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A Review of “underground”, an Exhibition by Siamak Filizadeh* by Majid Akhgar These days, contemporary history and the period of the Pahlavi and Qajar dynasties, have become a subject of common interest to Iranian artists, especially the younger generation.There are so many artists working in this area and so many artworks produced on the subject that we can now even speak of the sub-category of Pahlavi, the sub-genre of Qajar, etc.
We can start by looking at what he has done with this subject in his recent exhibition, “The Underground”, held at the Aaran Gallery, focusing on the Nasser-al-Din Shah’s reign which ended with his assassination.They mostly did it in order to create a critical distance and provide a "comment" or interpretation of mass culture and its role in modern society; or at least one could recognize a compact and substantial representation of the attributes of this culture and its surrounding environment (which is more the case with pop art).Later, the distinction became increasingly blurred and the difference between “opposition” and “utilization” was not clear any more: i.e.in many cases, it seems that the form and content of modern pop culture is used in high art for its own charm and aura.This issue is more intense in the art of Iran in recent years.One should admire this and not complain, if the youth of a country are attracted to their history, turning art into a medium for an aesthetic contemplation of their past.
Would it be better if they lived in a world of fantasies and ignored the realities around them?
This range of expression – something that can be summarized here in the concept of irony or "ironic stance"- required a subject or a beholder that felt some sort of distance or alienation, and in fact the sense of humour and irony formed by way of this distance, under the ironist gaze.
Thus, ironic stance preserves the distances, borders, and the distinction between the original and the copy; while in pastiche or eclecticism, play and playfulness are the most important elements.
But given what has been said here, I think these images must be definitely recognized by the concept of “pastiche”.
Parody and satire were expressive figures that flourished by modern art and took a new shape.
Visually, these works are more reliant on the imagery of advertising, fashion, music-videos, and the whole “sex industry”; 4. Relying on these stylistic features, we might arrive at a kind of approach or point of view to understand the artist’s point of departure, or "mechanism" of picture-making.