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"Biologists believe there is nowhere as safe as womb."
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Difficult delivery of the immortal baby
2019-2021
Seyed Amin Bagheri
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Seyed Amin Bagheri (b.1981, Iran) Holds an MA in Painting from The Faculty of Fine Arts and Architecture, Tehran Azad University (2010) and BA in painting from Soureh University, Shiraz, Iran (2005). His work has been exhibited in numerous solo and group exhibitions in Iran and he has been the recipient of several awards and residencies. Bagheri Lives and works in Tehran.
A multidisciplinary artist, working with drawing, painting, sculpture and video, Bagheri often focusses on the human figure and the drama of life – particularly the paradoxical dividing instant between laughter and tears or pain and pleasure. Working with both installation and the muscular immediacy of drawing, his work is a richly provocative exploration of the human experience, often depicting moments of profound physical and psychological impact.
His recent series of 24 drawings for Difficult delivery of the immortal baby with AB-ANBAR is an exposition of the trauma and euphoria of childbirth and the decisive moment where the newborn is expelled from the sanctuary of the womb to exist in the world of pain and pleasure.
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“Biologists believe there is nowhere as safe as womb.
The very first cry of a newborn baby is an alarm of a sudden inevitable exile, psychologists say.
This is the Fall.
The first cry symbolizes all agonies of life, including the mother's labor pain.
We never regain that sublime comfort we used to have in womb after birth. Perhaps the quality and quantity of crying and laughing, sorrow and happiness stems from the memory of separation from our motherland. There is no therapy for the homesickness of this unavoidable transition.
Humans make their destiny gradually and seek what is defined as success and happiness in society, whereas the real relief is hidden in deliverance; freedom from the burden of possession with the help of a bare mind. I believe humankind's pain originates from the fact that the real euphoria is connected by an invisible umbilical cord to an imaginary womb.
That blubbery globe has exploded and only a vague memory has remained in the unconscious.
The outside cold has shattered the inside serenity.
Lungs have started.”
Seyed Amin Bagheri
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Language is a fundamental thread running throughout Bagheri’s work, both as an exploration of communication but also through the importance he places on literature as a conduit to express human existence. He says of this focus, ‘I am interested in language as an active and living element of life and its manifestations in spoken or written form or as ‘body language’. I ponder over art and what it means to converse with myself and the world around me, a conversation which may not lead to an actual or instructive conclusion but which reveals my way of thinking and imagination.’ For him, we live in language. Like the paradoxical instant between pain and pleasure, it sarcastically reveals our captivity. We use it to liberate ourselves in the realm of active expressions but yet, the liberation is the beginning of a confinement. The language, in all its forms (word, body, icon), begins with the first cry. The lungs starts. Life begins. And it is in this undeniable and paradoxical moment of trauma, euphoria, liberation and captivity that we see an unrecognised new face of language: speaking through existence.
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Seyed Amin Bagheri, Untitled, 2019-2021
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Seyed Amin Bagheri, Untitled, 2019-2021
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Seyed Amin Bagheri, Untitled, 2019-2021
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Seyed Amin Bagheri, Untitled, 2019-2021
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Seyed Amin BagheriUntitled, 2019-2021Indian ink on cotton34 x 44 cm
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Seyed Amin BagheriThe raconteur is a slave, 2019-2021Indian ink on cotton175 x 135 cm