Art of portrait [painting/ photography] in the Post-Orientalism situation
Hi dear Edward,
What is your opinion about portrait painting?
I personally like these fancy retouched photos of traditional photographers and painters, why? Well this is human being, our material body is not purely fair, as you know better than me. Humans are more interested in an easy piece of cake! If we want to round up all of the portraits and photos from the piece-of-cake eater artists, they would hardly fill half of the visual-block of Post-Orientalism.
Just name it, if Marx, Freud, Anna Akhmatowa is their subject of photography or painting, they would quickly provide you with an image of Kim Kardashian. Their formulas and fundamentals of visual analysis are simple.
1. A vivid cloth for the background, with the subject heading opposite to any brown and dark-brown and dark colors.
2. Placing the subject in the frame, following the golden-ratio, with eyes shining as if it’s after a victory.
3. Representing a subject that would laugh for making others laugh, all without a reason.
4. Selling subjects that sell dreams themselves.
5. A subject which is unbeliever, and reduces the event of art, from a living politic-aesthetic in a left-alone individuality in the estrangement of the death of reality.
Can you see dear Edward, how simple are their images?
Imagine that person b intends to paint a portrait to portrait photography for person a, while a third person that I refer to as c will observe the final work. In this instance, the produced commodity is the same a, who has a simple and non-plural. We are not going to need a probing mind, structure, situation and an analysis, the details are non important. In this situation, an a is just an a. I love these works of painting and photography. Human beings tend to choose a piece of cake, I guess you know better than me.
Oh! Edward, I don’t know where to shelter from the portraits by a few painters and photographers. I despise them! Do you know why? You will be totally puzzled, and confused. The reality is multiplied throughout the eternity in their works. Watching portraits by such artists is similar to watching a 100-piece puzzle which you only possess a few to match together. You may even be doubting the genuinity of those few pieces – if are they real?
Oh, sorry Edward. I made you uptight. Let me bring an example to further express my meaning.
6. Character changes from an object into a complicated subject. The audience won’t even recognize him, not knowing if it’s the reality of a or just a module, or figure to pose according to by the person a.
7. Artist or in other words the person b blends her or his personal and artistic reading from the person a. The frame, light, condition and the artist composition is not aligned with the character of person a. Therefore, the image that we may observe will not be related to the character a anymore. It is not even a2. This is where the art of ‘Portrait painting/ photography’ will tangle you’. The portrait by the artist will introduce the character d to the list.
8. The artwork in the portrait structure will exactly come into existence after the realization and emergence of character. It turns into an event or comes into being.
9. It demands a mentality and review of the details from the person c (a great audience).
10. Person c will be facing a great inconvenience. Is the reality of a is lying in its primary situation or the subject d which is constructed by the artist?
11. In this instance different separate visual blocks are to be made for c, b ,a and d.
12. In the self-organized networks, and in the Post-Orientalism situations, a new reading and interpretation will be developed after the introduction of new c’s (a great audience)
13. These multiplied readings in the situation, will contribute to the substantive change and non-hegemonized of the character b, a, and d.
14. In the interpretation and image of c (a great audience), as a member of a new sound-and-visual block, can metamorphose from a into the character d. Point of view of the artist’s reading of the artist can change from b into f. In this reading, also c will not be coincident with the block before and after itself. In this instance, c will substitute g.
15. Can you see Edward? Just the second sound-and-image block is closed. The blocks follow each other through chains of sound and videos, and manifest the plurality of the reality of the great human being.
16. But in which block the reality resides? Where is the reality of reality stored within that same block? Is this about the subject (the same a)? Or is it about the viewpoint of the artist (the same b)? Or the interpretation by the audience (the same c that I assumed above)?
17. If we consider commitment to the plurality as a precondition to the Post-Orientalism condition, we should say that the reality – similar to a puzzle with thousands or pieces, can bring into being its manifestation in each of the blocks, in an open circulation of the members of that sound and visual block which is given existence from absence and inexistence.
18. Do you see the trouble that the portrait of the pious artist can cause for the piece-of-cake lover human beings dear Edward? It invites the mind and mentality of the c (the great audience) into a full force battle. A self-destructing battle against staying as the piece-of-cake lover human being.
19. In contrast to what we see in the Postmodern situation, the reality of the singular subject in the Post-Orientalism condition possesses a reality. In this situation, the reality is not dead. It is an alive being that is going to become singular by the driving force.
20. Unlike the will of the traditionalist Art, this reality is not materializing its manifestation in the preemption of a person, or a group of selected people. Its purity is the naked will of the social forces in the public situation.
21. Here and in this stance the reality manifests itself in the fulfillment of the subject of pious force in the Post-Orientalism situation, during the construction of the “Politics-Aesthetics” paradigm.
22. The Post-Orientalism condition will be sustainable whenever the puzzle with thousands of pieces in the multiplied blocks are focused and stable using chains of sounds and images that connect them together independent of need to the forces of hegemony and the center.
23. As a self-concept, the Post-Orientalism system will immediately stop after the diagnosis of cultural-metastasis and the formation of destructive forces within.
24. After the stop in the destructive situation of the hegemony powers, the pious forces will secure a critical reading against the frozen situation from within the blocks of sound and images
25. Oh dear Edward, can you see how much ‘Constructing great art in the situation of resistance’ has become difficult for the piece-of-cake lover human beings?
26. I guess you have also figured out that ‘Post-Orientalism’ is no more a critical reading, or a colonizing mentality of the left-alone western individuality toward the East. Not even in the opposite way around.
27. In my opinion, the ‘Post-Orientalism Condition’ may be one of the last opportunity for the pious human beings in the world who have to decide between the piece-of-cake conditions or the pious art:
28. The choices are among these situations:
– “Famous for being famous’, external capitalism (The situation of being an object)
– Repressing power of the fundamentalist hegemony (Cultural-metastasi)
– Post-Orientalism situation “Constructing great art during the situation of resistance”.
۲۹. But here is my important question, which portrait is the one that ‘Humans’ would like to see?
30. The Post-Orientalism situation will say ‘Yes’ to the artists from the third group, and will welcome them with the most warm greetings.
31. It will excavate the sub-narratives of distress from the event of love in the “a to z” situations for a thousand times.
32. It will construct firm critical readings from the “a to z” situations after each research.
33. You may ask about the reason why these piece-of-cake preferring human beings not giving consent to the first and second situation? The power lies there, also the wealth and fame, hegemony resides there. Why would this piece-of-cake lover human being bother to answer a hello from the Post-Orientalism situation and close his or her eyes on power, wealth and fame?
34. Dear Edward, I have not found any answers for the 28th question for now, but I can earnestly invite you to take a journey to a glorious exhibition by the portrait photography and painting artists from Iran.
35. Dear Edward, I know you are still difficult to satisfy and firm in your own aesthetic views. I will make you sure that I won’t put you down by inviting you to watch the Post-Orientalism portraits. I believe these portraits carry images of a social metamorphosis within. This may be the reason that my imagination and belief tells how this Post-Orientalism situation will be impregnated with different visual and sound blocks in the future, I hope that you don’t interpret my words as a dream-selling type.
Dear Edward, attached with this letter, I will send you a collection of works of portrait photography and painting by different artists from Iran.
Your small friend,
Ehsan,
May 15th, 2023
Translated and edited by Soheil Soheili.
Hamidreza Sheikhmorteza
Photographer
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