43 rue de la Commune de Paris Romainville
May 14, July 15, 2023

The Beautiful Decay of Flowers in The Vase by Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian offer a compositionist view of the world, one that can be seen, felt and danced.
The Alluvium made from metal rods and carefully painted floating discs, twist into multiple positions. Recently presented in Venice during the 2022 biennial, they frame fragments of our contemporary history and tiny captions: “burning ship Sri-Lanka” interspersed with more hopeful visions “fog, stars, a zoom out from the chaos of human everyday life”…
The gestures of transposing and reframing these elements from the news cut within the seamless fabric of the obesity of images that flood our daily worlds. But the sculptures are also humanoid beasts, arboring what could be seen as four legs and three heads. Their kaleidoscopic visions force the viewer to move, physically and beyond a familiar zone to be richly rewarded with ornamentations that often bear citations, that envelop. When in the form of tables and chairs they support and entrance the viewer.
The news and citations contaminate and are produced by humans or forces of nature. Considered from an interspecies perspective, a multiplicity of references, and irreconcilable scales cohabitate. Within the canvases of Madame Tussauds (Her Majesty) series, the several-legged characters of the Alluvium seem to return in various forms of procession, this time with animal features and in civilized garb.
As Emmanuele Coccia points out in Métamorphoses, 2021, the unity of a human species is already a myth as we are populated and formed by millions of other micro-cellular beings, some millions years old in a field of coexistence where the past the present and the future mingle. Particles of the dead and the living cohabitate. As complex life forms we are all trans species.1
The almost molecular structures of the Alluvium are born from a choreography of form: the dance of the artists as they are explaining vectors and movements to their fabricator, Mohammed Rahis Mollah, who is credited within the piece. Emancipated from a given language, the sculptures can also be read as scores. The artist Kiori Kawai was invited to devise a dance structure from the Alluvium transposed into the salt lakes within the Gulf region. Different levels of contribution multiply through each stage of collaborations while making a breach in a Western-centered system of references. Iranian Artists living in the UAE, communicate with a Bangladeshi fabricator and inspire the new work of a Japanese dancer in a feedback loop. The dialogues and exchanges create flow with a work generating another.(…)

Texte by Sarina Basta


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