Daron Mouradian | Open Hidden Game March 15 - July 1, 2018
Daron Mouradian is showing us the other side of art. We are already aware that art has something to do with games, mystery, diversion and pleasure, but we somehow always overlook this fact. Mouradian is reminding us all of this. He is transferring all the objects we know and identify, all those that are nearby, those we sometimes see and touch, into another universe. He is making them a part of another world, whilst pushing us towards that world. This world – which is surprising, impressive, sometimes creepy, mostly outright scary but always evoking a playful sentiment – is bringing the audience on the margin of humor, irony, jest and tease. There awaits them several surprises, fervors and joys. Daron Mouradian brings the legacy of the likes of Breugel and Bosch into the harsh, stern world of 21st Century which is time to time bereft of any meaning, to remind us of ourselves once again.
Mouradian is an artist who likes to push the unconscious to the forefront, bringing it to light. With the images he reveals, images that we love and enjoy very much, he widens the horizon of our dreams and imagination. Rather, he materializes the world of dreams with images. This is more of a spectacular and dialectic platform. Dreams can only be experienced as real via art. Art is dream that has materialized. While creating this material, Mouradian intrinsically builds an all-out nonphysical world. Thus, we, as the audience themselves, are caught between real and unreal, concrete and abstract, conspicuous and ambiguous.
Not everything is so plain, exposed and simple, though. These alluring, interesting and thought-provoking paintings have also a connection with the exclusionary, the uninviting and the perturbing. Overweight women, men with moustaches, weird clothing, overgrown fishes and flying machines both bring before us the improbable reality of those dreams and expose us to certain malicious things. All that is shown leads to an uncanny world. Yet, isn’t the abstractive world of humor just the same, the same as the world of dreams? For all that is uncanny, preservative and receptive derives from the same root; so does these paintings evolve on the same plane: these images are both encompassing and uncanny.
Mouradian is playing his games. This is all fictitious. We are most certainly aware that it is a game. Yet, here he goes playing it and here we go, believing in it. This is an open game. But, it possesses certain parts that are hidden, mysterious.
And so, this exhibition is an open, hidden game! But wouldn’t it also be a hidden, open game?
Hasan Bülent Kahraman