Single Pulse Of Subjectivity
New Media Talk Series #24 | Armin Zoghi
Sunday, May 1, 2016 – 7 pm
New Media Projects – Tehran
Armin Zoghi, born in 1979, is a photographer, video artist, visual artist, curator and an art educator. He holds two masters degrees, the first being in “Photography” and from Art & Architecture University in Tehran (2003) and second one in “Visual Arts” from Marc Bloch University in France (2006).
His work has been on display in many individual and collective exhibitions across Iran, UAE and Europe. In addition to this resume, he has practiced curating, art gallery management and teaching art avidly. Although he is an expert in photography and video, he’d rather not limit himself to one medium and allowing his projects to show him the proper decision.
Subjectivity has been a regular theme in his works, therefore he refers to Western Philosophy and Cinema. Although he spends much of his effort to create and curate art, manage art galleries and holds discussion groups and workshops, to accomplish his social responsibilities as an artist is a big priority to him.
My artistic process centers around the transmission of images and the way in which they are perceived by each individual. How do the cultural foundations of a society influence the perception and interpretation of symbolic images? Starting with a minimalist approach, I attempt to isolate those symbols common to several cultures of which the interpretation varies according to the cognitive experiences of each one. Although video and photography occur most often in my work, as the most pertinent media, I also create installations as the need arises. I put great importance on technical quality, in order to be able to associate and master artistic means all in the service of an intention. I am sensitive to the configuration of space and the demonstrative systems that I put into place, which are at the very heart of my discourse. While one video may be presented on a small screen, another may be projected at the end of a corridor constructed out of wood; a photograph may be simply hung, while another is stretched over a frame, next to an installation. I produce my images between observation and staging, where critical analysis coexists with more personal and dreamlike intuitions. My process begins with a synthetic configuration of the subject, and develops through the endeavor of image construction.
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