Title: TAPESH. THE GOLDEN RESERVE OF MAGMATIC THOUGHT
Commissioner and Curator: Majid Mollanoruzi
Location: Iranian Pavilion Biennale Arte 2017, Venice [Italy]
Data: may 13 – november 26, 2017
VENICE – Bizhan Bassiri, born in Tehran in 1954 and moved to Italy in 1975 is the artist chosen by Majid Mollanoroozy, Commissioner and Curator of the Iranian Pavilion, to represent Iran at the 57th International Art Exhibition – La Biennale di Venezia. The pavilion will be hosted by the prestigious Palazzo Dona dalle Rose to the New Foundation, a symbolic place of the greats of the past in the heart of Venice.
Conceived as a vast polyphonic composition, but also as a symbolic deposit of works that continued over the years, the exhibition presented at the Biennale Arte 2017 TAPESH, The Golden Reserve of Magmatic Thought, is illustrative of a single concept in the outcome of an action diversified in the forms of its art. The exhibition was precede by several events, imagined as a single adjustment path, which, in the space of eight months, led him to Venice.
In the years Bassiri built the scaffolding of their epic imaginary tension, confronting in Italy and Europe with artists of his generation, such as Franz West, and those with him earlier as Jannis Kounellis, constantly keeping unchanged the basic generative principles of his own language. At the root of it, as an inexhaustible dynamo is poetic intuition through which you can establish a regular relationship with all the energy that came from everywhere, surrounding and invests the senses and thoughts.
In combining its contemporary artist to work with artists of any age, whether they belong to the great Iranian tradition, Asian or the European one, Bassiri has not only made the transport of ancient mythologies and classical with contemporary expression issues, but he designed and built authentic plastic inventions given them an aesthetic dimension with often simple shapes but with a strong poetic content. These include The dices of fate (1990-2015) that take on a special importance because, despite their playful congenital origin, for the variation made by the artist that has marked on each face the signs of the number “6”, they have become the ‘picture of destiny. With this work, in fact, Bassiri will demonstrate that in the game with their destiny, the artist has to win the game, scoring the highest figure. When you consider that the dices of fate were conceived and implemented at the beginning or almost right path, when in front of their path opened several trails like the maze of a maze, they give the measure of his determination and his will to prevail in the face of every obstacle, every difficulty or adversity. They are ultimately the same emblem, after forty years, the meaning attributed to the return to his homeland, accompanied by the works created in the risky game with the fate (and death) through his art.
In the Magmatic Thought of Bizhan Bassiri the artwork and the whole training process, like the volcano and its catastrophic activities are the cause of the qualitative transformation of matter. It is through the transformative action impressed by the artist to the materials chosen by him, because they are sensitive vehicle of intensity and frequency of his imagination that erupts the work to light and surprise everyone.