Sex cam languages is persian

05-Aug-2017 17:09

The result may appear beautiful and impressing at first glance. The works are not a reconstruction of history, but are constructed through a combination of a variety of asynchronous signs – historical and contemporary; 2.

They are posed and staged; the characters show dramatic and exaggerated gestures, rather than conforming to the logic of the quotidian reality of their time; 3.

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.

In this series, Filizadeh depicts different scenes of Nasser-al-Din Shah’s life, his assassination by Mirza Reza Kermani, and his death and resurrection, in the style of the Christian imagery showing the major events of the life of the Christ, Virgin Mary, and different saints.

He combines staged photography and digital art, and by using actors, make-up, lighting, choreography, and a variety of visual effects turn this narration into a series of tableaux vivants in relatively large dimensions -- measuring between 70 and 300 cm.

Some time, or in some cases, this strategy might/may help deconstructing certain dominant notions of art history.

But in most cases, what has remained of this strategy is a pathological and absurd relationship with the past that distorts the true essence of history and historicity, and floats everything in an eternal present.

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.

In this series, Filizadeh depicts different scenes of Nasser-al-Din Shah’s life, his assassination by Mirza Reza Kermani, and his death and resurrection, in the style of the Christian imagery showing the major events of the life of the Christ, Virgin Mary, and different saints.

He combines staged photography and digital art, and by using actors, make-up, lighting, choreography, and a variety of visual effects turn this narration into a series of tableaux vivants in relatively large dimensions -- measuring between 70 and 300 cm.

Some time, or in some cases, this strategy might/may help deconstructing certain dominant notions of art history.

But in most cases, what has remained of this strategy is a pathological and absurd relationship with the past that distorts the true essence of history and historicity, and floats everything in an eternal present.

Siamak Filizadeh is one of these brave young Iranians who deal with these “important” issues in their artworks.