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اگر شما یک ساعت مچی را بگیرید و نمره‌ها و عقربه ساعت و دقیقه را جدا سازید، ضمناً اطراف قاب صفحه گرد که متصل به بند ساعت است و دکمه کوک را هم حذف کنیم ، نتیجه چه می‌شود و چه داریم؟ شیئی که باقی می‌ماند یک صفحه قاب دار گرد است که در درونش ثانیه شمار ظریف هم زمان با ضربان قلب ما، گذشت زمان را همواره اعلام می‌دارد.
اثر اخیر مرتضی احمدوند به نام "شدن" ، نه عقربه شمار است و نه ساعت ولی یک بعد عمیق تر یا بهتر بگویم بیشتری از گذشت زمان را بازگو می‌دارد و آن بعد " دینامیسم آرام تحول" است. در این اثر با گذشت زمان مکعب تبدیل به کره مدور می‌شود.
مکعب و کره گرد، صرفاً دو فرم یا شکل هندسی نیستند. آنها حاوی پیام دیگری هستند یکی پیامش ثبات و دیگری ناپایداری و تحرک است.
سوالی که مطرح می شود این است، آیا مهم است که هنرمند در موقع خلق یا ابداع اثر هدف و فکرش چه بوده است؟ از نظر من ضروری نیست! گاهی هنرمند غفلتاً یا ناآگاه سرآمد پیام هایی است که بیننده اثر را متاثر می‌کند. فکر و برداشت بیننده لزوماً با هنرمند همیشه مشترک نیست. اغلب هنرمندان نگارنده، نسخه فهم و یا درک اثرشان نیستند و برداشت از اثر را به مخاطب واگذار می‌کنند. شاید شما هم در این اثر هنری برداشت های شخصی خود را داشته باشید.
آیا فکر کرده‌اید که مکعب و «کره گرد» در طبیعت قابل رویت نیستند و وجود آنان به واسطه و زاییده فکر و ساخت دست انسان است .
آیا حضور پیکره در این اثر را می‌شود نادیده گرفت؟ آیا مراسم ارائه اثر حاوی یک پیام معنوی نیست؟ آیا در سکوت تاریک چیدمان یا صحنه کار هنرمند، ما خود را در برابر نیروئی ماورای زندگی عادی روزانه احساس می‌کنیم؟ اگر جواب این سئوال‌ها مثبت است. هنرمند مسئول اثری فراموش نشدنی است.
کار مورد بحث بی شباهت به شعبده بازی هم نیست ؟! مکعب جلوی چشم بیننده مدور می‌شود. کاری که شعبده باز می‌کند حقیقت نیست ، یک بازی با چشم و عقل بیننده است و در حقیقت «خر کردن» یا گول زدن مخاطب است و در آن یک اصل «حقه بازی» وجود دارد، که در انسان حس عدم اعتماد به شعبده باز را تقویت می‌کند. ولی در اثر مرتضی یک نوع خلوص و صداقت را می‌شود پنداشت که در خلاصه ،یک آینه‌ای از وجود، حقیقت، گذشت زمان و بالاخره تداوم تحول است.
کامران دیبا
If you take a wristwatch, disassemble the numbers, hour and minute hands; meanwhile removing the lug ends attached to the strap, what do you end up with?
What remains is a bezel, a watch face with a delicate sweep second hand inside which constantly announces the passing of time in sync with our heartbeats.
Morteza Ahmadvand's most recent piece entitled "becoming" is neither a watch nor a hand, yet it relates to us the passing of time from a much deeper perspective, to put it more accurately, another dimension altogether, known as the 'pacific dynamism of change'. In this piece, a cube is shown gradually transforming into a sphere, yet these shapes are not mere geometrical forms. They each communicate different messages; one signifies permanence while the other denotes transience and movement.
In answer to the question that should arise: "is it important to know the intention of the artist and what he was thinking while making the art-piece?" In my opinion, it is unnecessary. At times, the oblivious artist presents ideas that unintentionally impact the viewer. The perceptions and thoughts of the viewer and artist are not necessarily one and the same. Most artists do not have a prescription or manual for understanding their work and most likely leave the interpretation for the viewer to decide.
You also, might have your own personal understanding of this particular piece. Have you ever wondered about the fact, that cubes and spheres are not actually visible in nature and their existence is only apprehensible through human thought and creation? Can the fact that the presence of a figure is discerned, be undermined? Does the ritual representation of the art piece not hold a transcendental meaning to it? In the midst of the dark silence of this installation or the artists work scene, do we not feel ourselves in the presence of a force surpassing our regular mundane feelings?
If the answers to all of these questions are affirmative, then the artist is responsible for an unforgettable piece of work. This particular piece itself is not a lot different from a magic act! A cube changes itself into a sphere right before the spectators’ very eyes. What the illusionist does is not real for in truth he manipulates the sight and mind of the audience, fooling them or "making an ass" out of them so to speak, for the rule of deception involved, reinforces a sense of mistrust in the viewer towards the illusionist.
Yet Morteza's piece gives us the notion that it has an underlying purity and honesty within it; to put it briefly, the art-piece is a mirror to existence, truth, time and last but not least, the continuity of change.
Kamran Diba
نمایشگاه آثار " مرتضی احمدوند " مهر 1393 گالری اعتماد
http://www.artin360.com/Etemad.htm
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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.
