Document Type : Research Paper
Author
Assistant professor, art studies department, faculty of art, Semnan university,
Abstract
A general view to the works of contemporary Iranian artists shows that the Qajar problems are the repetitive commonplace preoccupation.The aim of the article is to find out the types of elements of mechanisem of Governemental power in Siamak filizadeh`s photographes. The descriptive-analytical method & genealogy approach, is used. the works of Filizadeh are analyzed Relying on its function, and the object and techniques, and differentiation system in the works of the exhibition. In these photos, the many characters and symbolic rules of the Qajar court art have been manipulated. Consequently, the composition of the works of Filizadeh, despite the Qajar period's ruptures, are to distinguish itself from other contemporary works. In some of these works, by revealing part of the mechanism of capitalism, there is a kind of temporary resistance that, in the case of preservation, forms the basis or the syntax for the works of other artists. The contemporary artworks return to this period`s concepts to some kind of refreshment the history as becoming. the opportunity to revisit the problematic rupture between visible and invisible forms, discursive and non-discursive acts in court art, so on, is provided. History is formed in the same turns and twists and through the conflict of forces. The genealogist is able to see the struggled forces beyond the body of events & visible forms. the reasons for this return to the Qajar period can be rooted in that such rupture in present with emphasis on capitalistic ways & means.
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