Welcome to Khak Art Gallery
Iranian Art Khak Gallery
Visit Us
#1 Jila Alley, Basiri St. Gholhak
Shariati Ave. IRAN TEHRAN
TEL: (0098-21) 22 60 54 65
OFFICE VILLA 21, 4B ST. , AL HUDAIBA 322 - MARSAM MATTAR ART CENTER Dubai - United Arab Emirates
All Rights Reserved by
KhakGallery @ 2020

Anatoscalpel-Performance art Spring 2007 ( فارسی )


Writen By ALI YAZDANI (translated by:parnian khajenori)

There, beside the door, are standing people in black, grieving, and next to them lay a black open umbrella, and a tray of dates. This is the first scene you would face when you step in the gallery yard. A little farther, a crowd is talking, leaning on the wall and staring at you when you enter, and ... for a moment, a dreadful thought will pass your mind as if something bad happened or someone has died and the exhibition has been putt off. The thought by which you feel beaten the first seconds and first steps you take, but then you take a breath and feel relaxed. You will join the ones having come before you and you will become one of them, you will stare at new comers while taking the date pit out of your mouth. And there comes Atila Pesyani in white with a nice smile, welcoming his guests. When a visitor enters the gallery, he\\'s first surrounded by the atmosphere before noticing the art works. It is as if everything around you is leading you to a specific destination. The sound of an unusual music playing, gives you a feeling that something is on the way. The setting, lighting, music, coming and going of people, have made the place mysterious. In a glass-walled room sits a woman in black veiling her face, motionless, moving two pieces of smooth stone in her hand slowly. The atmosphere takes over the exhibition but despite the haunting atmosphere, Pesyani\\'s art works capture your aesthetic attention. Like the scene and setting, Atila starts from the death point in his works. Anything useless and outdated or the spare parts of wrecked devices which once used to function and now are dead are seen in his art. Oil lamps not working, old keys not opening any locks, broken mirrors not sitting in frames, rusty locks, dead lamps, all are used again. He saw them, he felt them, he combined them and gave them new identities. Some are complicated, some are simple, some are cheerful, some are strict, some mysterious, some firm, some proud, some heartbreaking lying on the floor. But the performance starts and devours all of them and us. The actors come one by one, each playing a part of life, madness, selfishness, unrest, distress, thoughtlessness, pain, happiness, loneliness, and … . When Pesyani enters the scene with a mask, taking the veiled woman out the glass room, pushing the needles to the effigy’s hand, we hold our breath and the play reaches the turning point of itself. With a general look, we can consider this performance as a combination of play, music and sculpture; moreover, it was a successful one. The combination is made so artistically that all the elements are following a unique goal. Not only has Pesyani matched different elements in harmony with his art works, but also does he do the same in his performance. He puts different life experiences together and presents them like they are a unique picture. However, some of his art doesn’t fit the real life, it leads us to the world inside, to our dreams and to our secrets.