Tumblr (3.0; @sonasafaeisooreh)http://www.sonasafaei.com/<img src="http://24.media.tumblr.com/tumblr_lysf9uTfGy1qbw1wko1_500.jpg"/><br/><br/><p>Artist Statement, installation view, 2011</p> <p class="MsoNormal"><em>Artist Statement</em> is a video installation consisted of three video loops of the same video footage, each installed in a different room. In the back ground artist reads her artist statement in Farsi. Each video has a voice-over: a translation of the speech. <em>Artist Statement </em>intends to draw attention to the differences among languages/cultures and the lost meanings or components in translations in the contemporary globalized situation.</p> <p class="MsoNormal"><em>Artist Statement </em>puts distances in-between presented videos and makes the viewers travel room to room, in search of a message. Searching gets harder due to the lingual barriers. Moreover, translations are done on Google translate, and synched with the video footages as voice-overs. The viewers will find themselves watching a press conference in a foreign language. Wondering about the subject of the talk, they enter the last room, English version, just to find out the message they have been waiting to hear is been distorted through translation.</p>http://www.sonasafaei.com/post/16940565261http://www.sonasafaei.com/post/16940565261Thu, 02 Feb 2012 17:46:41 -0500artiststatementsonadocsocad<img src="http://30.media.tumblr.com/tumblr_lysetgb77X1qbw1wko1_500.jpg"/><br/><br/><p>Artist Statement, installation view, 2011</p> <p class="MsoNormal"><em>Artist Statement</em> is a video installation consisted of three video loops of the same video footage, each installed in a different room. In the back ground artist reads her artist statement in Farsi. Each video has a voice-over: a translation of the speech. <em>Artist Statement </em>intends to draw attention to the differences among languages/cultures and the lost meanings or components in translations in the contemporary globalized situation.</p> <p class="MsoNormal"><em>Artist Statement </em>puts distances in-between presented videos and makes the viewers travel room to room, in search of a message. Searching gets harder due to the lingual barriers. Moreover, translations are done on Google translate, and synched with the video footages as voice-overs. The viewers will find themselves watching a press conference in a foreign language. Wondering about the subject of the talk, they enter the last room, English version, just to find out the message they have been waiting to hear is been distorted through translation.</p>http://www.sonasafaei.com/post/16939982032http://www.sonasafaei.com/post/16939982032Thu, 02 Feb 2012 17:36:52 -0500artiststatementsonadocsocad<img src="http://27.media.tumblr.com/tumblr_lysereP8vx1qbw1wko1_500.jpg"/><br/><br/><p>Artist Statement, installation view, 2011</p> <p class="MsoNormal"><em>Artist Statement</em> is a video installation consisted of three video loops of the same video footage, each installed in a different room. In the back ground artist reads her artist statement in Farsi. Each video has a voice-over: a translation of the speech. <em>Artist Statement </em>intends to draw attention to the differences among languages/cultures and the lost meanings or components in translations in the contemporary globalized situation.</p> <p class="MsoNormal"><em>Artist Statement </em>puts distances in-between presented videos and makes the viewers travel room to room, in search of a message. Searching gets harder due to the lingual barriers. Moreover, translations are done on Google translate, and synched with the video footages as voice-overs. The viewers will find themselves watching a press conference in a foreign language. Wondering about the subject of the talk, they enter the last room, English version, just to find out the message they have been waiting to hear is been distorted through translation.the viewers travel room to room, in search of a message. Searching gets harder due to the lingual barriers. Moreover, translations are done on Google translate, and synched with the video footages as voice-overs. The viewers will find themselves watching a press conference in a foreign language. Wondering about the subject of the talk, they enter the last room, English version, just to find out the message they have been waiting to hear is been distorted through translation.</p>http://www.sonasafaei.com/post/16939910128http://www.sonasafaei.com/post/16939910128Thu, 02 Feb 2012 17:35:38 -0500artiststatementsonadocsocad<img src="http://30.media.tumblr.com/tumblr_lysemxw2bE1qbw1wko1_500.jpg"/><br/><br/><p><span>Artist Statement, installation view, 2011</span></p> <p class="MsoNormal"><em>Artist Statement</em> is a video installation consisted of three video loops of the same video footage, each installed in a different room. In the back ground artist reads her artist statement in Farsi. Each video has a voice-over: a translation of the speech. <em>Artist Statement </em>intends to draw attention to the differences among languages/cultures and the lost meanings or components in translations in the contemporary globalized situation.</p> <p class="MsoNormal"><em>Artist Statement </em>puts distances in-between presented videos and makes the viewers travel room to room, in search of a message. Searching gets harder due to the lingual barriers. Moreover, translations are done on Google translate, and synched with the video footages as voice-overs. The viewers will find themselves watching a press conference in a foreign language. Wondering about the subject of the talk, they enter the last room, English version, just to find out the message they have been waiting to hear is been distorted through translation.</p>http://www.sonasafaei.com/post/16939748466http://www.sonasafaei.com/post/16939748466Thu, 02 Feb 2012 17:32:00 -0500artiststatementsonadocsocad<img src="http://26.media.tumblr.com/tumblr_lysef0XD4q1qbw1wko1_500.jpg"/><br/><br/><p><span>Artist Statement, installation view, 2011</span></p> <p class="MsoNormal"><em>Artist Statement</em> is a video installation consisted of three video loops of the same video footage, each installed in a different room. In the back ground artist reads her artist statement in Farsi. Each video has a voice-over: a translation of the speech. <em>Artist Statement </em>intends to draw attention to the differences among languages/cultures and the lost meanings or components in translations in the contemporary globalized situation.</p> <p class="MsoNormal"><em>Artist Statement </em>puts distances in-between presented videos and makes the viewers travel room to room, in search of a message. Searching gets harder due to the lingual barriers. Moreover, translations are done on Google translate, and synched with the video footages as voice-overs. The viewers will find themselves watching a press conference in a foreign language. Wondering about the subject of the talk, they enter the last room, English version, just to find out the message they have been waiting to hear is been distorted through translation.</p>http://www.sonasafaei.com/post/16939471286http://www.sonasafaei.com/post/16939471286Thu, 02 Feb 2012 17:28:00 -0500artiststatementsonadocsocad<iframe src="http://player.vimeo.com/video/31657230?title=0&byline=0&portrait=0" width="400" height="225" frameborder="0"></iframe><br/><br/><p>Artist Statement, video installation, 2011.</p> <p class="MsoNormal"><em><span>Artist Statement</span></em><span> is a video installation consisted of three video loops of the same video footage, each installed in a different room. In the back ground artist reads her artist statement in Farsi. Each video has a voice-over: a translation of the speech. <em>Artist Statement </em>intends to draw attention to the differences among languages/cultures and the lost meanings or components in translations in the contemporary globalized situation. </span></p> <p class="MsoNormal"><em><span>Artist Statement </span></em><span>puts distances in-between presented videos and makes the viewers travel room to room, in search of a message. Searching gets harder due to the lingual barriers. Moreover, translations are done on Google translate, and synched with the video footages as voice-overs. The viewers will find themselves watching a press conference in a foreign language. Wondering about the subject of the talk, they enter the last room, English version, just to find out the message they have been waiting to hear is been distorted through translation. </span></p>http://www.sonasafaei.com/post/16123947424http://www.sonasafaei.com/post/16123947424Thu, 19 Jan 2012 13:43:00 -0500artiststatementsonadocsocad<p>contact:</p> <p>sonasafaei@gmail.com</p>http://www.sonasafaei.com/post/15896559132http://www.sonasafaei.com/post/15896559132Sun, 15 Jan 2012 13:56:00 -0500contactsonadocsocad<a href="http://ngbk.de/development/index.php?option=com_content&view=article&id=246&Itemid=365&lang=en">Up Coming> In Other Words</a>: <p><span>Border @</span><span>NGBK &</span><span> Kunstraum Kreuzberg/Bethanien, Berlin</span></p> <p><span>March 3-15 2012</span></p>http://www.sonasafaei.com/post/15896101193http://www.sonasafaei.com/post/15896101193Sun, 15 Jan 2012 13:47:00 -0500upcomingsonadocsocad<img src="http://26.media.tumblr.com/tumblr_lwd38gCYBe1qbw1wko1_500.jpg"/><br/><br/><p><span>Aleph@ Thomas Erben Gallery, </span>NY. Curated by Amirali Ghasemi and Sandra Skuryida,  Dec 2011.</p>http://www.sonasafaei.com/post/14363809743http://www.sonasafaei.com/post/14363809743Sat, 17 Dec 2011 13:55:00 -0500alephsonadocsocad<img src="http://30.media.tumblr.com/tumblr_lwd37kBB0B1qbw1wko1_500.jpg"/><br/><br/><div> <p>Aleph@ Thomas Erben Gallery, NY.<span> </span>Curated by Amirali Ghasemi and Sandra Skuryida,  Dec 2011.</p> </div>http://www.sonasafaei.com/post/14363786472http://www.sonasafaei.com/post/14363786472Sat, 17 Dec 2011 13:54:00 -0500alephsonadocsocad<img src="http://24.media.tumblr.com/tumblr_lwd0tmlLzG1qbw1wko1_r1_500.jpg"/><br/><br/><div> <p>Aleph@ Thomas Erben Gallery, NY. Curated by Amirali Ghasemi and Sandra Skuryida,  Dec 2011.</p> </div>http://www.sonasafaei.com/post/14361558357http://www.sonasafaei.com/post/14361558357Sat, 17 Dec 2011 13:03:00 -0500alephsonadocsocad<img src="http://27.media.tumblr.com/tumblr_lzr9jaN6q51qbw1wko1_500.jpg"/><br/><br/><p>Scale, Video installation, loop, 2011</p> <p><em>Scale</em> is a two-channel video installation, which uses the hyper realistic nature of stop-motion technique and shows the disappearance of candies in one video and reappearance of them in another.  It intends to raise questions around subjects such as artist/museum relationship and disappearance of art object, virtually in this case.</p> <p><em>Scale</em> is a response to the pile of candy by Cuban artist Felix Gonzales-Torres. In his work “instead of equating art with the accumulation of wealth, purchasers become gift givers”(Weintraub 114). This interactive work invites visitors to take candies away, to not only consider a lifetime for the art object, but also to give a transportable quality to it. By using videotaped candies instead of presenting actual candies, <em>scale </em>accentuates the dematerialization of art objects, especially as the candies seem to disappear from one room and reappear in another. The work is installed in two different rooms to let the viewers experience the work in transition: in one video candy disappears, in the other the candy replenishes. The gap in between the two rooms highlights a double-edged situation. On one hand we, artists, intend to critic galleries. On the other had we are depended on institutions financially. This work uses, the simple action of scaling to show attachment to one results in disconnection from the other. Is there a way to find a balance? It places emphasis at the point where a critique of an institution arises from inside the institution.</p> <p>Bibliography</p> <p>Weintraub, Linda. “Félix González-Torres”, <em>Art on the Edge and Over</em>. Art Insights: September 1996. Book.</p>http://www.sonasafaei.com/post/18018242423http://www.sonasafaei.com/post/18018242423Wed, 14 Dec 2011 21:30:00 -0500scalesonadocsocad<iframe src="http://player.vimeo.com/video/33686603?title=0&byline=0&portrait=0" width="400" height="150" frameborder="0"></iframe><br/><br/><p>Scale, Video installation, loop, 2011</p> <p><em><span>Scale</span></em><span> is a two-channel video installation, which uses the hyper realistic nature of stop-motion technique and shows the disappearance of candies in one video and reappearance of them in another.  It intends to raise questions around subjects such as artist/museum relationship and disappearance of art object, virtually in this case. </span></p> <p><em><span>Scale</span></em><span> is a response to the pile of candy by Cuban artist Felix Gonzales-Torres. In his work “instead of equating art with the accumulation of wealth, purchasers become gift givers”(Weintraub 114). This interactive work invites visitors to take candies away, to not only consider a lifetime for the art object, but also to give a transportable quality to it. By using videotaped candies instead of presenting actual candies, <em>scale </em>accentuates the dematerialization of art objects, especially as the candies seem to disappear from one room and reappear in another. The work is installed in two different rooms to let the viewers experience the work in transition</span><span>: in one video candy disappears, in the other the candy replenishes.</span><span> The gap in between the two rooms highlights a double-edged situation. On one hand we, artists, intend to critic galleries. On the other had we are depended on institutions financially. This work uses, the simple action of scaling to show attachment to one results in disconnection from the other. Is there a way to find a balance? It places emphasis at the point where a critique of an institution arises from inside the institution.</span></p> <p><span> </span><span> </span></p> <p><span> </span></p> <p><span>Bibliography</span></p> <p class="MsoNormal"><span>Weintraub, Linda. “</span><span>Félix González-Torres</span><span>”, <em>Art on the Edge and Over</em>. Art Insights: September 1996. Book.</span><span></span></p> <!--EndFragment-->http://www.sonasafaei.com/post/14244521884http://www.sonasafaei.com/post/14244521884Wed, 14 Dec 2011 21:29:33 -0500scalesonadocsocad<p><p class="MsoNormal">In the contemporary world cultural exchange and data transition are dominant to life. We meet people with different ‘backgrounds’ everyday, randomly. We communicate and exchange messages on regular basis. Similarly, according to curator and art critic Nicolas Bourriaurd, art today gets shaped from a global dialogue.  One idea or concept gets connected to the other and the other idea and concept links to many other ideas and concepts. My work and process draws attention to where this dialogue between or among, individuals and their cultures take place, where links are made, or where data has been lost through communications.  </p> <!--EndFragment--></p>http://www.sonasafaei.com/post/14176368778http://www.sonasafaei.com/post/14176368778Tue, 13 Dec 2011 14:58:00 -0500Artist Statementartist-statementsonadocsocad<p><div> <p class="MsoNormal"><strong><span>Sona Safaei-Sooreh    </span></strong></p> </div> <p class="MsoNormal"><strong><u><span><span> </span></span></u></strong></p> <p class="MsoNormal"><strong><u><span>Education</span></u></strong></p> <p class="MsoNormal"><span>2</span><span>010- current<span> </span></span>OCAD student Major: Sculpture/Installation</p> <p class="MsoNormal"><span>BFA July 2</span><span>00</span><span>6<span> </span></span>Islamic Azad University Major: Painting</p> <p class="MsoNormal"><span> </span></p> <p class="MsoNormal"><strong><u>Solo Exhibition</u></strong></p> <p class="MsoNormal">Oct 2010<span> </span><em>Time</em>, Video Installation, Nuit Blanche Gallery 1313, Toronto</p> <p class="MsoNormal"><span>Feb 2</span><span>010<span> </span></span>Aleph, Video Installation, Gallery 1313, Toronto</p> <p class="MsoNormal"><strong><u>Screenings</u></strong></p> <p class="MsoNormal">March 2011 Limited Access III, Remote Homecoming chapter one, Studio Strike & Mohsen Art Gallery, London & Tehran, UK & Iran.</p> <p class="MsoNormal"><span>Nov 2</span><span>010<span> </span></span>I Will Never Be The Same, Videocube, Contemporary Istanbul, Turkey</p> <p class="MsoNormal"><span>Sept</span><span> </span><span>2</span><span>010<span> </span></span>Art Gallery of Hamilton World Film Festival, The Factory Media Arts Centre, Hamilton, Canada</p> <p class="MsoNormal"><span>Apr 2</span><span>010<span> </span></span>Postproduction, Twitter/Art + Social Media, Diane Farris Gallery, Vancouver</p> <p class="MsoNormal"><span>Oct</span><span>  </span><span>2</span><span>00</span><span>9<span> </span></span>Limited Access II, Tehran, Iran</p> <p class="MsoNormal"><strong><u><br/></u></strong></p> <p class="MsoNormal"><strong><u><span>Selected Group Exhibitions</span></u></strong></p> <p class="MsoNormal">Dec 2011 <strong>Iran via Video Current, </strong>Thomas Erben Gallery, NY </p> <p class="MsoNormal"><span>Sep- Oct  2011  ”</span><span>The Invisible Present” Iranian Plus, </span><span>Oi Futuro, Flamengo,</span><span> </span><span> Rio de Janeiro, Brazil</span></p> <p class="MsoNormal"><span>Jul 2011 </span><strong>OtherIS/TVDinner, </strong><span> IM International, NY</span></p> <p class="MsoNormal"><span> </span>Feb 2011 <strong>Sometimes Y,</strong> Algreen Gallery, Toronto, Canada</p> <p class="MsoNormal">Oct 2010 <strong>Iran & Co</strong>, La Bourgeoiase, Bruges, Belgium  </p> <p class="MsoNormal">Aug 2009<strong> Fly with the Cage Toronto</strong>, Lennox   Contemporary, Toronto</p> <p class="MsoNormal">Apr 2009 <strong>As much as Possible</strong>, Minnow and Bass Galley, Toronto</p> <p class="MsoNormal">2008-2009 <strong>Urban Jealousy</strong> (The first International Roaming Biennial of Tehran, Istanbul, Berlin, Belgrade</p> <p class="MsoNormal">Nov 2008 <strong>Maxwell-Slingluff-Safaei</strong>, Studio 2728, Philadelphia, United States</p> <p class="MsoNormal">Aug 2008 <strong>The Original 6th Annual SQUARE FOOT Show</strong>, AWOL Gallery and studios, Toronto </p> <p class="MsoNormal">Aug 2008 <strong>Portrait and Figurative show</strong>, Ben Navaee Gallery, Toronto</p> <p class="MsoNormal">2006 Fourth <strong>Biennial of Contemporary Painting of the Islamic World</strong>, Saba Cultural and Artistic Centre, Tehran, Iran</p> <p class="MsoNormal">2006 <strong>Deeper depression</strong>, Abtin Gallery, Tehran, Iran </p></p>http://www.sonasafaei.com/post/14175124059http://www.sonasafaei.com/post/14175124059Tue, 13 Dec 2011 14:23:00 -0500cvsonadocsocad<img src="http://29.media.tumblr.com/tumblr_lw5l46LMR81qbw1wko1_500.jpg"/><br/><br/><div> <p><span>Decenter, Installation View- Part 2,  [artists’ studio,  OCADU, room #158], 2011</span></p> <p class="MsoNormal"><span>Media, as a controlled application dependent on geographical and political situations, is deconstructed in ‘<em>Decenter’. “</em>One believes that power manipulates the masses through the popular media. One can also think that the reverse is true: it may be masses who neutralize and destabilize through the popular media” (Baudrillard 145). Today we experience uncontrollable expansion of cultural exchanges. In this situation “there are no longer cultural roots to sustain forms, no exact cultural base to serve as a benchmark for variations, no nucleus, no boundaries for artistic language” (</span><span>Bourriaud 4). To accentuate this shift from </span><span>benchmark to variations</span><span>, ‘<em>Decenter’</em> directs the viewer’s attention from a final looped video, to the process of its production, installed in artists’ studio.</span><span></span></p> <p class="MsoNormal"><em><span>‘Decenter’</span></em><span> is a two-part installation: a single video, which constantly reveals the conventions of the media, and a represented room of production. Media conventions are revealed in many different ways: usage of green screen, the changes in the backgrounds and so on.</span><span> A different version of the same video is displayed on a separate screen. This installation decenters and shifts the attention from a unified and complete artwork to the process of its development.</span><span></span></p> <p class="MsoNormal"><span>    </span></p> <p class="MsoNormal"><span>Bibliography</span></p> <p class="MsoNormal"><span>Baudrillard, Jean. “The violence of Indifference”<em>.</em> <em>The </em></span><em>Conspiracy of Art. </em>Ed. Sylvere Lotringer. Trans. Ames Hodges. New York: Semiotext, 2005.</p> <p class="MsoNormal"><span>Bourriaud, Nicolas. “Altermodern”, Tate Triennial, 2009.</span></p> </div>http://www.sonasafaei.com/post/14171816169http://www.sonasafaei.com/post/14171816169Tue, 13 Dec 2011 12:40:00 -0500decentersonadocsocad<img src="http://28.media.tumblr.com/tumblr_lw5kzw9CpE1qbw1wko1_500.jpg"/><br/><br/><p><span>Decenter, Installation View- Part 2,  [artists’ studio,  OCADU, room #158], 2011</span></p> <p class="MsoNormal"><span>Media, as a controlled application dependent on geographical and political situations, is deconstructed in ‘<em>Decenter’. “</em>One believes that power manipulates the masses through the popular media. One can also think that the reverse is true: it may be masses who neutralize and destabilize through the popular media” (Baudrillard 145). Today we experience uncontrollable expansion of cultural exchanges. In this situation “there are no longer cultural roots to sustain forms, no exact cultural base to serve as a benchmark for variations, no nucleus, no boundaries for artistic language” (</span><span>Bourriaud 4). To accentuate this shift from </span><span>benchmark to variations</span><span>, ‘<em>Decenter’</em> directs the viewer’s attention from a final looped video, to the process of its production, installed in artists’ studio.</span><span></span></p> <p class="MsoNormal"><em><span>‘Decenter’</span></em><span> is a two-part installation: a single video, which constantly reveals the conventions of the media, and a represented room of production. Media conventions are revealed in many different ways: usage of green screen, the changes in the backgrounds and so on.</span><span> A different version of the same video is displayed on a separate screen. This installation decenters and shifts the attention from a unified and complete artwork to the process of its development.</span><span></span></p> <p class="MsoNormal"><span>    </span></p> <p class="MsoNormal"><span>Bibliography</span></p> <p class="MsoNormal"><span>Baudrillard, Jean. “The violence of Indifference”<em>.</em> <em>The </em></span><em>Conspiracy of Art. </em>Ed. Sylvere Lotringer. Trans. Ames Hodges. New York: Semiotext, 2005.</p> <p class="MsoNormal"><span>Bourriaud, Nicolas. “Altermodern”, Tate Triennial, 2009.</span></p>http://www.sonasafaei.com/post/14171736085http://www.sonasafaei.com/post/14171736085Tue, 13 Dec 2011 12:38:00 -0500decentersonadocsocad<img src="http://25.media.tumblr.com/tumblr_lw5ktxUl8d1qbw1wko1_500.jpg"/><br/><br/><p><span>Decenter, loop, Installation View- Part 2,  [artists’ studio,  OCADU, room #158], 2011</span></p> <p class="MsoNormal"><span>Media, as a controlled application dependent on geographical and political situations, is deconstructed in ‘<em>Decenter’. “</em>One believes that power manipulates the masses through the popular media. One can also think that the reverse is true: it may be masses who neutralize and destabilize through the popular media” (Baudrillard 145). Today we experience uncontrollable expansion of cultural exchanges. In this situation “there are no longer cultural roots to sustain forms, no exact cultural base to serve as a benchmark for variations, no nucleus, no boundaries for artistic language” (</span><span>Bourriaud 4). To accentuate this shift from </span><span>benchmark to variations</span><span>, ‘<em>Decenter’</em> directs the viewer’s attention from a final looped video, to the process of its production, installed in artists’ studio.</span><span></span></p> <p class="MsoNormal"><em><span>‘Decenter’</span></em><span> is a two-part installation: a single video, which constantly reveals the conventions of the media, and a represented room of production. Media conventions are revealed in many different ways: usage of green screen, the changes in the backgrounds and so on.</span><span> A different version of the same video is displayed on a separate screen. This installation decenters and shifts the attention from a unified and complete artwork to the process of its development.</span><span></span></p> <p class="MsoNormal"><span>    </span></p> <p class="MsoNormal"><span>Bibliography</span></p> <p class="MsoNormal"><span>Baudrillard, Jean. “The violence of Indifference”<em>.</em> <em>The </em></span><em>Conspiracy of Art. </em>Ed. Sylvere Lotringer. Trans. Ames Hodges. New York: Semiotext, 2005.</p> <p class="MsoNormal"><span>Bourriaud, Nicolas. “Altermodern”, Tate Triennial, 2009.</span></p>http://www.sonasafaei.com/post/14171622219http://www.sonasafaei.com/post/14171622219Tue, 13 Dec 2011 12:34:00 -0500decentersonadocsocad<img src="http://29.media.tumblr.com/tumblr_lw5kl9oq771qbw1wko1_500.jpg"/><br/><br/><p><span>Decenter, Installation View- Part 2,  [artists’ studio,  OCADU, room #158], 2011</span></p> <p class="MsoNormal"><span>Media, as a controlled application dependent on geographical and political situations, is deconstructed in ‘<em>Decenter’. “</em>One believes that power manipulates the masses through the popular media. One can also think that the reverse is true: it may be masses who neutralize and destabilize through the popular media” (Baudrillard 145). Today we experience uncontrollable expansion of cultural exchanges. In this situation “there are no longer cultural roots to sustain forms, no exact cultural base to serve as a benchmark for variations, no nucleus, no boundaries for artistic language” (</span><span>Bourriaud 4). To accentuate this shift from </span><span>benchmark to variations</span><span>, ‘<em>Decenter’</em> directs the viewer’s attention from a final looped video, to the process of its production, installed in artists’ studio. </span><span></span></p> <p class="MsoNormal"><em><span>‘Decenter’</span></em><span> is a two-part installation: a single video, which constantly reveals the conventions of the media, and a represented room of production. Media conventions are revealed in many different ways: usage of green screen, the changes in the backgrounds and so on.</span><span> A different version of the same video is displayed on a separate screen. This installation decenters and shifts the attention from a unified and complete artwork to the process of its development.</span><span></span></p> <p class="MsoNormal"><span>     </span></p> <p class="MsoNormal"><span>Bibliography</span></p> <p class="MsoNormal"><span>Baudrillard, Jean. “The violence of Indifference”<em>.</em> <em>The </em></span><em>Conspiracy of Art. </em>Ed. Sylvere Lotringer. Trans. Ames Hodges. New York: Semiotext, 2005.</p> <p class="MsoNormal"><span>Bourriaud, Nicolas. “Altermodern”, Tate Triennial, 2009.</span><span></span></p> <!--EndFragment-->http://www.sonasafaei.com/post/14171459757http://www.sonasafaei.com/post/14171459757Tue, 13 Dec 2011 12:29:00 -0500decentersonadocsocad<iframe src="http://player.vimeo.com/video/33230608?title=0&byline=0&portrait=0" width="400" height="225" frameborder="0"></iframe><br/><br/><p><span>Decenter, loop, Installation View- Part 2,  [artists’ studio,  OCADU, room #158], 2011</span></p> <p class="MsoNormal"><span>Media, as a controlled application dependent on geographical and political situations, is deconstructed in ‘<em>Decenter’. “</em>One believes that power manipulates the masses through the popular media. One can also think that the reverse is true: it may be masses who neutralize and destabilize through the popular media” (Baudrillard 145). Today we experience uncontrollable expansion of cultural exchanges. In this situation “there are no longer cultural roots to sustain forms, no exact cultural base to serve as a benchmark for variations, no nucleus, no boundaries for artistic language” (</span><span>Bourriaud 4). To accentuate this shift from </span><span>benchmark to variations</span><span>, ‘<em>Decenter’</em> directs the viewer’s attention from a final looped video, to the process of its production, installed in artists’ studio.</span><span></span></p> <p class="MsoNormal"><em><span>‘Decenter’</span></em><span> is a two-part installation: a single video, which constantly reveals the conventions of the media, and a represented room of production. Media conventions are revealed in many different ways: usage of green screen, the changes in the backgrounds and so on.</span><span> A different version of the same video is displayed on a separate screen. This installation decenters and shifts the attention from a unified and complete artwork to the process of its development.</span><span></span></p> <p class="MsoNormal"><span>    </span></p> <p class="MsoNormal"><span>Bibliography</span></p> <p class="MsoNormal"><span>Baudrillard, Jean. “The violence of Indifference”<em>.</em> <em>The </em></span><em>Conspiracy of Art. </em>Ed. Sylvere Lotringer. Trans. Ames Hodges. New York: Semiotext, 2005.</p> <p class="MsoNormal"><span>Bourriaud, Nicolas. “Altermodern”, Tate Triennial, 2009.</span></p>http://www.sonasafaei.com/post/14171000958http://www.sonasafaei.com/post/14171000958Tue, 13 Dec 2011 12:14:00 -0500decentersonadocsocad