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‘RE’ ‘Re’ stands
for ‘reaction’, but also for ‘re’ in the sense of ‘back’. From your
current situation you can move forward tot the next, but you can also
go back to the previous one.
Through
association I find a variety of words, and I try to make these words
refer to Navid’s work. Reflection:
In a work such as Try to realize the inception of
tomorrow’s new and mint condition Navid hangs the piece with the
painted side facing the wall, rendering the colour, the form, the
message invisible… There is only the reflection of a pink glow at the
edges. Rearrangement:
in Only if you let it subflooring tiles are used to
rearrange the room. The acoustics of the room change and footsteps
leave traces in the somewhat porous material. The entering sunlight is
absorbed, making the tiles turn brown.
The room is
experienced anew through the changes that occur. Ultimately, the room
is exhibited itself as you move through it. Nuur
continuously makes visible processes of change. The energy released by
or required for the changing of basic elements such as water, air and
light is made visible using small objects from the living environment.
Depending on their situation the objects’ condition is solid, fluid or
gaseous. Dry letters
are moistened. As light you walk through a sheet of paper from THERE to
HERE, like Orpheus walking through a mirror in Cocteau’s film of the
same name.
An ice cream
– fluid material that becomes solid at temperatures below zero – melts
and flows in a situation above zero, Vein of Venus.
Through the working of moist or the grinding of teeth, a ball gum
deforms into an amorphous shape or is blown into a balloon with air
from the lungs. Through the
centuries there have always been artists who wanted to indicate
movement. With regard to Western art the Baroque comes to mind. The use
of diagonal lines lends a dynamic aura to static representations. New efforts
are seen in the Impressionist era: artists try to depict changes of
light and vibrations of air. In Cubism several positions are brought
together within one image. Futurism tries to depict the movement of
machines. The concept
of a ‘process’ has developed more or less in the second half of the
twentieth century. Therefore, it can only be depicted by artists from
that period onward. Art
historians place Nuur’s work within the movement of conceptual art,
seeing Nuur’s personal ‘Arabian touch’ from that perspective. Navid
himself is primarily inspired by scientists, expressly not by fellow
artists. Artists such
as Nauman and Abramovic use video and film to visualize processes of
movement. On Nuur’s website are film clippings that make processes
visible. But to present processes of movement he mainly uses static
visual means. To me this represents Nuur’s romantic side. Still, it is
the discrepancy between the static nature of the material and the
dynamic nature of the image that creates the convincing effect. The
material gets dynamic. Nuur’s work
is as rich and broad as life itself. The comprehensiveness an meanings
of it cannot be described in just one essay. ‘Pleas enjoy… slowly’,
Navid writes at the end of his introduction to his book ETIOLATION 1. I
will certainly take this advice to heart each time I look at his work
or documentation. Vincent van
Oss Recently i discovered 'Re' also stands for the Egyptian
Sungod 'Ra' ! |
`Re`
' Vein of
Venus; de ijscomachine'