The Pedagogical State of Metamorphosis
Mixed Medial Installation 700 x 300 x 150 Cm
Plywood, Construction Nails, Plaster Plinth, White Paint, Silicon Dioxide Microchip.
"Ali Ahadi has been experimenting with obstacles or what he calls “the growing redundancy of politically engaged art.” In most cases, doing this has entailed using text or language to undermine the diametric relation between the art object and its meaning. He has, with considerable success, made a kind principles to their breaking point. To this end, he has made several works pairing different forms of written language from books, text projections and designed typeface with other physical components, such as bookshelves, imaging equipment and now nails and a silicon circuit board. What unites these works is Ahadi’s insistence on separating the materiality of language from its signifying function, thus severing the links between the
In Ahadi’s work, language is more than a visceral system of extreme complexity that escapes the will of those who use it. It is also a real situation in which the unlikelihood of an “event”—in this case the emergence of a new language of art—can unexpectedly become its very possibility through a material encounter with the physical object of language. As with the invention of the alphabet, the objectivity of language is a starting point for Ahadi to dissolve the association of a thing and its meaning by uniting them in the anticipation of the possibility of what could be eventual. This possible event should not be interpreted as Ahadi’s yearning for the return of a new form of avant-garde, but perhaps something unknown and similar to an insurrection with no prior contingency, a rebellion that, in the words of Andre Breton, can only be "its own justification". "You taught me language; and my profit on't. Is, I know how to curse."
Excerpt from Mohammad Salemy's Exhibition Essay: "Language and the Eventuality of Avant-garde".
(Independent Curator, New York)