Vida DENA

installation

censorship is beautiful

censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful
censorshipisbeautiful

year: 2010

dimension: each piece around 30cm in 40 cm

material: green ink, sewn threads, fabric, printed papers

In this project I glued the A4 papers -with my laptop photos on them- on the fabrics and I started sewing some parts of the photos with different colourful threads. I used these threads to connect some parts of the images to each other, to add to them, to cover them, to exaggerate them and finally to censor some parts of taboos such as religious taboos (nudes, hair etc.) and political news about opposition in Iran by sewing Persian patterns on them.



censorship is beautiful

During the process I wondered I can act as an Iranian Censorship department and start censoring my photos by sewing them according to my awareness about what is taboo and what is not, what is dangerous and what is not. In other words, I was preparing myself for an “imaginary exhibition” in Iran.

I was making my pieces ready to get the permit to be shown in Iran but being critical in a tricky way; to criticize and to get the permit at the same time; to reveal and to conceal; to tell and not to tell; to talk in between the words.

These fabrics are various in sizes and they were shown in another version before which was based on the idea of making a let’s say Persian carpet out of these photos. I used Persian patterns sometimes to censor the needed parts of the image or the texts because I had a main obsession:


Why these Persian patterns were created?I believe because of censorship caused by religion and conventions. Symbols and Patterns replaced direct figurative arts. Artists in censorship-based societies have to create abstraction to stay creative and even critical.

In this series of works (attached image) I have acted the role of “The Guide and Culture department” in Iran and I have made my images appropriated to be presented in an imaginary public gallery in Iran. I used my ability of self-censorship that I obtained during my 25 year of living in Iran. To distract the attention from the main political and critical aim of the project, I have also added some neutral pieces from my tiny interference in the images I captured on internet.

I have put some pieces from this project in one sheet because attaching one of them does not reflect the whole concept. I have plenty of these pieces. The pieces vary in size but they are normally around 30 cm in 40 cm each. However, some of them are smaller.


Note: In Iran, galleries need to get a permit to show their weekly exhibitions. The process is that the gallery owner has to print each work that is going to be presented in their gallery and take it with him the week before presentation to this Culture and Guide department. Then they have to approve of each work by putting a check mark in front of each work.