A Moon for My Father @doclisboaiff 17-25 October 2019
I have recently visited Marlene Dumas’s Exhibition, which is currently on display at Tate Modern. By mixing two portraits on a paper and creating a hole instead of eyes and the mouth of those faces, she ended up creating a new mysterious portrait.This collection reminded me how it’s possible that two people from two different cultures and languages could possibly create a new, mysterious and thought provoking face.Today the discussion of cultural encounters between the artists and creation of a new art work is an unavoidable subject. And, how the affiliation and encounter of two different human beings from two different cultural background, two different languages, two different set of memories, two history and geographical setting, can reach to a common language called art. How it could create or produce beauty and art from pain, suffering and aggression. How one’s mental structure that holds all the childhood memories and the geographical borders that gave it depth and perspective could associate with the memories and constructions of another geographical space. In my recent experiences, after immigration I became fascinated and obsessed with this dialoged between two languages of two geographical borders, two architecture and two memory settings, to explore and reveal the mysteries and concepts which are beyond geographical borders of countries and languages. And that is the language of form and concept, which creates art. I first had this experience with Mark Cousins, Irish documentaries and filmmaker and then continued to have this experience with Douglas White. In Douglas’s work, the most fascinating thing for me was that how an object potentially could relink the deepest lost or forgotten stories of one’s mind and find the traces of pain. And then you tend to care for those pains with tenderness and transform them to beauty and give it a meaning that is beyond human’s pain and suffering… the meaning of life…Then you tend to create beauty and sheerness out of aggression or violence and Life out of death.
Mania Akbari collaborates with British sculptor Douglas White and looks into the connection between her physical traumas, on the one hand, and the history and collective political memory of Iran, her birthplace, on the other. Remembrance and re-construction provide a course, as she undergoes various surgeries on a body decimated by cancer. A conversation of how bodies are traumatised, censored and politicized, and yet ultimately remain a site of possibility.