Frames of the Visible
Exhibition Dates: May 5 – June 9, 2012
Artist Talk: Saturday, May 5, 1-2p (RSVP as seating is limited)
In “Frames of the Visible,” Sanaz Mazinani examines the disassociation that occurs between an event and its photographic record. Using destabilizing images of war mined from online news media outlets, Mazinani constructs photographic collages that collapse the intimations of the original image, thus creating a new representation of conflict.
Together We Are, 2011
Mazinani explores the relationship between perception and representation by drawing from concepts such as censorship, scale, and the body as a site of action or violence. For instance, juxtaposing appropriated images of a female suicide bomber and of media darling Paris Hilton, creates a new meaning that can affect our understanding of an image and how it is used to illustrate and construct history. The geometric patterns created by sequentially coupling, repeating, mirroring, and multiplying her source material references Islamic ornamentation, pairing traditional Eastern and contemporary Western image production techniques. These works examine the radical ways in which individuals perceive the same object with differing complexity. Mazinani seeks to recognize how political realities are represented in photography. She visions the perspectival frames of warfare, while acknowledging the complicated nature of our modern existence in a globalized world.
The In-between, 2011
The In-between (detail), 2011
Mazinani (b. Tehran, Iran, 1978) is an artist, curator, and educator based in San Francisco and Toronto. Born in Tehran, Iran, she holds her undergraduate degree from Ontario College of Art & Design University and her MFA from Stanford University. She co-edited ALMANAC: An Index of Current Work and Thought, a collaborative publication addressing the relationship between theory and practice (Stanford University, 2010). She was the 2011 Visual Arts Curator for the Iranian Canadian Centre for Art & Culture’s interdisciplinary arts triennial, Tirgan. Most recently she was Guest Curator at Iris & B. Gerald Cantor Center for Visual Arts at Stanford University where she curated "Edward Weston: On Light, Line and Form."
Her work has been exhibited throughout North America including solo exhibits at Toronto Image Works Gallery, Toronto, Ontario; Carnegie Gallery, Dundas, Ontario; and Art & Architecture Library at Stanford University, Stanford, California. She has received numerous grants from Ontario Arts Council and Toronto Arts Council and has been the subject of articles in Border Crossings, Nuva Luz, NOW Magazine, San Francisco Chronicle, and Dide.
This exhibition also coincides with the launch of Mazinani’s catalogue, Unfolding Images, published by Bulger Gallery Press in April 2012 and co-authored by Jeremiah Barber, David Fresko and Mohammadreza Mirzaei.
Join us on Saturday afternoons for a series of films selected by our featured artist, Sanaz Mazinani.
Dir. Mike Nichols (USA: 1970), 122 min.
THE INVISIBLE PRESENT
Curated by Amirali Ghasemi/Parkingallery Projects, Tehran
"The Invisible Present" is a film series that introduces the vibrant new wave video art scene in Iran, which highlights the use of various disciplines, such as experimental film, animation, performance and photography. The artists—most of whom are younger than 35—work within Iran and across the globe. The Invisible Present sheds light on a generation that is not clearly defined and often harshly targeted internationally; a generation which seeks to be present and exercise their significant liberty to experiment, while being invisible to many.
THE BATTLE OF ALGIERS
Dir. Gillo Pontecorvo (ITALY: 1966), 121 min.
THE FOG OF WAR
Dir. Errol Morris (USA: 2003), 95 min.
WHY WE FIGHT
Dir. Eugene Jarecki (USA: 2005) 98 min.
THE WAR TAPES
Dir. Deborah Scranton (USA: 2006), 97 min.