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Group
Sculpture
Exhibition
Only
Michelangelo (1475-1564)
could
change
Pope
Julius
II’s
commission
to
one
of
the
most
ambitious
artistic
works
of
all
times.
What
he
painted
on
the
ceiling
of
the
Sistine
Chapel
from
1508
to
1512
was
splendid
enough,
but
needed
a
starting
point.
He
was
not
purposeless
in
reserving
his
magic
for
such
an
inception,
such
a
heartland,
for
a
moment
in
which
God
gave
life
to
Adam’s
soulless
body.
Only
a
touch
of
the
Infinite
was
all
that
was
needed
for
creation.
It
is
not
pointless
that
later
on,Jesuits
called
God’s
son
Jesus
of
Nazareth,
he who
had
Messianic
breath.
But
God
the
Father
had
created
his
beloved
offspring
from
mud.
Hence,
He is the
first
sculptor
in
history,
and
who
better
than
Michelangelo
could
portray
the
splendor
of
this
art?
Even
if
not
the
greatest
sculptor
of
all
times, Michelangelo is one
of
the
bests,
and
it
was
only
he
who
could
perceive
all
the
grandeur
of creation,
the
dazzle
of
giving
life
to a
piece
of
mud,
the
glory
of a
marvel,
the
sublimity
of a
miracle.
Years
later,
when
he
was
sculpting The
Captives from
within
the
heart
of
rocks,
he said:
“The
bodies
are
there,
in
the
heart
of
stones,
I
only
carve
them out.”
Many
years
later, on
the
threshold
of
the
majestic
Modern
era, Dr.
Victor
Frankenstein,
the
mad
and
wretched
creation
of
Mary
Shelley, built
his
monster
from
pieces
of
the
corpses
he
stole
from the tombs.
In such
an era,
he
did
not
have
the
Messianic
breath
anymore.
He
knew
electricity,
the
magic
of his days.
However,
his
monster
became
an
encumbrance
to
him, a
doctor
who
had
become
the
God
of
his own day
with
all
his
modern
apparatuses.
He
had
repeated
God’s
miracle
of
creation
by
bringing
to
life
a
humanoid
creature.
Nevertheless,
Dr.
Frankenstein
was
a
step
ahead
since,
like
a
modern
sculptor,
he
had
created
his
Demon
from
the
wastes
of
decaying
cadavers.
Years
later,
in
this
city
of
ours,
a
sculptor
made
some
soldiers
for
himself
from
the
metallic
wastes
that
are
still
guarding
his
closed
atelier.
Miracle
has
never
accompanied
so
vigorously
any
profession
like
sculpting; maybe
this
is
the
reason
of
all
those
discords,
misunderstandings,
misinterpretations
and
misconstructions. Totems to
idols,
fetishes
to voodoo
dolls all had souls
within
them.
Idols
and
fetishes,
all
made
by sculptors
who seemed
to
be
the
possessor
of
Almighty’s
miracle,
had
the
soul
of
God
and
totems
the
soul
of
tribes.
Sculpting
has
been
always
accompanied
by
this
belief
or
phobia
in
the
history
of
Iran.
It
is
not
meaningless
that
few
examples
of
sculptures
exist
in
Iran,
and
that
our
sculptors
have
mainly
used
their
art
to
make
more
applicable
things,
as
if
this
was
the
only
way
to
contain
the
horrifying
miracle
of
sculpting.
But
the
present
exhibition
is
one
by
three
generations
of
artists,
the
artists
who
have
opted
to
discover
the
miracle
of
volumes.
They
are
no
longer
after
giving
life
to
their
sculptures
nor
finding
the
hidden
secret
within
each one
of
them.
They
are
after
unraveling
the
secret
of
volumes,
sometimes
playfully,
sometimes coquettishly,
sometimes
disenchantedly
and
sometimes
just for
enunciating their
subliminal
and
furtive
feelings.
Nonetheless,
these
sculptures
still
have
souls
which
is
poured
within
each one
of
them through
adzes,
mallets,
buzz
saws
and chisels,
the
same
soul
that
Dr.
Frankenstein
had
given
to
his
fiend
using
electricity.
Written
by
Hafez
Rouhani,
January
2015
Translated
by
Azadeh
Feridounpour
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