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 ,un avoidably, 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