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یوشا بشیر، هنرمندی با توانایی های گوناگون است که با زبانی منسجم و چند صدایی در فضای گونه [ژانر] های متنوع هنری زندگی می کند. در این فضاها انگیزه ها و ضربان های مختلف با شخصیت خود هنرمند به صورت پایاپای شریکند. او به روشنی می داند در جهانی که مرتب و به طور بنیادی در حال تغییر است، جواب هنرمند به مسایل مطرح شده باید محتوایی جدید و وسیله ی شکل بخشی تازه ای داشته باشد. در این روند، بشیر جهان هنری اش را با گسست از سنت تفکر نمایشی بودن اثر هنری و جایگزینی آن با تجربه در عرصه های مختلف هنر های تجسمی و نقب به لایه های عمیق ترِ ماهیت نهان شده سازمان می دهد.
در این پروسه رویکرد او اغلب به خلق مجسمه و نقاشی و گاه ویدیو پرفرمنس می انجامد و نقطه اشتراک همه ی آثارش نفی عادت وانقیاد و خلق واقعیتهای نوین، عمق و گسترش بیان بصری و مهم تر از همه فعل هنر است. چالش او با هنر بر مدار داده های واقعییت و پندار-ثبات و انحلال در گردش است؛ به گونه ای که در آثارش پارادکس مرگ و زندگی - رفتار مکانیکی و عکس العمل های حسی- به چشم می آید و این آثار میان معلق بودنِ در فضا و ثبات، میان ساختن و تخریب در حرکتند. با اعتراضی وام گرفته ازآنارشیست ها و پوچی و نفی دادییستی و وهمی سوریالیستی, به آسانی از فضا عبور و از ابزار بیان های مختلف استفاده می کند. رفتاری که در ویدیو هایش به نمایش می گذارد، ضمن ساخت وتخریب مداوم به خلسه و حضور ناخودآگاه می انجامد.
نقاشی های او صورت هایی بدون چهره اند، فشرده در رنگ های سیال و جاری که بازی دوگانه و تحریک آمیزی پدید می آورند. این آثار کنشی-اکسپرسیو مصداق نقاشانه ی ویدیو های او هستند. چهره ها نسبت به خود غریبه اند و در کشاکشی میان ابژه و سوژه - میان من و جهان، میان عقلانییت و جنون در نوسان اند.
محور اصلی آثار یوشا بشیر مجسمه است. ابژه و مجسمه های یوشا گاه حالت دقیق اندام انسانی را دارند، آویزان از سقف یا روی زمین و پراکنده در اطراف اند. سر، مغز و دست هایی که با میله ای به دیوار چسبیده اند.آنها بیننده را کنجکاو و همزمان نگران می کنند. به مرور متوجه می شویم که آنچه درآثار بشیر نگران کننده است، این است که این مجسمه ها و حتی تکه های اجزای بدن ، قلب، سر و مغز اگر چه از مواد سختی ساخته شده اند و حتی گاهی خطوط کناری پیکره و اجزای اندام انسانی را حفظ کرده اند، اما فقط اجسام بی جانی نیستند. این مجسمه ها و ابژه ها بعد از اینکه پروسه به وجود آمدنشان را پشت سر گذاشته اند،اکنون همچون ابعاد گسترش یافته روح و روان مخاطب در مقابل او قرار گرفته اند. بدون شک او نمی خواهد که فقط اندام دفرمه یا تخریب شده ای را به نمایش بگذارد و نگران کردن مخاطب هم هدف غایی او نیست. تکه ها و اجزای پیکره ها نیز صرفا به کلیت اندام اشاره نمی کنند. هدف او تعمیق زیبایی شناسیِ شناخت است، حساس کردن ادراک .
رنگ و مجسمه - یعنی سطح و حجم - در اصل دو رسانه ی مختلف اند و مناسبات این دو غالبا در یک سیستم رقابتی تعریف می شود. رنگ آمیزی مجسمه ها در آثار یوشا بشیر از این نظر موفق است که این مناسبات رقابتی را به گفتگو و تأثیرات متقابل رنگ و حجم تبدیل می کند. در آثار این هنرمند رنگ در تأیید حجم است و لحظه های اکسپرسیو آثار او را شدت می بخشد و حتی در پاساژ های خود به عنوان عنصر تعیین کننده ی فرم عمل می کند و فضاهای رنگی به وجود می آورد یا به تضاد فرم ها شدت می بخشد و در احساسات بیننده ارتعاشی ایجاد می کند که قابل بیان نیست و تنها می توان با دیدن به آنها به ارزیابی شان پرداخت.
علی نصیر، برلین
Yousha Bashir is an artist with various capabilities whose works contain many narratives in multi-genre creative spaces, yet he speaks with a unity of intent. In these spaces motivations and different impulses share equally with the artist’s own personality. He knows well that in todays interconnected world, which is in a state of fundamental fluctuation, the artist must change his means and medium to create answers that are current.
In his process, Bashir has disconnected his own personal art world from the tradition of art as display. He has substituted it with experiences in many Fine-Arts mediums, excavating to the inner layers of exposed reality. His approach to the creation of sculpture, painting and at times video performance share in common, the denial of habits and the status quo, creation of new layers of reality, a depth of visual vocabulary and most importantly, the act of creating art.
His confrontation and challenge with art revolve around an axis of reality and the illusion of stability and decay. In a way his work exposes the paradox of death/life and mechanical behavior vs. sensory reactions. These creations are in a state of motion between suspension in space and stability- a cycle of creation and destruction.
With a dissent influenced by Anarchists and Nihilists, Dadaist negation and surrealist illusions, he uses all means of expression to surpass the common space. The behavior he demonstrates in his video work while constantly creating and destroying leads to a meditative state of unconscious being. His paintings of featureless faces with liquid and flowing colors entice a play of duality. These works of expression through action are analogues of his video work. Faces unknown to themselves are in flux between subject and object, self and the world or reason and insanity.
The primary focus of Yousha Bashir is sculpture. His objects and sculptures sometimes take on exact anthropomorphic forms. These forms suspended from the ceiling or spread around the space, surrounded by brains and hearts that have been impaled on walls, make the observer curious and worried at the same time. With more scrutiny it becomes apparent that although these sculptures and the pieces of bodies (hearts, brains and heads) are made of hard materials and sometimes follow the lines of the body; they are not purely lifeless objects. These objects and pieces of sculpture after having completed the process of creation are now confronting the viewer as the extension of his own expanded soul and consciousness. Doubtless Yousha does not intend to solely display deformed and disintegrated bodies nor is his intent to purely distress his spectator. Pieces and parts of bodies do not only hint at wholeness of the body. His aim is to heighten the aesthetic and to sensitize awareness of color and sculpture (surface and volume). In fact the latter are two different media expressed usually in a state of competition. The color in Yousha’s sculpture succeeds in that it is a validation of the volume. It intensifies the expressive moments in the work. At times the color transforms into the defining element creating colored spaces or deepens the conflict among the forms; effecting the viewers feelings with sensations that are indescribable and can only be sensed (evaluated) with the actual seeing of the work.
Ali Nassir, Berlin , 2013
نمایشگاه " یوشا بشیر " خرداد 1392 گالری اعتماد http://www.artin360.com/Khak.htm
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Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.
