Artist: Hadi Fallahpisheh
Venue: CENTRAL FINE, Miami
Exhibition Title: Arrest
Date: January 12 – February 12, 2020
Full gallery of images, press release and link available after the jump.
Images courtesy of Central Fine, Miami
Hadi Fallahpisheh is often in a dark room where the notions of snapshot and a long exposure meet without a camera. A body is ciphering a story, outlines of openings, entrapments, housing. Time stands against time and speeds or slows down, burning in the dark an image that always reveals itself through the opacities of speculation, the ID and poetry. Not everything is veiled here as the word Arrest floats as a signifier over, in and under these works. Something arresting, literally capable of commanding attention, appears after a series of operations that break the uniformity of time, and propose an elasticity that carries within an impurity that makes room for the depiction of other types of captivities, some, self-imposed.
These works dive into the dark area where that thing that asks constantly for more ‘resides.’ When encountering its fences one is suddenly aware of the ambiguities and transformations that responding to such a petition implies.
What we can grasp are the exchanges between art and non-art (psychoanalysis, the political, the traumatic, and the poetic). And it’s precisely in that space where the literal splits itself in an encounter with a mirror covered by amnesia, and the word that by being oppressed had to find a way, through the cracks of mouse traps or cats that house mice or whatever, to affirm itself, allows for a type of self-evasion and confrontation.
There’s a frailty and an endurance in that encounter with the thing that asks for more. One is facing what is not yet formed, and this is perhaps the work/text that becomes a convocation of persistent latencies, of states of indistinction, vibrating in shining photographic paper, painting with light, trying to erase the polarizations that suffocate what remains in a constant state of asking, demanding for more.
The physical and the psychological can’t be distinguished in life, and a darkroom, where the act of painting with light is an almost blind operation, allows for the ID to come through, although under somewhat controlled circumstances. There’s an ‘confusion’ of the psychological and the somatic as their divisions are rendered obsolete when the emergence of the semblance appears fully realized in the shape of a ‘photo-painting’, as I can’t quite define what these works are. They aren’t mere paintings of light, nor c-prints, nor performative actions; they present themselves in a state of indetermination/tension.
Let’s end here with Heraclitus’ concept of harmonia , who, unlike the Pitagorian harmonia (a resolution of tension) proposes maintaining tension. Only in maintaining it, not resolving it, harmonia is sustained.
-Diego Singh, Miami, January 6, 2020.
Hadi Fallahpisheh (b. 1987, Tehran, Iran). Fallahpisheh received an MFA in Photography from Bard College in 2016 and is a graduate of the Creative Practices Program in Photography at the International Center of Photography, New York. He won the Artadia award in 2018. Fallahpisheh has recently presented work at the following venues in New York: Tramps; Simone Subal; Kai Matsumaiya; Off Vendome; PAGE-NYC; and Callicoon Fine Arts. His work has been exhibited in Tehran at TMOCA, Delgosha Gallery, Dastan Gallery and Maryam Harandi Gallery, among others. Fallahpisheh will participate in the group presentation In Practice: Total Disbelief at the Sculpture Center, NY, from January 16th- March 23, 2020.
This is his Hadi Fallahpisheh’s first solo presentation at CENTRAL FINE.
 Cf., v. g., DK B51: “They do not apprehend how being at variance it agrees with itself (Literally, how being brought apart it is brought together with itself): there is a back-stretched harmonia as in the bow and the lyre.” Kirk, G. S. and Raven J. E., The Presocratic Philosopers, Cambridge, CUP, 1977.