Rasoul Moarek Nejad
In the minds of Iranians and possibly other nationalities, Isfahan is known with its traditions. A city with two periods as the capital city and traditional arts which is mostly associated with the Safavids and there are music and visual arts schools in the name of “School of Isfahan”. Likewise in contemporary era, Isfahan has a high potential in arts such as music, theater and literature (prose and poetry). With growing the traditional art and grafting to the modern art, a suitable environment and a considerable demand were created for the advent and acceptance of new branches including land art and video art.
In this way, Rasoul Moarek Nejad is one of the first video artists of Isfahan who became a member of Association of Filmmakers of Isfahan and began his artwork in this field with 8 and 16 mm cameras. Moarek Nejad, the leading artist in the field of video art of Iran and especially Isfahan, was born in 1968 and studied painting at the graduate school of Tarbiat Modarres university, Tehran. He started painting professionally since 1989. In addition to painting, he is a poet, writer and critic, too. Up to now in addition to papers, he has published 4 books: “Hands in the Mirror’s Hair: Collected poems” (2003); “Image of Shadows” (an analysis on the late Zia- Al- Din Emami’s works, 2006); “Aesthetics of children paintings” (2009); “Myth and Art” (2009).
After passing a two-year period of directing and filmmaking of Young Cinema, Moarek Nejad produced his first video art named “Creation” in 1994 in the form of video animation which had been filmed by 3 reels 8 mm and since then, video art has been the constituent of his art life.
He believes that while a video artist is an enlightened and avant-garde person, he is a technician, too. Therefore, he prefers to do all the elements involved in the making of his video works including imaging, editing, sound mixing and music individually and thinks that association of ideas and techniques are necessary to become an “artist”. Always holistic thinking of a video artist has been interesting for him in some way in which a video art benefits from music, painting, cinema instrument and etc.
Some video arts of Moarek Nejad include “Shadowy”, “Manufacturer: 3 episodes”, “Transfer”, “Gap” and a documentary video “Blue Line” (a performance of Ali Mirzaei in the dry bed of Zayandeh Rood river), and a video- installation- performance “Distorted time (1 & 2)” which has had a presentation different from conventional way to play video art.
The mythical view of Moarek Nejad is comprehended in all his works especially the presence of woman as the myth of the creator which is perceived tangibly in “manufacturer” particularly. The way his videos presented are often in the formats of video- installation and video- performance. Moarek Nejad’s works have been presented in Greece, Swedish, France, South Korea, and America in addition to some cities of Iran.
Lili Taher 2013