Mohammadreza Sharifzadeh

We all lie, cheat and sometimes do all these sets of behaviors so sweet that become a sublime thing to ourselves and others and find this Kant type of superiority in the increasing power of deception. Our contemporary art is based on deceptive patterns to a large extent and cheating, copying and unreliability have become bio-social symbols of art. Our ideas today are no longer the result of inherent creativity, but more than ever in debt of a type of transformed foreignism. We are more than ever involved in the finding of representable external samples and have given too much value to deceitful researches.
Our assumptions, ideologies and individual and social conflicts are tied to the political economy; those knots that do not even get opened with teeth. Our contemporary art, today, is that John Cage’s first hall of performance, with a gap of fifty years that neither the artist and nor the audience is afraid to admit the misunderstanding and sinks into a deep silence from expressing it with a painful pleasure and unconscious confirmation.