Variations on an instrument of a human anatomy
Focusing mainly on hierarchical and puissant nature of mankind viewed from a philosophical and geopolitical perspective, in this exhibition, Payam Mofidi sets an ambience for his viewers to experience his interpretation of the mentioned concepts through his arrangement of a moving sculpture, four videos, eighteen etchings, two copper plates and nine drawings.
The core of the exhibition is a life-sized blindfolded sculpture of a man made of white resin that performs as an interactive entity. Standing on a plinth, it is supplied with a handle that makes it possible for the audiences to push it down mechanically and leave it there to bounce back to its upright position in a pendulum motion.
The videos consist of two pairs, one shot in Iran’s Saari and the other in Canada’s Montreal. Each of the pairs includes a video demonstrating the installation procedure of the disjointed sculpture on a plinth portraying the violence that exists in the assemblage of a long-lived entity (one shot in a cellar in Iran and the other in a meadow in Canada; 3’ 21” each). These set of videos also imply the interpretability of position of power and its domineering determination. The second set of videos, however, portray the passage of time and the change of day and night through which the sculpture swings down and up in a pendulum motion (10’ 25” each). Further to backing the main concept of globality of the ‘controlling society’ as a notion, the videos imply the possibility of its replication in different geographies. Added to this assemblage are the drawings that picture “the man” in various episodes of daily life. And last but not least are the etchings in two different sizes as well as two copper plates in which the decapitated head of the sculpture is placed horizontally on various backgrounds in various geographical contexts.