Artistic objects are different from aesthetic objects. All artistic objects are aesthetic objects. But not all aesthetic objects are artistic. The basic trait of Farshido’s work in the process of artistic creation, which is also his first step, is discovering the aesthetic objects. He facilitates the transition of the aesthetic to the artistic. He finds the aesthetic objects in flea markets, basements, cargos, or in a box full of bric-a-brac. They are usually objects of various types and of no great value. Their aesthetic value is what matters.

When we talk about conceptual art, this distinction between the aesthetic and artistic becomes even more significant. Some critics don’t think of conceptual art as true art. They believe that conceptual art is art metaphorically; only metaphorically, and the conceptual artist is an artist metaphorically. The reason behind this view comes from the fact that the conceptual artists have no intention of provoking aesthetic experience through aesthetic object, in audiences’ minds. The difference between Farshido and other conceptual artists is that while he is a conceptual artist he uses aesthetic objects as well, and he tries to awaken or provoke the aesthetic experience in the audiences’ minds through using aesthetic objects with character, and changing them into artistic objects. Unlike most conceptual artists he doesn’t insist on dematerialisation, he doesn’t sacrifice the object’s aesthetic value for the aesthetic, moral, or political aspects of the artwork. While he cares about all these aspects and criteria in his artistic creation, he keeps being loyal to the aesthetic value of the objects at the same time. It seems like he wants the objects to follow their own freedom, playfulness, revolt, exultation and incarnation; not the habits or dominance of the mind regarding treating the objects. They [the aesthetic objects] not only provoke the aesthetic experience, but also expand its boundaries. 

One of the most interesting facts about this set of works is the equality of the scales and symmetry in shapes while assembling. It reminds one of Farshido’s series “As if they always belonged to each other”.  all the pieces are fit together like a puzzle. Another interesting point is every potential of the objects in its best way. For instance at the bottom of some of the old bottles and jars used in the series there is an original hole that was created by the glassblower who made them. That holes are the result of blowing into the glass. Farshido used this trait in his own interest.

 

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The specific characteristic of this series is the autonomy of the artistic object. They do not follow any rules or dominant paradigm. They are not related to the self-consciousness of the artist. Nothing is imposed on them from the outside. This is the artist, their creator, that has tried to learn the language of the objects and their behaviour and improvises based on his own primary aesthetic experience. When I look at them I see their gaze. They are gazing at us and gazing at the world already.

And now some points about the title of this series “Director’s Cut”:

As you may know “director’s Cut” is a term used in cinema. On most films the director does not have a final cut privilege. The production company, distributors, and studio can impose changes that they think will make the film profit more. Sometimes because of mandatory conditions a director can not release his own approved version as the main version to the public. But the director can release his own version later to a more limited audience or on DVD. 

There are two reasons behind choosing this title. Two similarities between this series and a director’s cut. Firstly Farshido is very similar to a director. A director finds the best actors for his project and directs them. Farshido finds the best objects for his project and directs them as well. Each objects plays a role and has a part in telling the story. Sometimes the object has its own story and sometimes it participates in telling a bigger story.  Secondly This set of works is very personal for Farshido. He has been free to create what intended. There was nothing from outside that could affect this set. So it can be considered as “the director’s cut”.

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 ✒︎ Adel Hashemi