The first week of the Group Exhibition Glitch Video Art of Platform 101 in -1 Bavan Gallery entitled “Glitch; Pixel Language »began with a video art show by Razieh Koushki and Vahid Qaderi.

The general title of their project is Vivid Q, which Vahid Qaderi has considered for electronic and visual music set by Razieh Koushki, and Pianoise is the name of the piece from which the set is separated. The artists of this video consider making it as a visual experience in line with the feeling they have received from the music.

Vahid Qaderi graduated from the Tehran University of the Art in 2012 and is currently living in Vienna and a student at the University of the Art in Linz. He has been working experimentally in music for more than ten years. Qaderi released his first album in 2017.

Qaderi has also worked in the field of film music, short animation, and games. The music of “Memoranda” is one of his works. In recent years, Ghaderi has performed several live performances in the cities of Tehran, Shiraz, and Rasht.

Qaderi puts experimental music in the direction of ambient style, but generally considers it a composite work. For Kushki, creating an image for electronic music is formed at the same time as constantly listening to that music. In many cases, he may not have an external plan in mind, but at the same time as the music is made, images are formed for him.

Razieh Koushki graduated from the Tehran University of the Art in 2012 and is currently a resident of Vienna and a student at the Linz University of the Art. She has been following video art seriously for about five years.

She has previously worked in the field of 3D animation, editing, and visual works, and since 2010 he has started making interactive visuals. In recent years, Koushki has staged several performances in Tehran and Rasht.
The image and music space have a personal feeling for Kushki and Qaderi; Which are mostly affected by the surrounding social issues. Art production for them is abstract; Which includes a combination of dreams, reality, and thoughts. By expressing these thoughts, they imagine themselves as an audience and seek clues inside the unknown that has arisen.

Qaderi listens to a lot of music and this is an inseparable part of his life with many influences that he has on Omi; Even his own previously composed music inspires him. Surreal visual spaces have always been attractive to Kushki, but he certainly does not see anything specific as a source of inspiration.

Koushki and Qaderi believe that they feel better when they work and they consider the main goal of life to be better and to share it. They do not publish until they are completely satisfied with the work.

This does not mean that they think everything should be perfect; But since working on a project may go on forever and never end, they believe they should stop this process somewhere and finish at the best point.

“Sacrifice” is the title of Franco Palioff’s Glitch video art in the first week of the Platform 101 group exhibition in -1 Bavan Gallery; Where it shows a building-like structure with a hole in its center. The creature inside the cavity is filling with black liquid, it is drowning.

There are three other creatures around this building that do not have a face or identity compared to the main creature inside the cavity. These three creatures have an abnormal shape and move with a lot of vibrations.

Franco Palioff was born in 1988 in Argentina and has lived in Brazil since 2014. He holds a degree in nuclear engineering. Part of his study focuses on interactive robotic objects, intelligent layouts, and part on his three-dimensional poetic videos based on the evolution of humans and machines and the religious beliefs of humans. He is currently conducting anthropological and historical studies of gender in Latin America.

The subject of this video is Palioff’s research line, which he is currently pursuing various works of art. His goal is to analyze the different methods and social causes of the destruction of the human inner self.
Palioff uses 3D Blender software to design volume, animation, and rendering. His source of inspiration in an attempt to understand why different cultures and societies have different self-destructive mechanisms. He now lives in Brazil, and these mechanisms are different from other communities in which he has lived, such as Argentina and Spain.

He has found that this mechanism is strongly related to how sin is treated and, consequently, how it is understood and lived with religious beliefs. He calls these connections the word sacrifice.

Palioff’s ultimate goal as an artist is based on two pillars. One is his personal enjoyment of living with art, and the other is his attempt to show some of the feelings and thoughts of societies based on social complexities through research and publicity to the world. He is now interested in algorithms and their critique and the topic of Internet manipulation in an artistic way.

Three videos from Singaporean artist Diyu Fang in the second week of the group exhibition “Glitch; Pixel Language » Platform 101 is displayed in 1- Bavan Gallery. These videos are called Cube Hell, Gills, and Universal Engine.

These videos are based on fractals produced by the artist, in the form of a short film. Diyu Fang was inspired by the fractal nature of the world, the complex architecture, and the infinite concept to make these video arts. His goal is to bring the infinite complexity and nature of fractals to life in the form of challenging films.

Di Yoo Aka Diyu Fang is a Singapore-based filmmaker, artist, and composer working primarily as an animator and filmmaker. Diyu Fang has been interested in visual arts and music since childhood and has always been interested in creative expression.
His job is to create artistic formats that bridge the gap between different genres by combining different styles and techniques and using unconventional methods to create something innovative and completely new.

He visualizes all the stages of his activity before starting work; Even if his vision changes without progress or with progress.

While working on a myriad of themes, Diyu Fang maintains a distinct line of refinement, emotional impact, and intricate detail. He has learned himself; His art and work originate from his pure passion and ambition. Diyu Fang began his artistic career as a composer and producer and then turned to filmmaking, animation, and screenwriting.

He is very interested in creating stories and plans to one day produce and direct his own TV series and movies.

Glitch Video Art Erfan Ashourioun, who accompanied Mohammad Saheb Zamani in composing music, titled “Melancholia” at The Group Exhibition Glitch; pixel language is curated by Mohammad Ali Famori and Sadegh Majeisi -1 Bavan Gallery in Tehran.

The artists of this video art believe that melancholy is an attempt to represent a shattered subject in dealing with the gigantic volume of the symbolic system. A giant of letters and symbols that try every day to shape and categorize subjects into predetermined models; A kind of distortion of reality that establishes a preconceived truth.

Melancholy is for Ashourioun and the owner of the time to escape from this category, from these letters. Melancholia is the inverted definition of reality by a schizophrenic subject. To achieve this, the angle of view from the neutral and observer character to the gaze of the inflamed subject has been changed; It is as if the audience is experiencing an abstract journey through the screen to the subject’s mind.

The artists of this video art believe that in melancholy, visual forms (made by Touch Designer) are narrators. Attempts have been made to associate these forms with the general states of several events as if they were distant memories that affected the subject’s mind, and today we recall only an overview of the visual state of those memories.

The Ashouriouns have tried to deform the elements to the point that they are moving on the border between the initial state and complete deformation; This movement and repetition of the elements, this crooked look at the objects will create a kind of distrust in the received affairs for the audience.

Erfan Ashourian is a digital media artist born in 1995 in Isfahan, Iran. Ashourioun is an artist who works in the field of composing and performing music using digital tools. Inspired by nature, organic forms, and phenomena, he shows the concept of decay in abstract forms.
For the Ashourioun, in the construction of joint projects, after the formation of the idea in general and the consideration of different points of view, plans are made separately on an aura of dialogues. Like disjointed lines, which then becomes a coherent poem with the composition related to the original form of the idea of ​​lines.

In this case, form and content become an integral element. The various spatial constructions, gaps, and vocal connections as represented in melancholy become a representation of this.

Mohammad Saheb Zamani was born in 1995 in Tehran. He has a bachelor’s degree in music and is a composer. His current focus is on electroacoustic music and experimental music. His main instrument, which he started playing at the age of 16, is the piano.

Ashourioun and Saheb Zamani believe that melancholy is somehow related to a kind of loss and loss of an object that has disappeared from one’s consciousness. This is also reflected in the poem in the piece; An expression with a dull, mournful tone, along with the melancholy whisper of a melancholy person, shows something extra that is absent in mourning: a remarkable decline in self-esteem, a massive impoverishment of the soul.

According to Ashourioun, if the final work is what was depicted before the idea was made, that pleasure of discovery and the ideas added along the way will be lost. Evolution is the effect of an instantaneous reaction on a prefabricated material. The stronger the material, the more difficult and complex the reactions will be.

The prologue of the title of Glitch Video Art by Behrouz Farahani and Hossein Pour Ismail in the group exhibition “Glitch; Pixel Language »platform 101 is in the space of -1 Bavan gallery.

In Prologue, we encounter elements such as light, fog, and absolute darkness. Farahani and Pour Ismail want the audience to consider the images as a prelude to meeting and being born. With the publication of images, the breadth of the game between life and death, along with the creation of space and many changes, is visible to the audience.

The artists used NASA video images of the sun and starbursts to capture the fetus, as well as brain scans using personal experimental techniques using tools such as Premiere and Audacity.

According to Farahani and Pour Ismail, the story of Prologue was created after the work itself was formed. First, an audio file was created by Behrouz Farahani, and then by opening the file as HEX CODE, they reached a series of numbers and letters. Numbers were placed for the letters obtained for each letter in the English alphabet (for example). A = 1 and B = 2).
The following are several lines of number strings as follows:
000007400 42 52 90 44 44 54 53 53 20 20 20 20

They then created a gradient file from white to vertical black as the image source and translated the resulting string into Premier software.

After this step, a 13-minute video file was obtained that was surprisingly perfectly compatible with the audio file without the slightest interference. In fact, this video honestly represents the moment of the creation of music without any shortcomings, and because this section of life with the assumption that “it is part of the whole” covers the whole life.

This video shows all the mazes that we have all experienced and will continue to experience throughout our lives, and to show this as much as possible, the artists divided the video prologue into five parts, each part of which is a corner. It represents one of these ups and downs.
Part One: Prologue
“The light that tempts you and draws you to itself. “You are forced to do something and it disappears just when you start working.”

Part Two: Construction
“In this part, you find yourself in the middle of death and you start to build something and define the surroundings for yourself; Because you are disgusted and incapable of fully understanding the environment! ”

Part Three: Destruction
“Here you decide to destroy everything you have built so far and free your mind from the chains you have attached!”

Part Four: Nothing
“You still do not reach a clear point, you become nothing, you become absurd!”

Part Five: Vain Efforts
“As you fall into the corner of the ring, you stare around and enjoy the sweat pouring into the tulip. You understand that life was like this: “seductive and absurd,” but you do not regret your presence. “

Living in the moment is a fundamental issue of the voices we hear. The people we see every day have a glorious process and at the same time a desperate effort to be born and to survive. The triumph of darkness over light is the greatest hope of despair that forms the general meaning of the prologue.

Prologue artists reject the notion that the production of a work of art originates without individual and social function, and ultimately see prologue as part of the way of life.

Shalala Salamzadeh Artist and multimedia designer living in the Republic of Azerbaijan with video art “Zurvan” in the group exhibition “Glitch; Pixel Language »has participated in the platform 101.

Zurvan is the god of time in Zoroastrianism and is known for his oneness and loneliness, which embodies infinity. Zurvan is neutral in terms of good and bad, as well as genderless. According to Salamzadeh, in the digital age, concepts such as time, infinity, gender, and morality have been distorted and lost their familiar meaning.

Salamzadeh believes that miniatures in the East, despite some religious beliefs about the prohibition of depicting humans, are still well developed. Using artificial intelligence and coding, he distorted and three-dimensionalized all the “living” elements of the miniatures of the Middle East and the faceless god of Zurvan, in his own words about the compromises of globalization, without being independent, the equality of the Internet age and Orthodoxy (meaning adherence to norms, especially in religion) promotes thinking.

In her works, Salamzadeh deals with human psychology in the digital age, computer technology, and social issues in the cyber age. Her art includes digital art, created through multimedia features such as film, photography, and layout. Her work is a constant experiment and searches for ways to influence technology to present it as a living object.
The issue of duality has always been important to Salamzadeh, and in fact, part of her has always remained faithful to traditional culture, but at the same time, her work is completely “digital”. Zurvan’s true character is associated with the oneness of time, beyond stereotypes and between darkness and light in infinity; A dynamic symbol for Salamzadeh to use as a creator in creating video art.

Salamzadeh’s goal is to find a way to reconcile traditional culture, national identity, and the global age of digital technology. For her, glitch art is a way of conveying the “distortion” of the modern age and presenting technology as a living body with unpredictable results.

Salamzadeh initially wanted to reflect on the above issues, and her goal was to create a work of art as close to his expectations as possible. In this process, some elements, such as rotating the pixels and destroying parts of the miniatures, are the result of the decision of Glitch technology that was used to create Zurvan video art.

Nikzad Arabshahi is an interdisciplinary artist based in The Hague Netherlands, working in the fields of painting, productive arts, and new media. Nikzad has been working professionally since 2000 and has exhibited several of his works in art exhibitions, theater performances, and multimedia arrangements around the world.

In the fifth week of the group exhibition “Glitch; Pixel Language » Platform 101 Arabshahi glitch video titled” Autogenesis “is displayed in the space -1 Bavan Gallery. In his artwork statement, Arabshahi said more about the concept of autogenesis:

Autogenesis is a type of generative art project in which the audience experiences the modeled system of the artist’s mind and a range of variations among the three situations (order, complexity, and disorder) of visual and audio artwork.

To design the algorithms of the Autogenesis core system, the data from the Artist’s physical and mental patterns while painting and drawing are utilized and a simulator model of his method is generated by automatic coding software. Therefore, what is depicted before the observer is the result of a generative system creating the final image and terminal sound autonomously in real-time

To shed more light on how Autogenesis is working, first of all, we shall have a review of the general definition of Generative Art. A field of art in which the artist applies a system to produce artwork is called “Generative Art”. The system can be an integration of natural language, computer programming, or other related innovative mechanisms that are able to render a level of autonomy in part or in the whole fabrication process of the artwork. Generative Art can be Hi-tech or non-high-tech, yet the core system needs to be designed in a way to be able to manage the terminal work autonomously.

As a result, generative art refers to how the core system is working and the creation process of the artwork. Thus, to discover its link with its production reasons and understanding its content, initially, we must investigate system producer algorithms; because despite the fact that the core system is constantly hidden, it is the fundamental and constitutive part of the final artwork.
Autogenesis central system is a complex system. To design the algorithms, an analysis was done on signals from hands’ physical behavior, joints movements, and brain waves frequencies of the artist while painting. The data is recorded by multiple sensors and then assimilated with another algorithm which is able to reconstruct the elements of the artist’s visual language and model their combination method.

The end result of this research is a combination of patterns for generating information by which designing the final Data Simulator Engine for the genesis of the artwork becomes feasible. This Data Simulator Engine plays the role of the central system intelligence.

By and large, complex systems consist of a series of parts and components interacting with their kind and other corresponding and contiguous components. These inner interactions make the system capable of organizing itself needless of an external controlling and managing agent. For that reason, such systems are also called “self-organizing”. To illustrate complex systems, the human brain can be used as an instance of a typical complex system as biologists describe it and psychoanalysts explain it in their research findings.

Haunting cycle, animals populations within an ecosystem, genes outdoing one another yielding in species evolution, empires rising and falling, cultures forming and developing and the like all entail various parts and components such as cells, chromosomes, citizens, etc. which reach a consistent structure and shape over time by interacting with other homogenous and neighboring components.

The Autogenesis core system is created by computer generative programming and just as in the brain example above, it has a large collection of components and interacts with each other 30 times per second. Each of these components includes constituents and convert orders from central intelligence into particular operations and add the properties of the operations to the main network.

This network consists of hundreds of components and because there are a considerable number of non-linear variables in each of these components, no identical pattern as the ones before is generated. The output operation of this dynamic system is a series of visual interminable signals turning into an image with a continuous and unrepeatable composition by a Real-time Rendering Engine.

The visual concept of this artwork is in the continuum of the artist’s previous works and intertwined with painting, drawing, and sound design. Instead of being a constant image as one of “moment” and a possibility among artist’s endless mental possibilities, in this procedure, the artwork is a visual and audio improvisation synthesizing “visual-Sound” variable possibilities and generating a consecutive combination of them. In this situation, the artwork has no definite start point and nor can be an endpoint put to it.

Not a moment before is recorded anywhere but in the viewer’s memory and neither a moment afterward is predictable. To that end, it can be stated that the artwork is more of a reflection of the artist’s thought mirroring on the wall of the pavilion than merely an objective piece of art. The point is to experience coexisting with dynamic artwork and thinking of a world of possibilities of Sounds and images that being created at any moment in front of viewers.

In the sixth week of the group exhibition “Glitch; Pixel Language » Platform 101 Arash Masoom glitch video titled” Metatron “was displayed.

Metatron is an analysis of the balance between the various dimensions of creation based on human centrality, but according to Arash Masoom alchemy and the theory of non-influence diplomacy, it has led to unreasonable performance and a glitch in this direction. In Metatron, the node 3 particle creation machine is used to create the formation of the order of creation.

The archetypes, natural patterns, and fractals of Julia’s collection inspire the artist in shaping these floating points, and she strives to show the order as well as disorder.

Innocent considers Metatron to be latent sophistry in all scales, and this concept is conceivable in all and none. He believes that something bigger turns everyone around; Something that rotates but does not rotate; It moves but it does not move.

In the seventh week of the group exhibition “Glitch; Pixel Language »platform 101, Arezou Ramezani’s video art was displayed. The experimental animation of Glitch Art Ramezani is called “Aberration of Inner Child”.

According to her, this experimental glitch animation video art is about the constant war within us and the struggle to stay aware and conscious in a world full of noises and distractions.

This piece of work is layered with glitch 2D animation and video. Ramezani chose one of her old childhood dolls as a nostalgic object and played around with light and shadow while shooting it, then she animated on top of it. Finally, the synchronized sound effects were added to her work in order to add more ambiance and imaginative atmosphere to her work.

Arezou Ramezani is an animator and painter who works in various styles, especially ink painting. She studied visual communication and got her master’s degree in animation from Art University of Tehran and Arts University Bournemouth in the United Kingdom. After making her first experimental animation, she is more active in this style. She currently has a podcast called “Arezou Art” in the field of animation and art and interviews with leading artists in this field.

Ramezani believes:

” We all lose touch with our inner child at one time or another. Being bombarded by information and data on a daily basis keeps us so occupied and distracts us from our core values and integrities. It has become harder to deflect the noises of everyday life, an arduous journey to enlightens and protect one’s, inner child.”
The video artist of “Aberration of Inner Child” uses the glitch to demonstrate the subject of lost and weary souls in today’s world full of noises and distractions and the memories that can be continuously edited, constructed, and reconstructed that have left us but we still cling onto.

According to Ramezani, this glitch animation deploys a dreamy world and shows the thug-o-war within oneself to go from the dark side to the bright side, trying to stay aware and keeping one’s inner child safe while being surrounded by too many noises and parasites.

In every style Ramezani works in, she tries to provoke the audience’s emotions and convey a feeling to them. Art for Arezou Ramezani is an international language without borders and she uses various techniques to achieve this goal. Ramezani believes that in this animation she demonstrates the same with its visuals and sounds. She used glitch language in favor of her work and the message she wanted to deliver to the audience.

In the seventh week of the group exhibition “Glitch; Pixel Language »Platform 101, video art by Francesco Corvi. “Circular Binary” is a layered work of art that, over a period of time, creates complex mazes of consecutive lines with random structures accompanied by music.

This Glitch video art is made of both video and audio media. All materials are made of mathematical functions with programming tools. Its compositional approach is independent of a timeline in which the initiated process has an infinite duration, without ever repeating, and is a non-narrative evolution that invites the viewer to immerse himself in a meditative state.

Francesco Corvi (Nesso) is a Rome-based digital artist. His language is heavily influenced by the need to design complex systems that offer a wide range of unconventional creativity options. In his view, the programmer/executor has a continuous dialogue with the software that influences its behavior during the time and manages not only some parameters but also the structure of the algorithm itself.

Crovi attributes the choice and use of abstract images and sounds to the observation of geometric patterns in Islamic virtual art, as well as to the rich semantic and organic richness of those symbols that can be used for mathematical functions. This work was created during the artist’s isolation, and is due to his tendency to immerse himself in contemplative states by observing systems with very slow changes, as opposed to the very rapid flow of information from the media.

This was an important step for Corey in searching thoughtfully for algorithmic composition. Unlike his previous work, where images and sound were constantly evolving between chaotic dimensions and masses of new information. When designing a design, Corvi tries to start with attractiveness without defining precise structures and without setting rules. The end result is a continuous dialogue between the artist and the algorithm, like working with a human. He does not try to create a tool that does exactly what he commands, but a source of inspiration that works with the artist and suggests new possibilities and ways of the future.

In the eighth week of the group exhibition “Glitch; Pixel Language »Platform 101, Shahab Shah Ali Video Art was screened under the title” Telecommunication “.

Telecommunication is defined as the transmission of information including word, image, video, and audio. In Shah Ali’s video art, the main subject is the volume, speed, and dispersion of information received by people during the day and night. In this work, firstly, the human and then the digital information is the main element.

Shah Ali states to Platform 101: “Today, such information is being transmitted every second, and the individual is in the midst of a multitude of such information. (Cyberspace and…) In this video, this information affects the character and the world around him in the form of noise. Some parts of it, such as the environment and the animals, have become trendy in this system attracting a lot of attention, which is shown in the video in the form of rocks, plants, and deer antlers. The aura above the character is reminiscent of the unique nature of man. “The CCTV camera at the bottom of the image refers to the system which controls all the information
Shahab Shah Ali (born in 1993 in Tehran, Iran) has a bachelor’s degree in cinema. He is specialized in directing, motion graphics, visual effects, and the new media. He has also been teaching digital art since 2015. He has collaborated in the annual Tehran Digital Art Exhibition (TADAEX) in 2017 and 2018 as an artist and a member of the executive team. Moreover, he Contributed to several exhibitions including the group exhibition of Nokhteh (NOXTE) in Mohsen Gallery the Tehran Contemporary Sounds exhibition in Berlin.

Shah Ali does not agree with the transfer of feeling in works of art, he believes that in this work, no attempt has been made to convey a feeling. It is only a depicted event that with his reading and gaze. The Internet and social media have been the source of inspiration for the artist to create this work, which he considers, a collective and global issue.

In the ninth week of the group exhibition “Glitch; Pixel Language »Platform 101, Nima Mansouri’s video art with the title of the deceased (missing) has been shown. The real problems and glitches in the behavior and personal and social characters and the cycle of repetition form the subject of Mansouri’s work. Ehsan Masoudian has been in charge of creating the audio of this video art.

Mansouri’s video art statement states: “Mannequin {French}: A human-shaped figure made of wood and other parts, and displayed in clothing stores and clothing stores. (From Larus).

With the industrialization of societies, human beings have become tools in the hands of more powerful tools; In a way, it has become a functional object from a state with a soul and feeling. This object is worn out and decaying in the cycle of modern life systems like a gear. One of the tangible allegories in this regard are mannequins, which in addition to having one hundred percent aspects of the object, are very similar to human appearance; “In this resemblance, mannequins are left in an unused corner with wear and tear, and the humans of our time are forgotten by not using tools in this cycle.”

Mansouri, who made his video art using flash and hyperloop techniques, believes that every media has its own audience and with the globalization of the Internet, the epidemic is spreading and everything can be played with a link.

Expressing feelings and beliefs in the form of art is important for Mansouri and he believes that the effect of this work is overtime and individually, and one may unconsciously realize the existence in the middle of this cycle.

In the ninth week of the group exhibition “Glitch; Pixel Language” of the Platform101, the video art of New York-based artist Abarca was shown in the space of -1 Bavan Gallery.

Abarca is a director, photographer, and artist. His work includes advertising, music video production, television shows, fashion industry films, and content production.

SONOSLUX is his latest art project. Sonos comes from the Latin word, Sonus meaning noise and Lux meaning light. SONOSLUX is a timeless space in which matter ceases to exist. In this video art the artist shows us the visual and audio interpretation of technology, physics and the psychotic state of modern society and transports us to a metaphysics world.

In the beginning, there was only darkness

Abarca mainly relies on a white light in the form of lines, grids, and waves against the black and white space and uses sound as a disturbance to his world.

Abarca starts his work with a video camera. He records specific items related to his world, then he changes the film footage and begins to sabotage it digitally, to the point where he actually paints with the elements he has left. When he reaches the design he wants, he passes it through different mediums so that he can destroy it and thus create natural glitches. Then he goes to the sound design, where he takes the soundtrack of the original film and digitally destroys it again.

Abarca believes that the creation of the work is inspired by various things. Especially how we as a society become more and more dependent on technology and how humans’ minds are rapidly moving towards a point of no return. He thinks his art tells that story; The fusion of technology and nature with a dark result.

Independence; Total and complete independence

Abarca wants to have the freedom to fully dedicate his day to work on his art and he constantly is learning new skills or creating new things.

The creation of Abarca’s work changes over time. Obviously, he starts with the main idea, but somewhere in the middle, something happens that all his senses align with his artwork and he starts working without direction until he reaches a point where he feels right. That’s when he stops.

In the tenth week of Platform 101 group exhibition “Glitch; Pixel Language”, a work by Golnaz Behrouznia, an artist living in France, entitled” Morphogenic Tensions “was exhibited.

The subject of her work is the connection between the elements that exist in our environment. From the geological nature of minerals such as rocks to organic and living elements such as plants to industrial and man-made elements. The exchange between these elements and the events that can occur in the meantime is the main framework of Behrooznia’s video art.

The main issue that the artist has worked on is the tensions that can occur between elements with different natures. Glitch is used to indicate the cycle of destruction of these structured elements.

The creation of this work stems from the artist’s personal concern for the future; How we want the earth to coexist between natural, animal, and human elements in the future. A glitch in Behroznia’s work indicates how every concept is formed, established, destroyed, and reappears in this cycle.

Behrouznia works with various media. From traditional media to new digital media and their integration in creating works for her. In this work, she has worked with Zedbrush modeling, After effects, and Premiere assembly (editing) software. The video was edited by French filmmaker and editor Remy Boulnois, and the soundtrack was designed by Canadian artist Maxime Corbeil-Perron.

Behrouznia believes that the audience should abandon 3D modeling and enter the subject while facing her work. Glitching is a means for her to raise the concern of asking questions in the mind of the audience.

Behrouznia has been studying and observing topics such as ecosystems, biology, and the environment and their dependencies for many years. In her view, the artist’s lofty goal is to respond to the artist’s need of expressing and creating a special language for these subjects.

In the eleventh and final week of the group exhibition “Glitch; Pixel Language »Platform 101, Reza Famori‘s Video Art was screened under the title” Sublimation “.

In this Artwork, Famori examines the morphology between two myths and the ultimate symbol, one of the western culture of the goddess Venus (goddess of beauty) and the other of the east of the goddess Shiva (god of death). One gives beauty and love and the other is destructive in addition to childbirth. One is dressed in white and the other is dressed in the ashes of the cemetery to show us that death is a reality alongside life.

Sublimation has been created by combining and matching images of two myths and transforming them from a two-dimensional photo into a dynamic and three-dimensional video image that is falling and moving. In addition to the overlap between the two myths, the pixel motion technique and the wavy motion of these pixels create an illusion and interfere with object recognition.

Reza Famori, born in 1994, graduated from the Faculty of Art and Architecture, Tehran Branch Central Azad University, and is currently a graduate student in Art Research. The form and spirit of the sculptures of the last two thousand years in two parts of ancient India and Greece and the commonalities between the created goddesses have been the most important sources of inspiration for the creation of this work by Famori.

In the eleventh and final week of the group exhibition “Glitch; Pixel Language” of the platform101, Sadegh Majlesi’s video art entitled “Humans like raindrops” was shown. Humans like raindrops scattered everywhere, sometimes flooding and destroying, sometimes raining and flourishing.

The visual element of this work for Majlesi is a representation of the fall or fall of rain and visual clutter from the perspective of raindrops and in the background an allusion to Deja Vu or the world of particles. Its audible element is the sound of rain and the noise of the outside and the community and the human crowd, and finally the ecstasy and the spiritual ascent.

Sadegh Majlesi, born in 1989, is a graphic designer and new media artist currently based in Rasht. Majlesi believes that New Media Art is a new medium for expressing the views of the new generation, because in this medium, classical and modern formats reach the audience with a new expression. In this medium, which is often mixed with the digital art space, computer techniques are used to create the work.

Mystical and Sufi texts have inspired the Majlesi to make this work, that man one day descends from a high position and after a while ascends to a higher position, and man, like raindrops of water, and during the ascent like light water vapor goes up.

The sublime goals of the artist in this work are to create a work and the growth of the owner of the work and to reach an eloquent and beautiful language to express thoughts and ideas. Majlesi believes that this work, like his other works, is a bridge between him and the viewers of his mentality and ideas.

In the final week of the group exhibition “Glitch; Pixel Language »Platform 101, Mohammad Ali Famori Video Art was screened under the title” Merkaba “. Merkaba is one of the mysteries in the Semitic religions, which is manifested in the form of the geometry of God’s creation.

This title was chosen because it depicts the six stages of the creation of heaven and earth before the creation of man on the seventh day.
According to Famori, outside of Rabbani’s writings, apocalyptic writings also refer to Merkaba’s mysticism. Writings found in the Dead Sea and newly discovered Jewish mystical writings address this issue.

Merkaba’s writings provide a detailed description of the seven layers of paradise guarded by angels. The highest layer of heaven has seven stages, and in the highest stage is the Throne of God, which is surrounded by angels. The followers of Merkaba mysticism believed that they could ascend and ascend from these layers of paradise. It is not clear whether these ascension experiences have Jewish origins or non-Jewish sources. This work depicts the six days of the spiritual path in the discovery of creation before the seventh day.

The six curtains depicted in this work move the image by dropping it into an image of a fractal in nature. Because this image is a reflection of the geometry of creation on earth, even when it collapses, its movements seem familiar to the audience and the cornea.

Identity with the image of creation has a manifestation and root within us that stems from the stored genetic codes of our cornea. In his mission as a student in the path of art and the essence of art, Famori sees the creation of a work of art as an opportunity for the audience to discover and express the fractal and geometry of God, which can illuminate only a new light in reading the dark world.