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با هر خلق زبان جدیدی متولد می‌‌شود.
زبانی که ساختار و قواعد ویژه خود را دارد و اگر با شور خلق شود خواه ناخواه پژواک اعتراض است.
باید زمان طولانی نگاهش کنی تا از بین خطهای تصویر معنایی زاده شود.
من به دنبال زبان گمشده ای می‌‌گردم که از لابه لای تصاویرش احساسی تراوش کند که آن را شکنندگی رقت آور و در عین حال باشکوه انسانیت می‌‌نامم.
من زبـانـم را انتـخاب نـمـی‌‌کنم. این زبـان در طـول پـروسـه‌ای تـقـلا آمیز و رازگـونـه آرام آرام شـکل مـی‌‌گـیـرد و مـتـولـد می‌‌شود.
با فریاد متولد می‌‌شود و همینطور با حس همدردی، چون من این دو را از هم جدا ناپذیر می‌‌دانم.
حس همدردی به دلیل همان وضعیتی که ما همه دچارش هستیم، فرقی هم نمی‌‌کند محکوم آن وضعیت باشیم یا ظاهراً بانی آن.
وضعیت رقت آور است و همدردی می‌‌طلبد.
رقت آور است چون ساختارها بر انسان و بر همهݘ موجودات زنده برتری دارند و به نظر می‌‌رسد این واقعیت را ما همه از پیش پذیرفته ایم.
گویا مسأله مقابله با ساختاری مشخص است تا ساختار دیگری ساخته شود و باز از نو.
رقت آور است چون باید با بخش تیره و تاریک وجود انسان، با این قابلیت و خواست بی پایان و منحصر به فردش برای کشتن یا تحمیل کردن درد به دیگری، در همان حال که خود از دردی بزرگ رنج می‌‌برد روبرو شوی و چون تو خود را به وضوح و با همهٔ تناقض خنده آورش جزئی از این سیستم، از این ساختار فرهنگی و انسانی می‌‌بینی؛ و چون تو خود بخشی از دردی.
آن حس همدردی است که می‌‌خواهم از کارهایم تراوش کند، نه از نوع اخلاق گرایش نه از نوعی که خود را جدای از وضعیت می‌‌پندارد و برایش نسخه‌ای در ذهن دارد.
نه، من نگاه می‌‌کنم به ما و فکر می‌‌کنم ببین چه شد! ببین کجا ایستاده ایم با خنجری در منقار!
ایلا فیروزآبادی
زمستان 94
ایلا فیروزآبادی
متولد 1358، تهران، ايران
تحصیلات:
1388 فارغ‌التحصیل رشته مجسمه سازی و اینستالیشن، مدرسه عالیه هنرهای دکوراتیو استراسبورگ، فرانسه
1386 فارغ‌التحصیل رشته هنرهای بصری، مدرسه عالیه هنرهای دکوراتیو استراسبورگ، فرانسه
1386 فوق لیسانس هنرهای بصری، دانشگاه مارک بلوک، استراسبورگ، فرانسه
1385 لیسانس هنرهای بصری، دانشگاه مارک بلوک، استراسبورگ، فرانسه
1383 لیسانس گرافیک از دانشگاه آزاد هنر و معماری، تهران، ایران
نمایشگاه‌های گروهی:
1394 "بدن بدون اندام"، گالری مای، مونترال، کانادا
1393 "سرزمین‌ها بیگانه نیستند، این مسافر است آنکه بیگانه است"، ویدیو اینستالیشن اینترکتیو، گالری محسن، تهران، ایران
1392 "دریا خندید در دوردست، دندانهـایش کف و لبهـایش آسـمان"، گالـری اُبُرو، مونترال، کانادا
1392 "موسيقي، شعر، حركت"، نمايش ويدئويی، ليما، پرو
1392 گروهی طراحی، دیورسیته آرت مونترال، کانادا
1391 "سينماتيكا"، الستيكا، مونترال، کانادا
1391 گروهی مجسمه و اینستالیشن، گالری اوبت، استراسبورگ، فرانسه
1389 گروهی مجسمه، موزه تئودور دک، گبویلر، فرانسه
1389 گروهی مجسمه، گالری آپولونیا، استراسبورگ، فرانسه
1388 گروهی مجسمه اینستالیشن، گالری سندیکا پتانسیل، استراسبورگ، فرانسه
1388 "خطوط متحرك"، گروهی مجسمه و طراحی، گالری آرت فروم، اوفنبرگ، آلمان
1388 گروهی مجسمه، موزه وستروالد، آلمان
1388 گروهی اینستالیشن، گالری شفری، استراسبورگ، فرانسه
1388 گروهی در مرکز هنرهای معاصر استراسبورگ، فرانسه
1387 "ملكه جنگل"، مدرسه هنرهای دکوراتیو، استراسبورگ، فرانسه
1383 سه سالانه بين المللی اكو-پوستر، خاركوف، اوكراين
1382 گروهی پوستر صادق هدایت، گالری سیحون، تهران، ایران
1379 گروهی طراحی، گالری طراحان آزاد، تهران، ایران
A new language is born by every creation.
A language that has its own structure and rules, and if created with passion, is a reflection of objection.
You should look at it for long, so that a meaning is born through the lines of the image.
I am in pursuit of a lost language through images of which, a feeling is secreted that I can call it the human pathetic yet splendid fragility.
I do not choose my language. This language is gradually formed and born in a bustling and mysterious process.
It is created by scream and also by sympathy, since I consider these as inseparable.
Due to the conditions we are all affected by, it makes no difference if we are the convict or the apparent cause of Sympathy.
The situation is pathetic and so requires sympathy.
It is pathetic because structures take priority over human beings and all living creatures, and it seems that we have all accepted this fact already.
It is as if the issue is fighting against a clear structure, in order to create another structure, and we keep repeating this, time and again.
It is pathetic because you should confront the dark side of human beings, with their infinite and unique desire for killing or imposing their pain on others, while they are suffering from a great pain themselves. And because with all the droll contradictions, you are so clearly seeing yourself as part of this system, this cultural and human structure; and because you are part of the pain yourself.
I want this feeling of sympathy to emanate from my work, not the moral kind and not the kind that considers itself separate from the current situation and has its own prescription in mind.
Oh no, I watch and think: “look what has happened! Look where we are standing, with a dragger in the beak!”
Ila Firouzabadi
Winter, 2016
Ila Firouzabadi
Born in 1980, Tehran, Iran
Educations:
2009 National Superior Diploma in Fine Arts, School of Decorative Arts, Strasbourg, France
2006 National Diploma of Visual Arts (DNAP), School of Decorative Arts, Strasbourg, France
2006 Master 1 in Visual Arts, University of Marc Bloch, Strasbourg, France_2005 Bachelor of Fine Arts, University of Marc Bloch, Strasbourg, France_2003 Bachelor of Graphics, Azad University (Art and Architecture), Tehran, Iran
Group Exhibitions:
2015 “The Body without Organs”, Duo Exhibition, M.A.I (Montreal Art Intercultural), Montreal, Canada
2014 “There Are No Foreign Lands. It Is the Traveler Only Who Is Foreign”, Interactive video installation, Duo Exhibition, Mohsen Gallery, Tehran, Iran
2013 “The Sea. Smiles from Far off. Teeth of Foam. Lips of Sky.”, Lorca, Oboro Gallery, Montreal, Canada
2013 “MusicPoetryMotion”, Video Screening, Lima, Peru
2013 “Diversité Artistique de Montréal (DAM)”, Montreal, Canada
2012 “CINEMATICA”, Micro Festival Dedicated to Iran, La Elastica, Montreal, Canada
2011 Sculpture and Installation Exhibition, Aubette, Strasbourg, France
2010 “Resonances”, Museum Theodore Deck, Guebwiller, France
2010 “Une Victoire Sans Appel”, Apollonia (European art exchanges), Strasbourg, France
2009 “Intuitions Fantasques”, Syndicat Potentiel, Strasbourg, France_2009 “Moving Lines”, Artfotum Kunstlerkreis Ortenau Gallery, Offenburg, Germany_2009 “Westerwaldpreis 2009”, Keramik Museum Westerwald, Germany_2009 “Show Room”, Chaufferie Gallery, Strasbourg, France_2009 “CEEAC”, European Centre of Contemporary Art, Strasbourg, France
2008 “La Reine de la Forêt”, Project Gallery, School of Decorative Arts, Strasbourg, France
2003 “International Triennial of Eco-Poster”, Kharkov, Ukraine
2002 “The Exhibition of Posters for the Writer Sadegh Hedayat”, Seyhoun Gallery, Tehran, Iran
2000 Drawing Group Exhibition, Azad Gallery, Tehran, Iran
...
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.
