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Day's dream and night's mare
Performance-instalation according to “The Three Sisters” (a play by Russian author and playwright Anton Chekhov. Written in 1900)
(Angewandte kunst-vienna-Austria 2009)

Cities
Installation according to Brecht`s poem calls "cities"(1927)
Angewandte university of applied arts vienna 2010

Happening birthday
a happening according to “The Three Sisters” (a play by Russian author and playwright Anton Chekhov. Written in 1900)
Performer: Stefanie Moshammer
5/5/2009
Wien

"ACT ONE
Inside the Prozorov house. A sitting room with pillars, behind which is seen another large dining or reception room. It is midday; outside it is bright and sunny. In the dining room beyond the table is being laid for lunch. Olga in a blue dress, the official school dress for a teacher of the Girls' High School, is continually correcting exercise books as she stands or while she walks around. Masha in a black dress sits on a chair with her hat on her knees and reads a book. Irina in a white dress is standing deep in thought.
OLGA. Father died exactly a year ago, on this very same day, on the fifth of May, on your name day, Irina. It was very cold, and snow was falling. It seemed to me as if I would not live through it, you were lying in a faint, as if you were dead. But look, a year has gone by and we can remember it lightly, you are already wearing white, and your face is full of brightness…
(The clock strikes eleven.)
And then also the clock struck in just the same way.
(Pause.)
I remember, when they carried father out, the band was playing, at the cemetery they fired shots in his honor. He was a general, and commanding officer of a brigade, but even so, not many came to the funeral. But of course, it was raining then. Very heavy rain, and snow.
IRINA. Why do you insist on remembering it!
(Behind the pillars, in the dining room, Baron Tuzenbach, Chebutykin and Solyony appear near the table.)
OLGA. Today it's warm, we can even have the windows open - but the birch trees are still not in leaf. Father was given command of a brigade and left Moscow with us eleven years ago. And I remember it all distinctly, at the beginning of May, just at this time, in Moscow already everything is in flower, it's warm, everything is flooded with sunlight. Eleven years have gone by, but I remember everything there, as if we left Moscow yesterday. Good God! This morning I woke up and I saw a blaze of color, I saw the spring, and gladness bubbled up inside my heart, and I desperately wanted to be where I came from, in my native land.
CHEBUTYKIN. Its absolutely not true.
TUZENBACH. Of course, it's nonsense. translated by

Gerard R. Ledger.1998 Copyright G. R. Ledger June 1998."

in the slow pace of today's art, I have thought several times with myself that what is the social and historical place of the contemporary art and today's artist, sometimes I'm proud of it and other times the sorrow which the contemporary human being carries takes over me to a point that I have called this factor a vandal or a rather destroying element (of art).
My current works are coming from the second (mentioned) concept.
In creating these works, in order to eliminate the material, I came up with a new concept which I call it "Hijm" (which is a combination of two words in Farsi; nothing and bulk or intensity) or pantomime sculpture.
The negative space between my movements and my idea integrates and ends into creating a sculpture.
These so called "Hijms" have turned every moment of our life into a sculpture from whatever we are not, from nothing. And it's the philosophic concept of nothing which takes a form. Not only it creates a distance between us and its self, but also it becomes objective and it's shape and form questions the concept of material.
In creating the first works of this collection, I used a rather reversed method in which I photographed very basic and original forms, and called them with terms which are more common for materials.
Creating this collection started from 2009 and it still continues‬.

A cube of nothing on a common background

A fat cylinder of nothing on a common background

A sphere of nothing on a common background

A something of nothing on a common background

etude for large scale scoulpture, based on "Lament for Ignacio Sanchez Mejias"

This work is an installation in open space based on childhood plays this time at a larger scale envisages the wind in the middle of desert. A wind which recalls the scent of old memories through the depth of years.

Sky reflected on the inactive water of crofts, conducts and mixes earth and sky's beauty. Introducing mineral colors fills what was lacking aesthetically in my opinion in farms of north of my country.

This installation works by applying Waterworks in space. Early it was based on fountains in Fin-e-Kashan which work only by the weigh of water. Made fountains in Iran are usually bounded to their surroundings but this work is
benefiting one of new arts characteristics which is the presence of spectator in the artwork.
Scales: 10x17m

Mirror's rain or drops of quicksilver reflect the red light on the ceiling and the whole thing reflect once more on the wall. Based on folk stories: Droping a piece of mirror creates an ocean which kills the antagonist and saves the hero.

Current popular doesn't accept motion in sculpture hence I designed (like many others)
some sculptures with movement based on basic forces of nature like water, wind, fire, magnetism and etc. This work is consisted of three water hoses in a glass cage displays a constant dance with the spurt of water out of the hoses.

The smell, the heat and the definition of bread held an image of life for me. Furnace is a mark of traditional way of cooking bread in Iran and repeating this symbol in desert's identity in my opinion moreover than aesthetics was an offering made by a soul to the corps of desert. The Result was at last ten muddy furnaces made with desert soil primped with fire of coppice's dryness of the desert.

The basis of this idea was formed by watching a vast thornland with purple blooms which invites you run in but coarseness of the thorns prevents.
Then I was to add a white delicateness there. This gentleness was coming from the nature and was enhanced by me. The result was white flowers dancing over the plain with music of wind.

This work is one of the Bakhtiary series. This series is based on Bakhtiary's tribe culture, art and folklores. As the most concerns of Bakhtiaries are agriculture (specially wheat), famine and soil. All these interests conformed a performance called Mud and wheat: Centered circles levels made out of wheat with a mud spring in the middle which fills the empty spaces between levels until they are all full. When it is finished with time passing it cracks and with the strokes of shining gold wheats reforms a spreaded monument on soil. It can be performed in open area or inside a room.

This work tries to face the passer with the passing of time and arrange a formalistic visualization of agedness in front of his/her eyes. It is simply like the pass of time itself made out of an omni light and a bowed plate.

This piece is a performance based on the impression of entrance. Seven doors with a spot light placed on the back of each, leads to a room with observing holes on one of its sides. Visitors will first encounter three sides with doors and by opening them their shadow will cast on the floor.
The playing of light and shadow and the visitor's reactions will make a composition that is observed later by them. In fact every visitor in a certain duration is a player and a watcher.

Cypress is for martyring herbal gods in ancient Iran which lives on today in a new fashion on Alam and Kotal. This installation is another comprehension of cypress which its shadow is an allegory for Iranian miniature paintings.
Scales: 6x3m

Stone Lion is the symbol for freedom of men and Martyrs and tribe liberties. Nowadays all of it is forgotten and ruined. In this installation with a small change of form it is transmuted to children's play toy, which itself teases with the kind of values mocked by postmodernists at the time.

Mafega

“Mafega” is a monumental pillar which is constructed for the young dead people, martyrs and head of Bakhtiarian tribe, such as two Mafega, which has been built for two hunters who died in avalanche of Zard_ kuhm or the one for the Sarvebazaft , in Bakhtiari tribe.
The spiritual appearance of these pillars lead me to present the monuments with the most similarity in shapes and texture to the original native samples,
the music has been selected from mourning modes of different regions of Iran.
This work is mostly an ethnological research in new statement than an artistic one.
In honor and memory of "Seyed Rahmatollah Kiayee (my grand father)and Azim Ranayee"

Chamar

“Nasser Teymourpour, 21, is a student of industrial design at Aazd University.
In defining conceptual art, he states: "I would have given an explanation if I had a new one and if I knew the already existing ones I would have tried to elaborate on the as well. Yet, conceptual art, is a method of expressing what is inside, the same is true about art in general and in all eras of human history." He holds that conceptual art has an intimacy with the beliefs and customs of Iran. He demands more facilities, however, to present this genuinely and with more understanding without following other blindfolded.
In this work the rich popular art is being reviewed. The traditions, customs, popular mythos and rituals are valuable and eternal sources of inspiration of artists. I became interested in the grieving cry heard in Chamar ceremony, common in Lorestan and Ilam provinces. Chamar has roots in Neolithic myths. In this ceremony, sounds, forms and even time are all in mourning.”*

* Published in: conceptual Art: Works Presented at the First Exhibition of Iranian Conceptual Art- Tehran Museum of Contemporary Art