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نمایش پیش رو گزیده ای از مجموعه های قرمز، پنجره های شب، رُز ها، پنجره های روز و آب پری یوش گنجی است که از اوایل دهه هشتاد خورشیدی تا به امروز خلق شده اند.
در همه ی سال های نقاشی اش و نه تنها دهه ای که ما حصل خلاقه ی آن دراین نمایشگاه به نمایش درآمده است، پری یوش گنجی عشقش را به بودن، باورش را به امید و آگاهی عاطفی و مَدَنیش را در لحظه ای بی خویشتنی با مهارتی هنرمندانه بیان کرده است. بیانگری پری یوش گنجی مملو از احساسات در هم آمیخته با اندیشه و تجربه ای است که به زبان ویژه ی نقاشانه اش – به دور از تمایل و نیاز به ثبت درون که مشخصه بیانگرایان است – در روندی شهودی عینیت می یابد.
در تمام دوران تحصیل، از هنرستان بهزاد تهران بین سال های 1342 تا 1345 گرفته تا تجربیات هنری و دانشگاهیش در لندن و پاریس بین سال های 1347 تا 1354، پری یوش گنجی ازمحیط زندگی و جریانات هنری الهام گرفته و در مسیر زندگی آن ها را شالوده و به زبان خود باز آفریده است. دوران تحصیل او در هنرستان تهران دوران اوج گیری جریان ادبی و هنری ایران بود؛ دوران بهمن محصص، سهراب سپهری، احمد شاملو، غلام حسین ساعدی و دیگر نامداران فرهنگ این دیار. وغرب در آن زمان شاهد تجربه گرایی و سر برآوردن جریان هنری پاپ و آغاز شکل گیری انواع اشکال هنری میان رشته ای بود. پری یوش گنجی اما، حین تجربه ی عینی آن چه در جریان بود، تاثیرات و الهامات محیط را بطور طبیعی در خود پالود وبر دامنه و عمق تجربه ی عملی و تعقلیش افزود بدون آن که رد پای این تاثیرات را به عین در آثارش آورد. آن چه بیش از هر جریان و رویداد هنری بر او تاثیر گذارد اما، اقامت شش ماهه اش درژاپن بود که در سال 1375 به دعوت بنیاد فرهنگی ژاپن اتفاق افتاد. در این سفر که به هدف تحقیق درباره تاثیر نقوش ایرانی بر پارچه های ژاپنی صورت گرفته بود، پری یوش گنجی در دانشگاه کیوتو ودر کنار دیگر اساتید، با تفکر، منش و روش نقاشی ژاپنی، بویژه سومیه یا همان آب مرکب آشنا شد و مشق و سپس استادی آن را پیش گرفت. در همان زمان، او همچنین ترکیب هایی از پنجره های ساده ژاپنی (شوجی) و پنجره های ایرانی را با تزیین زیاد و شیشه های رنگی به نقش کشید.
مجموعه قرمز حدود یک سال پس از بازگشت او از ژاپن به ایران شکل گرفت. او که در تمام دوران کاریش تحت تاثیر بی-واسطه ی جریانات اجتماعی جامعه بوده و هست، در آن دوران بطور طبیعی مشغول کشیدن چارچوب هایی قرمز با پس زمینه ای سیاه شد. لایه های رنگ سیاه نقاشی هایش اما مطلق نبود. شبکه ها و طرح های زیرین به رنگ قرمز، لایه لایه، به سیاهی افزوده شد تا بار دیگر- همچون همه آثار دیگر او که درآن امید همواره زنده است - بارقه هایی از نور درون سیاهی درخشیدن گیرد. قرمز در سیاهی نوید گذر تلخی ها بود. در اواخر دهه هشتاد خورشیدی و نخستین سال های دهه نود، قرمزها رفته رفته به بنفش گرویدند. پنجره های شب شکل می گرفت. لایه ای بنفش بر لایه ای بنفش دیگر می نشست تا تجربه تاریخی پوشانده شود. اما دراین بنفش های تیره، هرگز سیاه راه پیدا نکرد. لایه های پوشاننده ممکن بود سیاه بنظر برسند و ظلمات را تداعی کنند اما با تابانده شدن نور بر آن ها، زندگی و نفس تازه از لایه های زیرین آن بیرون می زد. امید و زندگی همچنان همان جا بود، تنها باید در تابش نور قرار می گرفت. در جستجوی نور، روغن جلا لایه های زیرین را بیرون آورد. دیگر حتی می توانستی خود را در آن ببینی؛ جایی میان سیاهی و نور. ادامه ی مسیر به خلق رزها انجامید و امید را از دل تیرگی ای که هرگز سیاه نبود بیرون کشید. پنجره ها رو به باز شدن رفتند. رو به روز. پنجره های روز. این بار لایه های سفید بر سفید، با پشت و پس زمینه هایی همچون قرمز ها و پنجره های شب. و به همین ترتیب مجموعه ی آب خلق شد: جریان آب، حرکت، لذت و یک دستیِ احساسات درون و آن چه به واقع در حال رخ دادن است و در همان لحظه و به محض رفتن نور و آمدن تاریکی، سر برآوردن ترس و تردید. در حالی که همه چیز همچنان همان جا است. امید و زندگی و عشق به بودن و باور به امید، این بار اما با تجربه ا ی ده سال افزون.
مریم مجد
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The current exhibition is a selection of works from Pariyoush Ganji’s Red, Night Window, Roses, Day Windows and Water series from the past decade.
All throughout her career as a painter, Pariyoush Ganji has spontaneously expressed her love for life, faith in the power of hope and emotional and urbane awareness with an artistic knack. Her expressionist language lacks the sentimental eruption of the early 20th century expressionists. Instead, it is full of emotions intermingled with knowledge and experience realised in her unique painterly language through an intuitional process.
Pariyoush Ganji was always inspired by her cultural, artistic and social surroundings throughout her student years in Tehran’s Behzad Art Academy of Girls from 1963 to 1966 and her later studies in London and Paris between 1968 and 1975. However, she has always processed her cultural intake and represented it in her own artistic language. Her student days in Tehran fell together with the peak of Iran’s literary and artistic movement: the era of Bahman Mohassess, Sohrab Sepehri, Ahmad Shamloo and Gholamhossein Sa’edi and other legendary figures. At that time, Pop art was dawning in the West and interdisciplinary art forms were being shaped. Yet, Pariyoush Ganji assimilated what inspired her and enhanced her intellectual and practical experiences without any direct rendering of her intakes. What affected her most was her trip to Japan in 1996 following the invitation of the Cultural Foundation of Japan. During her six-month stay there to do research in Kyoto University on the impacts of Iranian patterns on Japanese textile, Pariyoush Ganji learned and mastered the Japanese Sumi-e ink technique. At the same time, she painted blends of minimal Japanese Shojis and ornamental Persian windows.
Working on the Red series started about a year after her return from Japan to Iran. She, who always was and still is inspired by her social surroundings, intuitively started creating red frames with black backgrounds. The layers of black, however, did not evoke absolute darkness. The underneath patterns and shapes that came in red were progressively added to the black background so that the sparkles of hope would once again appear in her work, as in all her other paintings. The presence of red in black paint was to promise brighter days. In the early 2000s, the color red gradually turned to purple. The Night Windows series was about to shape. Layers of purple laid over one another to conceal a historical occurrence. In these purple layers, however, black never popped in. The covering layers might have appeared as black and resembled darkness but with a touch of light, life and a blow of fresh air would gush out. Hope and life were still there; they just needed to be invigorated through light. In the process of searching for light, Liquinn made the lower layers transpire. Now you could even see yourself in each painting, somewhere amid darkness and light. Then the Roses series came to shape where hope was pulled out of the never-black darkness. The windows were to open towards light, towards day, towards daylight. And this is how the Day Windows series was formed. This time, however, layers of white laid over one another. And subsequently came the Water series: the feel of the current, pleasure and the harmony between the inner feelings and actual incidences. What was still there, however, was the paradoxical feeling of fear and doubt as soon as the darkness pulled over. Everything was there as it was, without being illuminated. The love for life, having faith in the power of hope, this time with another ten years of experience.
Maryam Majd
Tehran, May 2015
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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.
