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غزل واره
شهرت رضا لواسانی به مجسمه های بزرگ شاعرانه و پرحس پاپیه ماشه و همچنین نقاشی های رویاگونه اش است. ایستادن در برابر چیدمان سه متری ماسک های او که در سال 1392 در کانتِمپورِری استانبول به نمایش درآمد، شور و هیجانی توصیف ناپذیر در بیننده ایجاد می کرد. چیدمان "زندگی" او نیز که در سال 1393 در گالری اثر به نمایش درآمد تجربه ای بود که در آن گویی پا به دنیای افسانه می گذارید. درختان، موج ها، اسب ها و ادوات موسیقی و همه ی آن چه در دنیای لواسانی موجود است آن چنان بازیگوشانه در حرکت اند و متعلق به دنیای تخیل که گویی هر لحظه ممکن است جان گرفته و زنده شوند. این دنیای رضا لواسانی است که محبوب کسانی است که کارهای او را طی سالیان دنبال کرده و آن را عزیز داشته اند.
میزان اشتیاق لواسانی به شعر قابل اعتنا و باورش به تاثیری که شعر بر فرهنگ مان می گذارد چشمگیر است. او با طبع کودکانه اش که آمیخته به جدیت محض استادکاری متبحر است، با شور و حرارتی تمام درباره هر یک از آثارش، روند خلق آن ها و آن چه هنگامی که بدون دقت کافی نگاه می کنیم از دست می رود سخن می گوید؛ شور و حرارت و تعهدی که نگاه و تخیل را قوت بخشیده و به همه آن چه در آثارش موجود است نظم وترتیب می بخشد. تعقیب رشته افکار لواسانی می تواند لذت بخش یا امری دشوار باشد، اما یک نکته قطعی است: او از مخاطبانش انتظار دارد تا در مواجهه با عمل دشوار نگاه کردن، بیشترین توجه را به خرج دهند.
آن چه تا کنون به آن توجه کمتری شده، تعهد جدی رضا لواسانی به روند خلاقه است. بدور از دید ما، هر یک ازآثار او در روندی طولانی متشکل از برنامه-ریزی و اکتشاف به منصه ظهور می رسند که اغلب آغازگر آن، روند فکری-ای است که در یک شعر، بویژه در غزل ریشه دارد. از نظر لواسانی غزل شاهکار فرهنگی این دیار و متمدن ترین شکل ارتباطی است. بعد از آن، این افکار و ایده ها به مجموعه ای از طراحی تبدیل شده و در نهایت شکل مجسمه یا نقاشی به خود می گیرند.
شمردن طراحی هایی که لواسانی طی زندگی حرفه ای خود خلق کرده بسیار دشوار است. اما او همواره از فرصت استفاده کرده تا یادآور شود که هنر اصلی او، در حقیقت، طراحی هایش هستند. لواسانی به روند خلق و مسیر کشف بیش از نتیجه ای که در برابر دید قرار می گیرد باور دارد.
بامطالعه صدها طراحی رضا لواسانی متوجه می شویم که کمتر هنرمندی از این نسل به اندازه او به طراحی هایش علاقه مند است و آن ها را تا این حد ارزشمند می شمارد. سیالیت زبان فارسی و حس شاعرانه ای که در طول تاریخ به معماری و طراحی ایرانی ختم شده است خود را در آثار لواسانی و بویژه درطراحی هایش – که از نظر او جوهره خلاقیت هنری است – متجلی می کند. خطوط او، شکل هایش و حرکت قلمش همچون بیانی تئاتری به شکل تک گوی ای شاعرانه اند که از طراحی هایش جاری شده و به آن ها خصلتی ویژه می بخشند. با نگاهی دقیق تر متوجه می شویم که آن چه لواسانی بدست آورده برداشتی نو از زبانی به روز شده و جستجوی او برای بازتاب غزل به شکل دیداری است.
این نمایش کاوشی در آرشیو شخصی طراحی های رضا لواسانی و برخورد او با مقوله "روند" است که برای نخستین بار به این شکل در معرض دید قرار گرفته است. هدف، به نمایش درآوردن ایده های اولیه هنرمندی است که بسیارعاشقانه مرعوب کاغذی سفید می شود. این نمایش تکنیک ها و روش های مواجهه یکی از شناخته شده ترین مجسمه سازان در قید حیات ایران را در معرض دید مخاطبان قرار می دهد. در این نمایش لواسانی با تخیلش و آن چه در نهایت می بیند سخن می گوید و از آن پس با مخاطبین است تا نظاره گر غزل در آثار او باشند و آن را در خطوط او بخوانند.
Ghazal in Lines
Reza Lavassani is renowned for his large size sensual and poetic papier-mâché sculptures, and his dream-like paintings.
Standing opposite a three-meter long installation, his masks were an imposing set conveying a sense of drama and passion at the 2013th Contemporary Istanbul Art Fair. His ‘Life’ installation presented at Assar in 2014 too, was an experience of falling into a fable. His trees, his waves, his horses, his musical instruments, everything in his world is in movement, so playful and so very truly imaginative, they could come to life. This is the world of Reza Lavassani known and cherished by many who have followed him throughout the years.
Lavassani’s zeal for poetry is remarkable and his belief in the non-conventional result of it in our culture, outstanding. With his childlike temperament mixed with utter seriousness of a master craftsman, he talks about each and every one of his works, the process involved and, what we fall short of when not carefully looking, with sheer passion. A sort of passion and dedication that empowers vision and imagination, and that gives everything in his works arrangement and order. Following Lavassani’s chain of thoughts can be a pleasure or a struggle, but one thing is certain, he demands his audiences’ utmost care when faced with the difficult task of looking.
His fascination and serious dedication to ‘process’, however, has little been explored. Behind our eyes, every single piece of his creation undergoes a long process of planning and exploration; often starting from a thought that almost always begins in a poem, a Ghazal, that in his view is this land’s cultural chef d’oeuvre and the most civilised form of communication there is. These thoughts are then transformed into series of drawings and compositions that eventually result in multi dimensional pieces or a painting.
It would be a hard struggle to count just how many drawings Lavassani has made in his career, but he never seizes the opportunity to remind us that it is in fact his drawings that are his real art. He believes in the process, a route and discovery more than the result we see.
Going through hundreds of his drawings, one realises that hardly any artist of our generation has kept and cherished his or her sketches as dearly as he has. The fluid quality of the Persian language and the sense of poetic approach that throughout history has resulted in architecture, design and culinary manifest itself in Reza Lavassani’s creations and definitely in his drawings which he believes to be the most liberating and the essence of art making. His lines, shapes, and pen movement are theatrical expressions in form of a poetic monologue streaming from his drawings giving them their special characteristics.
Looking closely, what Lavassani has achieved, is a contemporary take on a modernised language and his quest to reflect Ghazal in vision.
This exhibition is an investigation into the private archive of Reza Lavassani’s world of drawings and his approach towards process put into order never presented before. The selection aims to showcase a series of predetermined compositions and the raw thoughts of an artist who has lovingly been intimidated by a blank piece of paper. The show will present the audience with techniques and approach of one of Iran’s most celebrated sculptors at work today. In this exhibition Lavassani speaks with his imagination and what he visualizes in the end, it shall then be the duty of us as his audiences to look and read Ghazal in his lines.
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Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.
