Lovers in cornfields
Brecht regards crime drama ( crime exhibition) as a sort of history, where mankind’s inter animations or events’ occurrence come in terms with its own most critical status. Yet why would not the spectator, in such a critical situation (of theatre), see anything apart from reality? And why does crime always remain an enigma?
During these years of working with petroleum issue, i have always been confronted with horrifying realities. And whenever i have disclosed these realities , unavoidably, I have encountered with history wall. Yet this turn, i have tried to near such an issue taking advantage of another gest : gests deriving from each of ours’ under-layers; that is, whether they are Intentional or accidental! finding out gest and behavior significances, as episteme factors, is not something fresh.
In visual art, we approach what is intended epistemologically throughout gest patterns: i strived to state something about petroleum semantic relationships with identity, hegemony, and power by making these several pieces as well.
When the works were made, I realized that finding out these relationships with my mental subject is not so overt as it has not been left covert as well although i cannot hide my zeal of exhibiting such a of plenty concealment.
Hamze Farhadi