitch Video Art اولین بار در Honargardi. پدیدار شد.

The general title of their project is Vivid Q, which Vahid Qaderi has considered for electronic and visual music set by Razieh Koushki, and Pianoise is the name of the piece from which the set is separated. The artists of this video consider making it as a visual experience in line with the feeling they have received from the music.

Vahid Qaderi graduated from the Tehran University of the Art in 2012 and is currently living in Vienna and a student at the University of the Art in Linz. He has been working experimentally in music for more than ten years. Qaderi released his first album in 2017.

Qaderi has also worked in the field of film music, short animation, and games. The music of “Memoranda” is one of his works. In recent years, Ghaderi has performed several live performances in the cities of Tehran, Shiraz, and Rasht.

Qaderi puts experimental music in the direction of ambient style, but generally considers it a composite work. For Kushki, creating an image for electronic music is formed at the same time as constantly listening to that music. In many cases, he may not have an external plan in mind, but at the same time as the music is made, images are formed for him.

Razieh Koushki graduated from the Tehran University of the Art in 2012 and is currently a resident of Vienna and a student at the Linz University of the Art. She has been following video art seriously for about five years.

She has previously worked in the field of 3D animation, editing, and visual works, and since 2010 he has started making interactive visuals. In recent years, Koushki has staged several performances in Tehran and Rasht.

The image and music space have a personal feeling for Kushki and Qaderi; Which are mostly affected by the surrounding social issues. Art production for them is abstract; Which includes a combination of dreams, reality, and thoughts. By expressing these thoughts, they imagine themselves as an audience and seek clues inside the unknown that has arisen.

Qaderi listens to a lot of music and this is an inseparable part of his life with many influences that he has on Omi; Even his own previously composed music inspires him. Surreal visual spaces have always been attractive to Kushki, but he certainly does not see anything specific as a source of inspiration.

Koushki and Qaderi believe that they feel better when they work and they consider the main goal of life to be better and to share it. They do not publish until they are completely satisfied with the work.

This does not mean that they think everything should be perfect; But since working on a project may go on forever and never end, they believe they should stop this process somewhere and finish at the best point.

The glitch video art of Razieh Koushki and Vahid Qaderi in the group exhibition of Glitch; Pixel language continued until Thursday, January 1, 2017, at -1 Bavan Gallery in Tehran.

* Photo: Keyvan Yousefi

نوشته Pixel abstraction; About Razieh Koushki and Vahid Qaderi Glitch Video Art اولین بار در Honargardi. پدیدار شد.

famori got his bachelor degree in Photography from Tehran University of Arts and his master in Cultural Management from Islamic Azad University, Science and Research Branch. Since 2006, he has exposed his art in 28 international group exhibitions including: “The Identity Architecture Exhibition” at Plaza Casanardi Gallery in Venice, Italy and “The Art Box” in Basel, Switzerland. famori has exhibited the “Hypnotic Zone” collection in his first solo exhibition on the walls of Tehran’s Seyhoun Gallery in 2017.

The Hypnotic Zone, painted in eleven frames: is a combination of photography and classic and digital painting, which is implemented with a multi-stage digital print on the most classic material, i.e. canvas. The size of the works is 120*120cm allowing the audience to get involved in the image and to recognize all the details as independent visual elements at the same time.

According to Pythagoras (ancient Greek philosopher and mathematician), numbers are really powerful. “Everything is a number,” He believed that numbers, letters, and words represent the true nature of the universe. famori is the founder of using the symbolic side of numbers in stylistics in photo media painting in Iran, a part of which is displayed in eleven frames of The Hypnotic Zone. 

The collection has technically reached a three-dimensional space on a two-dimensional surface,  in which the new layers of the image will be created based on the adaption of eye pupil after staring without the need for three-dimensional polarized glasses. This imaginary and three-dimensional space gives each audience a unique opportunity to get a total different image from other’s in painting .The number of layers of pictures depends on the individual’s decode and marking of their subconscious. 

The title of each eleven paintings in the collection is a number from zero to ten. These eleven figures are reminiscent of the eleven stages from the moment of creation to the moment of reaching the end of the line. It also attemptes to form the first perusal of hypnotic collection by number coding and decoding as the first symbols in the audience mind.

According to famori, the feeling of suspense or uncertainty about the image felt by two different audiences has been one of the purposes of the creation. Confronting this collection, some audiences fall in love however some other are even terrified. Some of these paintings were formed during the process, and others originate from the artist’s dreams. The process of creation has been a path of discovering his own subconscious for famori.

Number zero

This piece is influenced by a dream of the artist; moreover, there are eleven layers of image in it. The concept of the universe is depicted where there is a mountain peak in the background. At the heart of that open universe is another world being seen as the cornea of the eye, which guides us to look at the world from this perspective at the moment of creation. On the way of reaching the eye, there is a gate that is supported by two pillars with Torso statues. As he states:” creation is nothing but a symbol of womanhood and fertility.”

Torso is a symbol for famori:  a statue of a woman without head, arms and legs still with a feminine nature. In the center of the cornea, which is actually dissolved in some way inside the world, is a red flower, as one of the symbols of creation. Fractal (the geometric structure in which each part is the same as its whole) can be seen in all layers of nature and creation. Even in the appearance of this red flower, we can see a transformation that is changing its nature. At the end of all this, a peak has been drawn, and if we reach it, we will make a decent and deportment so that we can look at the world differently from the eye drawn in the heart of the painting.

Number one

Painting No. one is the moment when we got on Earth. One pyramid a peak at the top and one on the bottom are drawn depending on the movement toward either of these directions. At the center of the universal work drawn by the artist is a snail in it, and in that world is another world, which refers to how parallel worlds move. It has been said that parallel worlds revolve around each other very quietly and like snails.

In the background of this work, we see the image of a mass of people. People who are counted as the cause and founder of the concept in parallel worlds with their variety in tastes and believes. No matter what the definition of this concept is, due to the fact that it is accepted by a mass of people it stays true. The tortuous path to reach these peaks defined both at the bottom and at the top, speaks of injustice. It is truly difficult to go up or down, we are facing a winding path. The heart of all these images created by famori is full of symbols that have been coded in people’s minds since the beginning of history. So everywhere in this image, each audience can find these symbols and define their world based on a personal point of view.

Number Two

 Here as well, we have two peaks at the bottom and on the top which are completely inside the parallel world. The peaks are faded the path is mostly obscure. It is exactly same as the real world, same as what happens to us. In the background, there are pictures of utopia old map. In the general background, a staring human being is drawn for us. At the center, there is a universe that has emerged as a cover for the moon. For the artist, the moon has always been a parallel world, because its inherent duty has always been to reflect part of the light, and it does not have a nature lonely. There are four snakes in the four corners of the work, symbolizing the four mental injuries that attack our mental framework. famori believes that human being is always in a paradigm (pattern of judgment) between these parallel worlds, which either accepts its existing philosophy or denies it.

Number Three

The main motivation in this work is the mass of people. When we talk about the number three, it is when we think out of the binary (displaying numbers based on two) thinking box,  Good and bad, zero and one perspectives, looking for a third element. On the other hand, the fractal three refers to the pyramid, who produce this pyramid illusion. As we move away from the center of the image, the faces of the masses become more visible. This is also happening in the outside world; we never know  about the faces  and identities create those who form the main ring at the center and top of the pyramid.

Like the Number Zero here, we have a red flower that has been poisoned again. According to the artist, the acceptance and transmission of this hermeneutic thought is done right after birth. Around the work, twelve images of the moon have been selected over a 28-day period in a dark and light system that shows that as the moon changes shape in the sky, the appearance of power also changes, but the nature and loop of power remains the same. famori believes that the effect of the concept of the moon on the body and mentality of the masses is obvious. There are a lot of hidden geometry and conceptual images in this work, such as poisonous mushrooms that are tangled in the corners of the work.

Number Four

The most famous work is No. four, which was first shown in Switzerland and later in Italy. The number four is defined as famori’s framework of mind in four elements, in four logical and mystical ways. In the center of the image, we see a beating heart, which is borrowed from the people and leaves it to themselves. In other words, it has a reflection that reflects the mental framework of the people. The artist believes that in the 21st century, when advertising as a pervasive element shapes the minds of all people, the container occupies the contained. Four men in the four corners of the work with a stick convey violence. According to famori, every society  uses this violence to convey its own intellectual framework, and there is no way out of it.

Number Five

This work is based on the pentagonal geometry. The artist has drawn two sections consisting of creatures reproduced in the mirror and two sections inferred from the mother symbol in the mirror. In the center, an alien is depicted sitting. In this work, famori believes that in our perception of creation, a large part has been assigned to non-organic beings and a part to the mother of the earth and another part to non-earthly and spatial beings in different proportions.

Number Six

The number six is the number of creation in all religions. It is said that God created the earth and the sky in 6 days and paid the number 7 to human. Arash Noor Aqaei writes in the book “Number, Symbol, Myth”, “In China, the number six is the number of the sky, and it also evokes the four main directions in addition to the top and the bottom. This number commemorates six days of creation in Sumerian, Hebrew and Christian culture”.

In this painting, famori touches one of the concepts of creation whithin nature itself. We see the a face and a mask in the center of the work, inside of which there is a symbol of the flower of life, which consists of 6 circles around a hexagon and a seventh circle: a human; a connecting ring. Everywhere on earth that creation happens, the number six exists, this hexagon is in the hive of bees, snow crystals, and salt crystals. Anyone who discovers it, is hidden over the sense that he actually put a mask on his face.

Number Seven

The number seven has a special sanctity among the different tribes. “Seven Amshaspands of the Zoroastrian religion, seven horses of the sun rotate in Indian mythology, seven cows and seven spikes that Pharaoh dreamed of, and seven gods of the Manichaean dynasty all speak of the sanctity of the number seven,” writes John Hinels in his book, “Recognition of Iranian Mythology”.

In the center of the work, the number 7 is drawn as a circle that symbolizes the world made in our minds. famori believes that our conception of paradise is the result of the storage of images in our genetics due to nature. Later generations, who received less of a picture of pure nature, made their subconscious unable to build anything outside of that circle in the construction of paradise and their utopia except geometry and cement architecture.

Number Eight

The story of the utopia is told by famori in number 8, which is considered as an evolutionary number. Ali Akbar Khanjani writes in his book Basics of Mystical Mathematics: “Eight in inside means searching for God , i.e. God guides human beings in order to find its humanity, and  to know God through the inner signs, this is the process of thinking and science, and numbers are the tools of this identification in human beings”. In the center of work, we see number 8 as an eye in which a path has opened, the path to reach the utopia in that climate and the soil. The artist has seen a mental path to reach the utopia in the whole of this work.

There are arches inside the eye that have been seen both in Roman times and in Islamic architecture, which is a combination of Sassanian, Indian, African and even Byzantine architecture. famori believes that all these roots, both in the utopia of the East and in the Western utopia, with all their apparent differences, have much in common.

Number Nine

The  symbolic image center depicts a mother who can not be distinguished as a white or a black. Humans with pointed hats look like the clothes of the Grand Cocleus Sect in front of the image, which, the halo of motherhood, makes them look like demons. famori considers the mother to be the only Enlightenment in the racist era of the contemporary era and has depicted it in number 9 in his collection.

The visual illusion of the work in a three-dimensional space at the lower center point of the frame is a monkey depicted in silence against oppression and racism. At the center of the upper half is a visual illusion of a dog as the guardian of the time, who is as well as his parallel image in the lower half, a spectator.

Number Ten

The eleventh and final work of the famori’s collection depicts the resurrection and the apocalypse. Asqar Heydari states in his book, Understanding the Spirits of Nations, : “In India, the number ten is the base for the next ten, and the Chinese use the number ten for astronomical purposes and prediction,while considering it to be the ultimate perfection”.

In painting number ten, a human’s feet are placed as observers at the top of the image and God in the center. All creatures are disappearing, but they are still moving toward the center and the Creator. At the bottom of the image, the devil is sitting as a passive observer. The overall geometry of the image is designed in the shape of a heart, and the hidden geometric concepts in the two triangles express its overall layout.

نوشته On Mohammad Ali famori’s “Hypnotic Zone”: The Adventure of discoverer cornea اولین بار در Honargardi. پدیدار شد.

By studying artworks as a cultural expression of different social groups, can be reached to cognition the views and attitudes of that group towards society. The photographer is a member of the social group and the social group’s perspective and outlook affect his vision. The photographer is a representative of a social group and displays his vision and values in the pictures.

In art history, the African artist worked within the framework of certain formal covenants, and in his work, he incorporated a concept related to the subject and gave it a dynamic power till his creature take the energy and build up its existence. African art has been conceptual and often abstract art, mostly on wooden works such as the ancestors’ masks and statues. These masks were used to the purpose of connecting to the world of ghosts, to worship ancestors, and as a protective spell in exploiting vital forces.
In the past of Nigeria, there have been names that were related to African art that is important: Nok is the name of the ancient culture of Central and Northern Nigeria which the proteomes pottery related to the second half of the first millennium BC is considered as ancient artworks.
Yoruba is a sizeable tribal name in the southwest of Nigeria, which is the most prolific artist of West Africa has been known with this name and includes masks used in secret circles and holy objects mainly related to the Thunder God.

Okhai Ojeikere (1930-2014) was one of the twentieth-century African photographers who, during his fifty years of professional activity, created visuals that were featured at international art gatherings like the Venice Biennale. He was a pioneer in documentary photography in Nigeria and over the years with his artworks he has been grateful for the cultural heritage of his provenance. Since the 1950s, during the forties, he recorded more than thousands of images of the Nigerian women’s hairstyle model, which presents with elegant creativity without showing just merely the beauty, social and cultural life of Nigeria.

Barbers use this decoration to convey deep and symbolic concepts of social status, age, and tribal traditions. For years, the use of hairpiece, wig and hair straighteners has become a normal practice in the lives of Nigerian women until Ojikere began to take black and white photography from their woven/braided hairstyle.

Many of these photos have shot from behind to emphasize the abstract aspect and simulate the creation of a vertu in sculpture. These images can well reflect the social background or the culture of Nigerian women. In Nigeria, there are hundreds of ethnic groups; each with its own language and tradition has a different hairstyle. Their hairstyles are not the same and each has its own beauty. Some styles sometimes require more than a week’s work. In the special sense of the symbol, there is a visual recipe of an abstract subject by transforming its dynamic characteristics into special traits of form, color, and movement. In Ojeikere pictures, form (shape) is the main foundation stone. The human identity appears in the design of braided hair architecture. By registering them as a collection, the photographer establishes documentation of this kind of symbolism.

Roland Barthes considers photography as a completely new and innovative phenomenon in world history and believes: ” The world has hundreds of thousands of years of life and from cave paintings to the present, thousands of years that pictures have been existence. There are millions of images in the world, but at once around 1822, a new kind of picture is revealed, a kind of phenomenon of the new icon which is completely neoteric in terms of anthropology…Photography transforms the concept and the intentions of art, and therefore has a special place in the world.”

نوشته Okhai Ojeikere; Sociological reflection of braided hair اولین بار در Honargardi. پدیدار شد.