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Institut für bildende Kunst
Bildende Kunst; Studienzweig Bildende Kunst
Betreuung: Damisch, Gunter
Pocket Memories, 2016
Abschlussjahr: 2016
First of all, I should say that all of these artworks come from a story, so each one carries a complete story or at least a part of it. What seems to be involved is a kind of downgrading of the importance of the artwork, the physical object (e.g., a picture, a sculpture) as the proper object of aesthetic appreciation.

The material used for these artworks is lightweight, ephemeral, cheap, unpretentious, unique, and dematerialized. Each piece contains at least one object. Each of the objects on display has a story. Those objects were already the belongings of some immigrants who brought them with themselves. They had already a value before their transformation into artworks. A value given to them by their owners who have chosen them as companion for a new journey, for a new life abroad. Hence besides the story each of them has a history too. Certainly they had some characteristics that made them special, that motivated their owners to choose them as companion. Of course those immigrants may have had other choices too. They may have had different objects but they were limited and they had to choose one or two to bring at most. I talked with those immigrants and we shared our feelings and interpretations of the objects and their stories. One of them is Hessam who comes from a family of photographers. He was allowed to bring only one backpack and its probable contents and he did so. It contained a few photographs and a stereoscope. So the idea of using a stereoscope for the presentation came to my mind. I thought that the viewers could look at Hessam’s objects and my artworks through a stereoscope. The backpack implied the concept of journey and it referred to emigration indirectly.

The observation of antique Persian miniature paintings on different daily life objects, like a lid of a snuffbox, was an inspiring moment for me. I also saw many European ornaments that were inspired by Persian miniature.

For the presentation I invited some of these immigrants because I believe they had an important role in the formation of the works and they are the best choices for narration. Narration plays an important role in storytelling. It is also a significant technique of the performance and it has a history in Persian arts such as Naqqali, and Pardeh khani and Pardeh dari. Each person is supposed to narrate the story of his or her relic.

What I’ve been trying to do is reviving these mere soulless objects to make them reach to their maximum evolution, to lead them to the peak of their potential and face their wake as small revenants of the art world.
In collaboration with Shirin Attar, Hessam Samavatian, Hania Ebrahim Nejad, Atefeh Abdollahi, Mahmood Tavakoli, Narges Heydari, Nahid Faridani, Ensieh Bandeh Moghadam, Farhad Varahram, Mona Shemshaki, Sina Ansari, Mona Matbou Riahi, Ahoo Maher, Marzieh Emadi, Sina Saadat, Bahareh Zoroufchi, Saeed Alian, Negin Fazeli, Forough Ghazinoori, Maryam Shargh, Mehrva Arvin, Hooman Khalatbari, Negin Attar, Milad Ghasemi, Narek Hartunian, Carmela Migliozzi.

Special thanks to Gunter Damisch, Veronika Dirnhofer, Philip Patkowitsch, Shirin Attar, Adel Hashemi, Hessam Samavatian, Professor Parvis Mamnun, Amir Ansarian, Maziar Varahram, Taha Ghanimifard.

This thesis is dedicated to my parents Jalal Larimian and Fatemeh Kazemi.