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گالری اثر میزبان نمایشگاه تن-داج، دربرگیرنده‌ی آثار تازه‌ی علیرضا آدمبکان است که جدیدترین بخش از مجموعه‌ی هفتاد و دو تن او را تشکیل می‌دهد.
مجموعه‌ی هفتاد و دو تن که در سال ۱۳۸۳ آغاز شد، روایتی معاصر و شخصی از نبرد پرآوازه‌ی کربلا بود که به شهادت امام حسین و یاران او انجامید. این مجموعه بیان عاطفی هنرمند را در کنار روایت‌های دینی‌ای قرار می‌داد که او از کودکی با آن‌ها آشنا بود. آدمبکان با بهره‌گیری از زبان بصری نمایشی‌اش و در قالب رویکردی انتقادی، وضعیت انسان معاصر را در ارتباط تنگاتنگ با مذهب و سنت به عنوان مهم‌ترین منابع الهام‌بخش او به نمایش می‌گذاشت. این آثار به تدریج منجر به خلق ایماژهایی تجسمی‌تر شدند و کیفیت صریح تمثال‌های مذهبی در زبان بصری هنرمند به قدری کم‌رنگ شد که آثار امروز او بیش از بازنمایی مستقیم داستان‌های دینی، به دنیای برساخته‌ی خودشان ارجاع دارند.
آدمبکان در ششمین نمایشگاه انفرادی خود در گالری اثر، ۷ نقاشی با آمیزه‌ای از تکنیک‌های مختلف را به نمایش می‌گذارد و در آن‌ها تصویری از وضعیت شخصی‌اش در قالب بافت، فرم و فضایی مشابه پیش به دست می‌دهد. او فراز و فرودهای زندگی‌اش را با تکیه بر زبان بیان‌گر منحصربه‌فردی که دارد، با استفاده از رنگ‌های تند و درخشان و ضربه‌های پرقدرت قلم‌مو به تصویر می‌کشد. وجه تمایز آثار اخیر آدمبکان آن است که به داستان‌های مذهبی‌ای که فضای کارهای پیشین او را رقم می‌زدند وفاداری کم‌تری دارند و دربرگیرنده‌ی دلالت‌های ضمنی روزمره‌تری هستند. چهره‌هایی بدون دهان، یا صورت¬هایی با چشم‌های بسته، بدن‌های رنجور شناور بر آب‌های متلاطم، و لایه‌های متعدد طرح‌ها و رنگ‌ها، همه و همه حاکی از احساس خشم و تلخ‌کامی هنرمندند.
هر چند شاید نقاشی‌های اخیر آدمبکان در نگاه اول شبیه به آثار قدیمی‌اش به نظر برسند، رویکرد هنری او اما به موازات تکنیک نقاشانه‌اش در طول زمان تغییر کرده است. ضربه‌قلم‌موهای بلند و مطمئن قبلی جای خود را به ضربه‌هایی کوتاه‌تر اما قوی‌تر داده‌اند، طرح‌های چهره‌ها و بدن‌ها مشخص‌تر شده‌اند و همه‌ی چهره‌ها تصویری واحد ساخته‌اند: چهره‌ی خود ِ هنرمند.
علیرضا آدمبکان متولد سال ۱۳۵۵ در تهران است، در همین شهر زندگی و کار می‌کند، و مدرک کارشناسی نقاشی‌اش را در سال ۱۳۷۸ دریافت کرده است. او تا به حال یازده نمایش انفرادی داشته و در تعداد زیادی نمایشگاه گروهی و آرت‌فرهای متعدد در سراسر جهان شرکت کرده است. آدمبکان هم‌چنین به تدریس نقاشی می‌پردازد و به عنوان نویسنده و پژوهش‌گر با نشریات بسیاری هم‌کاری کرده است.
Assar Art Gallery presents Alireza Adambakan’s latest works Tan-Daj [Body-Very Dark], his most recent extension of Haftad-o-Du-Tan series.
Originated in 2004, Haftad-o-Du-Tan series [the 72 adherents of Imam Hussein] was the contemporary and personalized version of the famous battle of Karbala, Imam Hussein and his supporters who were all killed in the combat. In the series, the artist depicted his emotional expression, juxtaposed with religious narratives with which he was brought up. Through his dramatic visual language, he portrayed his critical approach towards modern human conditions intermingled with religion and tradition, his two most important sources of inspiration. Progressively, the works developed into a more personified imagery and his visual language included less straightforward religious icons until present that his work is almost emptied from direct representations of Islamic stories, being more self-reflexive.
In his sixth solo show with the gallery, Adambakan exhibits 7 mixed media paintings in which he depicts his personal state of being in a similar contextual representation. He portrays the recent upsurges and diminutions in his life through his signature expressive language employing a vivid and strong palette and powerful brush strokes. What is new in his recent works, is being less faithful to the religious stories he used to choose as his settings and adding more quotidian connotations to his compositions. Mouthless faces, faces with closed eyes, frustrated bodies floating in turbulent waters, layers of sketches and paint over layer all and all imply the artist’s exasperated feelings.
Although his recent canvases might resemble his older ones at first glance, Adambakan’s artistic approach has changed in the course of time and so has his painterly technique. The longer and more confident strokes of brush have turned into shorter yet stronger ones, the sketches of bodies and faces have become sharper and faces have all become one: the artist himself.
Born in 1976 in Tehran, Iran, where he lives and works, Alireza Adambakan received his BA in painting in 1999. He has had eleven solo exhibitions and participated in numerous group exhibitions worldwide and been part of many art fairs. Adambakan also teaches painting and has collaborated with several art magazines and newspapers as a researcher and writer.
نمایشگاه آثار " علیرضا آدمبکان " با عنوان " تن داج " آذر 1397 گالری اثر
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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.
