Friday, January 21, 2011

Hardy

I was a little older than 5 years old. We were living in Hamedan, a province in the middle of Iran, the house of Avecina, the longest cave in the world, and nice highland weather. I was a confident, energetic, no none sense type of kid. Not much girly, very fair (in terms of justice not skin tone), and curious.

I learned skiing there, skipping school as recommended by my father on a Tuesday because there was fresh snow. I also learned about Darwin's theory of evolution, through the visuals on the back of a book that my father casually showed me and my sister as something obvious and funny that we were monkeys in the past. It did make total sense.

I also saw tanks for the first and last time, it was 1978 and the year of the revolution. There were curfews, sounds of shootings, and demonstrations. I learned about hunger strike and making dolls out of used detergent bottles (mother's favourite craft time) and walked in a lot of snow in Hamedan.

We had a neighbor with a daughter younger than me and my sister. The mother had married young instead of going to college. She was smart and ambitious but without a platform to use her potentials. She spoiled the little girl whose room was filled with new toys. She would put real pieces of chocolate in the girl's hot coco drinks and the little girl didn't even enjoy hot coco that much, or so my sister and I thought, as we were licking the saliva off of our chins, since we were not offered that hot coco with real tablets of chocolate. The mother looked up to and seeked guidance from my mother who was older, had gone to college and graduate school, and was living her dream at home and at work.

We were at their home one day looking at the spoiled girl not really enjoying her hot coco -with real tablets of chocolate!- and whining and not enjoying her room full of toys, when I saw the most adorable little piece of toy that I had ever seen. It was a small 3 inches long figurine of Hardy, from Laurel and Hardy's comedy. It was made out of hard plastic and had vivid colors. It was the cutest thing anyone could have made. I had to have it.

Two days later and my mother, the quintessential democratic and equality rights feminist, approached me in a dark corner of the hall that went between our bedroom and theirs. She said, X (the mother of the spoiled kid) says that you have her daughter's Hardy figurine, is that true?
I was disappointed! I was so disappointed that an adult could not let a little girl have something that her daughter clearly didn't care about. I was disappointed that she told on me and behind my back and found her stingy, not generous, petty, and unfair to have taken away this ultimate joy from me!
We had the usual "now let's be civil and return the toy to whoever it belongs" moment and walked over and handed it in. I did not feel remorse or embarassement, just feeling sorry for her not being able to see me have it!

Years passed. The mother went to college and started working. She raised great independent and well educated daughters and always told us how my sister and I were their role models. It didn't move me much.

32 years later, on a snowy day in Chicago, where there are no tanks and curfews, and no father to take you away from work for the pure joy of being in fresh snow, I receive a little packet. It has a used cover that is stapled back together. It has the wrinkles of the touches of a little girl or a boy on its old plastic wrap and it comes from a seller in Argentina. My secret lover who has heard my story found Hardy from the other side of the world and got it for me on Ebay! Thank you! I love it! and I am happy for that lady and her daughters and their achievements.



Thursday, December 9, 2010

untitled 1 :: untitled 2

him
her
longing
lust
ambiguity
secrets
love
fetish
decay
heart
red
elements
here
there
longing


mixed media . avisheh mohsenin . 2010
presented at a silent auction benefiting St Jude Children's Hospital @
Pottery Barn | Lincoln Park | Chicago | 12.09.10

Friday, November 5, 2010

a place calling

I am experiencing something new: a place calling me and an urge to visit it. It is not home, it is not a familiar and frequented location, but a place that I have only visited once: the Farnsworth House by Mies van der Rohe in Plano, Illinois.

I keep thinking about it, the serenity and calm that you experience in the building and its setting by the river and in the woods. On a literal level, it may be because it is Fall and the foliage reminds me of that setting and scenery. On a more conceptual level, it may be what the space and its setting inspire; simplicity, transparency, independence, and transcendence.

Historian Maritz Vandenburg says, "Every physical element has been distilled to its irreducible essence. The interior is unprecedentedly transparent to the surrounding site, and also unprecedentedly uncluttered in itself. All of the paraphernalia of traditional living –rooms, walls, doors, interior trim, loose furniture, pictures on walls, even personal possessions – have been virtually abolished in a puritanical vision of simplified, transcendental existence."
 
I am asking myself, is this aspiration to simplicity, transcendance, and letting go of the materials a reflection of what I am experiencing, or what I want to experience?  


 photo by jon miller

photo by tigerhill studio


Monday, August 16, 2010

random thoughts and quotes on art...


"Push yourself... break boundaries, barriers, change the medium, the setting, the everything that you are used to and comfortable with." (Tricia VanEck, MCA)

"Transfer your world to the viewer, while keeping your world intact, but also decoding it for the viewer with no clue about your world." (Tricia VanEck, MCA)

If artist is not suffering anymore, does that affect his/her creativity?
Someone said artist suffering and working hard "builds character" for them.

What is the Muse in art? is that inspiration or more or different?

Business of art. Why some make it and some don't? Does it matter or it is really if you have to create that you will create? and that is 'making it'.

Explaining art works... statements... why? b/c it creates longevity? basis? doesn't this fall under the same art vs. artist question.

What is Iranian art? having Iranian elements? talking of Iranian issues? what is an Iranian issue?

"these people took risks and that showed me the value of taking risks- of putting yourself on the line." Zaha Hadid about the AA in London.

from "Beautiful Losers" (Aaron Rose, 2008, USA, 90 min):
"If you are not dispossessed, why make art”
Lawless art, art without rules.
Show work and ask audience to come in my world.
I am exercising a lot of things I didn’t get to say before.
“love is worth it”
I went to art school to dis-art
Role of art is…
Chaos…

The role of rebellion, setting free, de-tabooing in my work?
how about the role of death? Nostalgia? why do I work with old photos?
How about the contrast of old and modern? is that to do with the dualities of tradition and modernity?
why the obsession with boxes?
why the obsession with documentation?

"I used to say I want the audience to say that is Steve’s but now I want them to say it is ‘mine’. It is almost like a duty to tell your story and to preserve your vision." (from Beautiful Losers)

"Art is not to give answers but to ask questions." (forgot who said that, maybe Christian Boltansky)

Qs? the social and political responsibility of art. Art as a subversive tool. Artists' responsibility.

"The artist took risks, it dared to be misunderstood, to be "ugly'" (forgot who, maybe Orozco).

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"The relationship is only between myself and the painting: that’s what you’re looking at. I have really dismissed the idea of anything else. I’ve dismissed the idea of objectivity. It’s very exhilarating intellectually; it turns my attention to how I can expand my mind through painting and into the painting. I feel in equilibrium with the forces of nature, which are so strong."

"For me the paintings are about awareness and openness. The possibility of awareness is like a ghost, or a constant mourning, something that will never come. I know that my work shows love and sadness and human suffering: mine. In a sense the paintings offer both suffering and companionship to suffering."


"The context of those paintings—they were mainly used in installations—allowed them to be dark, to be for the mind and brain, and allowed them protection in that sense. Objects come as part of a composition. There is tension; the relations between the object, the paint, the surface, all that. The paintings with objects are very clearly concerned with geometry. Math is a way to calculate unknown distances or relations that are inconceivable in other ways. Geometry is an intuitive, sensorial language."


"My paintings are concentration, rather than a search. They’re more of an expansion, and so less aggressive in that way. They are a form of concentration at first, and then they eventually become a painting that has a kind of subject."


"A painting is a way to isolate something. As if it were in its own desert. Even the separation in time that painting affords, returning to it again and again. During that time, my focus changes, and I can allow that into the painting quite easily. I find that tangential relations are possible: changes in awareness and direction that the painting itself brings about in me. This is an open relation, an object relation which is intimate and full of conflict. Closed and open relations are something which I’m aware of in my work in general. Brutalities and softness—not as a look, but as a manner in which something is mutually affecting. Production is aggressive."


(Cathy Wilkes and Heidi Zuckerman Jacobson: A Conversation --  http://www.aspenartmuseum.org/archive_wilkes_zuckerman_jacobson_conv.html)


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Monday, July 26, 2010

In-i

by Juliette Binoche + Akram Khan


"in our lives, we have to descend into the bottom of ourselves in order to resurrect, otherwise how do we gain real love and real awareness? it comes from real exploration of our emotions and body."

"if you get stuck with emotions, you are a prisoner, but if you use it as a tool to go to another level of awareness then it is magnificent."

"when two people love each other, the other one helps you push your limits, push through yourself to go to your edge emotionally."

"love is a process, a learning, a risk, a will, but it is a let it happen too."

Thursday, May 6, 2010

a little self promotion!

[Interview by Factio Magazine and FigPhoto @ Creative Lounge Chicago, April 2010]
*Photo by Brian Carey, video by Tim Musho, figphoto.net

Artist Avisheh Mohsenin
Born in France, Mohsenin moved to Iran while growing up and later moved to the U.S. for graduate school. She is a co-founder of Pasfarda Arts & Cultural Exchange, an organization that promotes global exchange of arts and culture. Mohsenin creates imagery to stimulate imagination and to lead viewers into questioning their own notions of time and space in their personal environment. Throughout her work duality is used as a major element. - Brittany Berryman
*Photo by Brian Carey, video by Tim Musho, figphoto.net


Factio Magazine 2010 - Avisheh Mohsenin Interview from Fig Media on Vimeo.

Tuesday, April 13, 2010

"bahok" -- what are you carrying?

who are we? what we take with us when we move through the world? through life?

Today is April 13, the day my father left us in the physical world. Eulogies and praises still come four years later. I asked myself earlier today what these influences were that he left so prominently on people and why was he capable of putting such lasting marks on people's lives and personalities? Does everybody have that capacity, that capability?

Akram Khan, acclaimed contemporary choreographer, named one of his productions "bahok", a Bengali word that means "carrier". I stumbled upon the trailer and beautiful dances by chance and it just hit the right spot. He asks in his performance "what are you carrying?" My interpretation is that each human carries a set of characteristics and qualities and choices that they make on how to live their lives and how to view their journey and how to relate to others.

Papa was the 'bahok' of: inspiration and pushing people to the higher of their potentials. He did this through being extra-ordinary; sharing and giving instead of taking; forgiving and letting go; being ambitious not only for the goal but also for the process; seeing the good in everything and everyone; living life fully in every second; pushing oneself and seeing no limits and at the same time not losing sight of the present, the core, the simple and the real; not taking life or oneself too seriousely, yet never compromising for one's values and ideas; a fighter but only through peace, negotiation and logic; having a lot of respect for the human soul; and always being able to laugh or smile.

People wrote us today: "he is my role model, missing him so much."; "he will always remain as a precious building blocks in who I am today and this will stay with me as long as I am around."; "I owe so much of who I am and how I am today to him. Wish he'd stick around some more... he is present in my heart and soul especially every time I stand on a mountain top."; "best man, best friend, he is really missed."; "I'm so proud to have known him."; "You can't imagine how much Doc-Mohs meant and means to me. He was definitely one of the most influential people in my life."; "Amou Mohsen would create this ambition in you while not leting you take yourself too seriously. He had a good eye and he observed well and treated everyone accordingly."; and
"I miss him a lot more than what anyone can imagine."


akram khan dance company, bahok, 2009

** Bahok by Akram Khan Company, 2010 @ MCA Chicago: http://www.youtube.com/watch?v=v6yfrOuaFnA