The Days After Tenth

On December 13, 2013, Ali Hosseinian held his photo exhibition titled "The Days After Tenth" in Ferdowsi gallery at Jahad University of Mashhad.
The exhibition includes three series : The Fortieth Day, Mashgh and Sabaya. "The Fortieth Day" set are printed with dimensions of 50 by 75 cm, and the two sets Mashgh and Sbaya in sizes 76 to 114 cm on emulsion paper.
The title of the Exhibition is a reference to the days reminding far remote yet live events.
The set "The Days After Thenth" shows the feelings of the followers and lovers of Ahlul Bayt (family of the Prophet Muhammad) on the days after the martyrdom of Imam Hussein on Muharram 10, 61 AH, the days on which every year sad rituals are held in their different forms and styles.

An introduction to the exhibition, by mehdi fazel:

Photographing an event which is a reference to another event, apart from its constraints and sensitivities, is more susceptible to the threat of superficiality and repetition than photographing the original event itself. Ashura is an event and Ashura mourning is a reference to that event. Photography of mourning, in many cases, is similar to illustrated reports. Going beyond superficial layers of the incident and avoiding a formalistic approach to a phenomenon which has an outstanding documentary aspect is essential for burrowing into the social and cultural motifs.

Two sets of " Mashgh " and " Sabaya ", with a documentary approach yet an expressive procedure, try to escape from the general and report-like aspects of Ashura photography and create a new dimension. A dimension which is supposed to help the audience to explore further and avoid mere representing of the events. And that is what Ashura photography is still lacking. Basically, and from a critical perspective, photographing the ceremonies and rituals of Ashura, to the extent that photographs simply deal with the outer surface and try to be dramatic, is unnecessary- unless the photography is approached from a specific artistic or philosophical perspective- since over the years, millions ( and perhaps billions ) of photos of these rituals have been taken and recorded. Ali Hosseinian, in his two sets, has taken the first step to pass this level and achieve a specific philosophical and artistic outlook.

Removing color from a space which has always placed an emphasis on colors (green, red, or white and red) as the forces of good and evil seems to be a good decision and is a step toward creating a more dramatic space which emphasizes the documentary and inner aspects of the event. Highlighting the dramatic aspects of the event and manners of its people, on the one hand, and placing emphasis on the whole story and space in which people have been unified, on the other hand, represents the two aspects of the same event. In other words, using closed view confined to characters who are supposed to be referred to without relying on color and open- space view of the people that have become a part of the whole works pretty good in coming close to the emotional background of the event.

Finally, hosseinian's photos are not supposed to make the audience aware of an incident or to provide pictorial information based on reality. The function of his photos is to acquaint the audience with a less noticed or neglected aspect of a familiar event and to deconstruct it.

فارسی

Tuesday, April 22, 2014