The 4th Year

The 4th Year / Mohsen Gallery / Tehran / Iran / 2010

The Fourth Year: Responses to Ask!A curator asking her chosen artists to present what hey think of the fourth year in the form of art works gives rise to questions. Even more thought – provoking would be artists’ responses who attend the question itself.
Why the Fourth Year and why not today? Discussing Today, asks for description, analysis comparison and – God forbid! – criticism. This would b to challenge artists and catch them in a corner. Any opinion, prediction, foretelling, etc. can be devoid of all these and still induce imagination, fantasy and dream. Asking about future is not so challenging as the present moment. The answers. No matter of what kind they might be – scientific, sensational imaginary or phantasmagorical – speak of the current moment and the situation of those who have provided them.

Probably, the most irresponsible way of foretelling the future is fortunetelling; and tasseography is the closest to the fine arts. Is it not true that, from the time of Peck Merle caves till today, artists have benefited from patterns of cave-walls, rocks, trees clouds, etc.? Why should they not use patterns of coffee grounds in their cups for expressing them? As such, the artist is not answering rather asking what you see. You busy yourself with coffee patterns or ask, why fortunetelling?’ Is taking refuge in fortunetelling due to extreme despair not a sign of the impossibility of rational analysis? Does it amount not to regarding all kinds of foretelling as naïve? Does the reasonable man think of fortunetelling in normal conditions? The answer is provide by her other artist friend in whose statement gravestone-like walls are considered the reason behind imagination while dream is regarded as the only chance of man for confronting darkness.
The Fourth Year is as strange as finding standing coffins with red velvet coverings accommodating bronze teddy bears. The Fourth Year is the fear of multiplication of the sharp-edged. The Fourth Year is the continuation of repairing a china vessel whose cracks have for long guaranteed a breakdown prevented by a magical trick. As with a trembling puppet with wings of sparrow and hair, The Fourth Year recounts of something becoming something that we do not know what it is. The Fourth Year is formed through participation of the audience, through displacement of cubes…

Although The Fourth Year does not answer (its replies being questions in themselves), you doubt not that The Fourth Year is no the fourth year: it is today.

Hamid Severi