فرو رونده در بُن استخوان; آنجا که حروف، در هم تنیده، کلمه می شوند.
فرو رونده، آنجا که در تاریکی، کلمات، آب دیده و گداخته، جمله می شوند.
فرو رونده به جرحِ شدن ها با تیزی نور سراسربین .سمج! آن چنان که نخست از بلوک مغز به بلوکی تراوش ناپذیر تبعیدت می کند و آنگاه نوبت تخم گذاشتن نور چراغ قوه است در ذهن. لاروهای بی شمار نور، تکثیر شدنی.
"Mayhem"or word kinetic in a poetic inspiration
Kiyana Boroumandjavid
In her decade-spanning practice in visual arts and poetry, Kiyana Boroumandjavid has explored censorship and surveillance and the very fact of desire that could be suppressed through different materials and mediums. Kiyana began drawing and painting as a means of dealing with social riots over the last decade but she has gone beyond specific medium extending it to installation art. In her early work, she created images of empty streets, highlighting dead exterior spaces as major themes. Later, she experimented with drawing using words to form the shapes. She experienced different materials and techniques such as print making and even old master technique to express her contemporary concepts. Also, she studied Art Research and started writing reviews and critic articles which opened up new horizons to her practice. Over the last years she has participated in different group shows and also two solo exhibitions. Her work is a combination of research and practice as she is curious to develop theories in philosophy and sociology. She is inspired by theories of Foucault and Gilles Deleuze.
Swan Platform seeks beyond surveillance and what is going on not in its realm or even peripheral vision, but out of its conventional vision, still in the panopticon, but out of the observer’s vision fracture. Swan platform’s main figures are out of the scale that sovereignty expects, as they have learnt how to alienate themselves from persistent observer.
How to extend as a rhizome and a representative of multiplicity out of the focused totalitarian demands. The realm that these figures are existing in, is foreign to both the figures and to the observer. The surveillance operator does not know the foreign realm, the confusion of huge figures and also their possible power.
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Swan platform/ collage.mixed media
Swan platform in Sulfuric acid
Swan platform in Sulfuric acid
To visualize this phase, a Galvanic cell is going to be built. In a half cell there are spectators and in another one the cutout swans are hung. The purpose in a typical cell is producing electrical energy from chemical reactions. The eye now is the panipocan operator’s eye. As the cell is set the lamp inside the eye of surveillance gets brighter, the spectators, however, gradually are exposed to decaying by which this reaction gets faded, resulting in switching of the light.
Swan platform/ Etching and aquatint
*In panopticism, the watcher ceases to be external to the watched. Rather than external actions, the gaze of the watcher is internalized to such an extent that each prisoner (economic agent/worker) becomes his/her own guard.
*A multiplicity is, in the most basic sense, a complex structure that does not reference a prior unity. Multiplicities are not parts of a greater whole that have been fragmented, and they cannot be considered manifold expressions of a single concept or transcendent unity
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"Hence the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power. So to arrange things that the surveillance is permanent in its effects, even if it is discontinuous in its action; that the perfection of power should tend to render its actual exercise unnecessary; that this architectural apparatus should be a machine for creating and sustaining a power relation independent of the person who exercises it.
Leda's typical day in swan platform
Mass production
