Sometimes the time for publishing an advertisement is not even two weeks until the exhibition. Although some of them do not mention payment, in fact, each person has to pay a fee to display their work in this exhibition. In this way, each artist can present one or more of his works and pay for each one …
Bio-artistic and the creation of a work of art is a subject that is directly related to the artist’s privacy and his mental and spiritual explorations. Throughout history, artists have been known as isolated people who spent their time in the studio thinking of nothing but creating works of art. But after creating the work of art, these isolated artists were also interested in showing the result of their efforts to others and seeking their opinions. This exhibition of works of art, in addition to satisfying the artist’s sense of ostentation, sometimes provided the possibility of selling the work and providing a part of his living expenses.
With the passage of time and the entry of man into the world of modernity, the display of works of art became more serious. Gradually, spaces were formed in cities where artists could exhibit their works of art together or alone for a short period of time, and their friends, colleagues, or art enthusiasts could visit a specific location to view the works. As these approaches became more serious and artists became more prominent in the community, galleries began to serve as a place to display and sell works of art, gradually gaining a foothold for artists and a link between them and the audience.
Today, for most artists, it is not conceivable to display a work outside the gallery, and they consider the only way to introduce themselves to the audience and, at best, to sell their work, is to hold an exhibition in a gallery. For all visual arts graduates and activists in this field, holding an exhibition of paintings, sculptures, photographs, etc. in reputable galleries is considered as a resume that confirms their serious activity in the field of art. An artist who spends a lot of energy, time and money to create a work of art and collect a collection, needs to put these works in front of the audience and hear their approval or critique.
Accordingly, artists in various branches of visual arts, by collecting a number of related works, set up a solo exhibition to test themselves. But group exhibitions also have features that can appeal to artists. Sometimes a number of artists who are familiar with each other’s work history and spirits, based on commonalities or contradictions, collect a collection of works and display them.
But another type of group exhibition is that a person called a curator, by choosing a specific subject and based on his relative knowledge of the artists of the community, selects a number of them who have commonalities with each other and asks them based on the desired subject. Create the effect. Such exhibitions are one of the most successful examples of group exhibitions that can show the different views and approaches of artists to a subject and at the same time force them to study the specified subject.
In recent years, however, the art community has faced a kind of group exhibition that does not fit into any of the above definitions. Looking at the large number of openings each week, we come across group exhibitions that have been formed without any semantic or apparent connection between the works. In most of these cases, it seems that the artists, who for various reasons are not able to collect a coherent collection, display their single works together in order to provide an exhibition history for themselves. Despite the significant increase in the number of art graduates, it is not far-fetched that many of them have little artistic ability and therefore are unable to create works that form a cohesive collection.
On the other hand, the material costs of collecting a collection, which includes consumables, gallery rental, advertising, etc., in a situation where the works of young artists are rarely sold, make them prefer to participate in a group exhibition, the cost to Minimize. The audience of such exhibitions is often limited to the friends and acquaintances of the artists, and no gallery or serious art audience visits these exhibitions. This is how sometimes in the resume of young artists there are several group exhibitions, while not only is there no solo exhibition in their repertoire, but also these group exhibitions have not made them known in the art community.
In addition, in the last one or two years, there has been another type of group exhibitions that are formed by the galleries themselves. In the telegram channels and Instagram pages that work with the subject of visual arts and have a special audience, sometimes there are advertisements that have been published as exhibition calls. In these advertisements, all artists in different fields of visual arts are invited to send pictures of their works and to attend the exhibition after being accepted in the call. So far, there is no problem in these ads and it is thought that we are facing a call. While the call is usually announced for a festival or competition that has a free or specific theme, a well-known jury selects a very limited number of works from a large number of entries in a few steps. In addition, the invitations provide a relatively long deadline for artists to have the opportunity to create a work of art appropriate to the event.
But the fact is that in such advertisements, no jury is introduced and sometimes the time for publishing the advertisement is not even two weeks until the exhibition. Although some of them do not mention payment, in fact, each person has to pay a fee to display their work in this exhibition. In this way, each artist can submit one or more of his works and pay for each one.
It is clear that the works presented in such a collection have not the slightest connection with each other. They can be works on different levels, formed this year or ten years ago with subjects ranging from inanimate nature and landscape and man to surreal and abstract images, some of which are in fact the only works of art of their owners.
It is quite clear that the purpose of forming such an exhibition is not to have an artistic concern, to introduce young artists, to find an art buyer, etc., but it seems that the gallery only intends to fill its empty wall in some way and receive its cost.
In addition, a number of other exhibitions are held by a person who acts as a curator or collector. In these cases, the method of accepting the works is the same, with the difference that this time a part of the amount paid by the participants is allocated as a salary to the person collecting the works.
What is being held by the novice exhibition space as a group exhibition is an example of the abuse of young artists who intend to enter the art space in any way and go this route quickly. Providing a valid certificate, which is considered as a reassuring option for the exhibitors, is a claim that experienced artists are aware of its ineffectiveness. The certificate of participation in the exhibition as a confirmation of the artist’s professional background is valid only in cases where it has been issued in a formal and extensive event such as a biennial and a festival. Otherwise, no certificate can indicate the credibility and artistic quality of individuals.
This problem becomes more significant when exhibitions are held in foreign countries under the same conditions. This time, too, there are people who collect a number of works by young artists without any special subject or circumstances, and take them with them for a fee to perform in foreign countries. The young artist pays a lot of money to produce one or two works to produce a brilliant resume, but naturally most Iranian artists do not know about foreign galleries and how they work, so it is not far-fetched that these works are in unknown and low-level galleries. It should be shown that sometimes their credibility is lower than the 2nd and 3rd grade galleries in Iran.
It seems that in the absence of the necessary supervision, a different market has emerged in the Iranian art community today, which brings good income to some activists in this field. But the one who does not benefit from this space and is ultimately misled is an artist who, without hard and persistent effort and knowledge of the art space and its conditions, intends to show himself and compile a long resume.