Vol.03
GLITCH AESTHETIC
The ambiguity formed in the Glitch language pursues two functions and an independent nature; On one hand, it gives the pixel as the smallest component of the digital image, an independent identity and a separate aesthetic expression, on the other hand, it allows the audience to take an active role in the aesthetic perception by illustrating in the distorted and damaged images.
PIXEL AESTHETIC
Pixel aesthetic in glitch art is a discourse that moves from the whole to parts and subsequently from parts to the whole, creating a cycle that makes us look at pixels as independent and aesthetic elements. Therefore, glitch artists apart from the typical public opinions about noise, redefining the pixel language and its aesthetics in our minds by creating works to introduce the true value and nature of pixels. The structural contradictions and apparent similarities between pixel and visual languages have led the glitch artists to use all the available features and strategies of the visual language in their works that aligns with the practical logic and structure of technology revolution.
Mohammad Ali Famori
Vol.02
Statement of Glitch: Pixel Language
The binary code of zeros and ones are the foundation of the digital world. Binary code can be defined as the basis and the nature of the digital era. All the definitions of the world of technology and informatics include computing and converting the "zero and one" binary codes. Transferring and calculating data in zero and one system, and creating a safe and secure path for it, has always been one of the goals and missions of the modern man.
From the beginning, any fault, disruption, and destruction of the rhythm designated by zero and one have been considered a defect in one of the three sides of the connection, the digital transmitter, receiver, and broadcasting device. Contrary to this notion, in the late 20th century, a new language or genre emerged in the digital art world called "Glitch", which looked at this triangle from an aesthetic point of view and provided new grounds for new interpretations of the noise and glitch phenomenon apart from their mechanical process. The ambiguity in the language of glitch leads to two functions, on the one hand, it gave pixel an independent identity as the smallest component of the digital image, capable of carrying a new mode of expression. It also allows the viewer to look at a disrupted and destroyed image, and by personal interpretations participate in making new meaning.
Pixel language in glitch art is a language and discourse that moves from the whole to parts and subsequently from parts to the whole, creating a cycle that makes us look at pixels as independent elements. In this way, glitch artists distance themselves from the public opinions regarding the noise and create works to introduce the value and nature of pixels, and they do so by redefining the pixel language in our minds.
The structural contradictions and apparent similarities between pixel and visual languages have led the glitch artists to utilize all available features and strategies of the visual language, in line with practical logic and structure of the technological revolution to make his language live longer.
Mohammad Ali Famori & Sadegh Majlesi
GLITCH: PIXEL LANGUAGE | Platform 101 – Vol.02 - Glitch Video Art Group Exhibitions | at Bavan Gallery |
The group exhibition "Glitch Art: Pixel Language" was displayed from December 25 to March 3 in the Negative Space No.1 of Bavan Gallery, curated by Mohammad Ali Famouri and Sadegh Majlesipour. The show featured a glitch video by two artists every week, each of the eleven episodes of the exhibition began on Fridays and stayed on display for a whole week. These artists, distancing themselves from the public opinions regarding the noise, have created works to introduce the value and nature of pixels, by redefining the pixel language in the minds of the audience. Technological errors that are made by defects in digital devices give us incomplete images. These incomplete and intricate lines in the videos, audio noises, pixels, and digital motifs make up the glitch aesthetics. In the process of creating glitch art, on the one hand, we rely on the digital device as a medium, and on the other hand, there is the artist, and at last, a triangle is made by the interpretation of the digital art by the audience. Glitch art is a discourse that moves from the whole to parts and subsequently from parts to the whole, creating a cycle to reread pixels as an independent element. 27 artists were presented in "Glitch Art: Pixel Language" including:
Vahid Qaderi & Razieh Kooshki, Franco Pallioff, Diyu Fang, Erfan Ashourian, Gholnaz Behrooznia, Parisa Pakzamir, Behrooz Farahani & Hossein Poresmaeil, Neda Dastafkan & Parnian Donyari, Nikzad Arabshahi, Sabato Vissconti, Arash Masoum, Nazila Karimi, Arezou Ramezani, Francesco Corvi, Shahb Shahali, Suture, Abarca, Nima Mansoury, Elnaz Mohammadi, Sina Kia Daliri, Shalala Salamzadeh, Mohammad Ali Famori & Reza Famori, Sadeq Majlesi
GLITCH ART, THE FIRST GLITCH VIDEO ART GROUP EXHIBITION IN IRAN
A group video art exhibition titled Glitch Art: Pixel Language, curated by Mohammad-Ali Famori and Sadeq Majlesi, has opened on December 25 at Bavan Gallery in Tehran, Iran and will continue for eleven weeks until March 12.
“Glitch Art: Pixel Language” Exhibition at Bavan Gallery in Tehran
“Glitch Art: Pixel Language” is an 11-week group exhibition curated by the award-winning multidisciplinary artist Mohammad Ali Famori and the prominent glitch artist Sadeq Majlesi.
Platform 101-Vol.1 marks Iran’s first exhibition tour. 101 black and white, standard size (10*15cm) photographs by Iranian and non-iranian artists are displayed and auctioned in six editions at Negar, No. 4, Alihah, Ariana and the Rooberoo Mansion Art Galleries in Tehran as well as Matn Art Gallery in Isfahan during a quarterly period.