Azim Morakabatchi’s Exhibition

Opening: January 24th, From 17 - 20 / The Exhibition Continues Until February 7th

Visiting Hours: On Days Other Than the Opening Day: 12:00 - 18:00 / Fridays: 16:00 - 20:00

The Gallery is Closed on Saturdays and Official Holidays
 

Mirage
"Kurab" in Persian, lexically synonymous with "sarab" ( Mirage), refers to a saline land in the desert that appears like water from a distance. Thus, if we extend the title of the collection conceptually to the artworks, we will encounter a design of a mirage. In fact, in Azim Morakabatchi’s collection titled "Kurab," which is a link between painting, design, sculpture, and poetry, we encounter a design of water or a mirage. This design, from a desert where the artist, has placed us and himself, only makes the imagination of water and going towards it possible. This collection includes a 4-meter painting, an art book, a sculpture, and a poem, all of which constitute the "Kurab" collection. As we have discussed, this collection, in line with the artist's perspective, keeps us in a world of meaning and meaninglessness, water, and the illusory and absurd design of water: the characters are each in search of meaning, but in such a world, every search, although in its own way is an effort to live and not remain futile, ultimately reaches a mirage, and the search for water is only a meaningless mirage. The faces in this collection are each striving, but this striving is either forbidden or denied or lays out a design of meaninglessness. It should be said that in this collection we are in a flow between the abstract and the figurative, and we do not reach pure figurativity or pure abstraction: the figurative matter creates a general and narrative design of what is seen in terms of meaning for us, then our mind, by passing through the world of perception and initial understanding, with the connection of lines, colors, volumes, and shadows, can establish a more precise connection between the figurative matter and other visual logics such as cognitive and emotional. With these descriptions, although Morakabatchi depicts a mirage of meaning and meaninglessness, the viewer is always searching for knowledge between these two levels and in this search experiences and understands continuous emotional upheavals, so although the name of the collection is the depiction of a mirage and the characters are sometimes in a vain effort, the knowledge itself and the effort to know through the visual matter is an original and lasting innovation for Moarakabatchi.

Sohrab Ahmadi