Negar Zojaji | Alzahra University (alzahra.ac.ir) (original) (raw)

Papers by Negar Zojaji

Reconsidering the Visual Sphere of Femininity in Tehran, 2023

The Future: Urban Creativity Studies, 2021

This article explores how a series of street art images in Tehran which address the restriction o... more This article explores how a series of street art images in Tehran which address the restriction of the right of women to enter sports stadiums, challenge the official discourse of femininity within the semiotic landscape of Tehran. It investigates how, through techniques of carnivalesque satire, these images subvert the gender order that dominate the official visual discourse of femininity in urban space. The article proposes that the function of this street art series as a form of resistance is enacted both by its internal generic structure, and in relation to the official mural landscape of the city.

On the W@terfront, 2020

Aquest article es el resultat d’una investigacio exploratoria sobre art public al parc ashb-o-Āta... more Aquest article es el resultat d’una investigacio exploratoria sobre art public al parc ashb-o-Ātash de Teheran. Estudia la forma en que els tres elements del disseny, el lloc i la materia afecten la participacio del public amb les obres d’art public. La investigacio s’ha realitzat mitjancant metodes qualitatius, es a dir, observacions i enquestes discretes. Les obres d’art s’han identificat a partir d’especificacions extretes de l’analisi del discurs dels conceptes d publicitat i d’autoria en art public. A partir d’aleshores, les caracteristiques de les mostres visuals s’han processat mitjancant analisi de clusters pel que fa al disseny, el lloc i la materia per comparar-los i relacionats amb els resultats de les observacionsde la participacio de l’audiencia. Els resultats proposen una correlacio entre els temes de les obres d’art i la participacio del public al parc de Āb-o-Ātash.

قرن پنجم هجری در تاریخ حکومت اسلامی هم‌زمان با حکومت سلجوقیان، از سلسله‌های حامی فرهنگ و هنر، برا... more قرن پنجم هجری در تاریخ حکومت اسلامی هم‌زمان با حکومت سلجوقیان، از سلسله‌های حامی فرهنگ و هنر، برابر با قرن یازده میلادی از سده‌های میانه در غرب است. برخلاف رشد بی‌سابقه‌ی هنر اسلامی در دوره‌ی سلجوقیان، هنر غرب در سده‌های میانه، به دلیل نابسامانی و بی‌ثباتی شرایط آن دوره، پیشرفت چشمگیری نداشت. بااین‌حال این دوران یک ویژگی مفید قابل‌توجه دارد و آن همانا ارتباط شرق و غرب به‌واسطه‌ی عوامل گوناگون همچون وقوع دوره‌ی اول از جنگ‌های صلیبی است. این ارتباطات، تبادلات فرهنگی و هنری و درنتیجه تأثیرگذاری­ها و تأثیرپذیری­هایی را در پی داشت که انعکاس آن‌ها را می‌توان در آثار هنری به‌جای مانده از این ادوار مشاهده نمود. در همین راستا، پژوهش حاضر به مطالعه آثار هنر فلزکاری دوره‌ی سلجوقی و نمونه‌های مشابه مربوط به غرب سده‌های میانه، با در نظرگیری تأثیرات آثار گروه اول بر دسته­ی دیگر می‌پردازد. بدین منظور از منابع مکتوب تاریخی و همچنین منابع تصویری استفاده‌شده و روش کار نظری است.

از جمله خصلت‌های جمعی که امروزه، در شاخه‌های مختلف علم مورد توجه بسیاری قرار گرفته است، خلاقیت جم... more از جمله خصلت‌های جمعی که امروزه، در شاخه‌های مختلف علم مورد توجه بسیاری قرار گرفته است، خلاقیت جمعی است. مطالعه خلاقیت جمعی از دریچه رویکرد اجتماعی-فرهنگی، نشان می‌دهد که شرایط بروز این نوع از خلاقیت در فضاهای عمومی به مثابه بازنمود عرصه عمومی فراهم است. در همین راستا، مقاله حاضر با استناد به رویکرد جامعه‌شناسی فرهنگی به خلاقیت جمعی، درصدد پاسخ به این پرسش است: آیا می‌توان از هنر عمومی به عنوان هنری که با فضای عمومی مرتبط است، در راستای ارتقای خلاقیت جمعی بهره جست؟ به منظور پاسخ به این پرسش، ابتدا، تعاریف ساختاری هنر عمومی، فضای عمومی و خلاقیت جمعی، و ارتباط این حوزه‌ها با روش تحلیلی بررسی شد که نتیجه حاصل از تحلیل داده‌ها، حاکی از توانایی هنر عمومی در توسعه خلاقیت جمعی است. در مرحله بعد، با توجه به تعدد انواع هنر عمومی، نوع مناسب هنر عمومی برای گسترش خلاقیت جمعی معرفی گردید. نتیجه آن‌که، با توجه به ملزومات فضای مورد نیاز برای ممارست خلاقیت جمعی، هنر عمومی در صورت ایفای نقش فعال در عرصه عمومی می‌تواند به روند بروز این فضا کمک کند. هم‌چنین، از میان انواع هنر عمومی، هنر عمومی سبک نو ب...

On the W@terfront, 2020

This article is the result of an exploratory research on public art in Āb-o-Ātash 1 park in Tehra... more This article is the result of an exploratory research on public art in Āb-o-Ātash 1 park in Tehran. It investigates the way the three elements of design, site, and subject matter affect audience engagement with public artworks. The research has been conducted through qualitative methods, namely unobtrusive observations and surveys. Artworks have been identified based on specifications extracted from discourse analysis of the concepts of publicness and authorship in public arts. Thereafter, characteristics of the visual samples have been processed through cluster analysis with respect to design, site, and subject matter in order to be compared, and related to the results of observations of audience engagement.

journal of research in art and humanities, 2020

In Tehran, the capital of Iran, billboards bear two parallel responsibilities with, of course, di... more In Tehran, the capital of Iran, billboards bear two parallel responsibilities with, of course, different directions. Some of them have commercial functions, while others transmit moral messages and religious and political slogans. In the spring of 2015, billboards in Tehran suddenly transmitted a new message. A new urban project, called "A City-wide Art Gallery", converted Tehran into a gallery using billboards. For many people, this was "a city-wide coincidence". This was the first time that the municipality of Tehran allocated billboards to a topic that followed neither a commercial nor an ideological purpose. The change that the project brought about in the city's landscape has sparked debates among citizens and experts. The present study investigates the relationship of citizens with the images displayed in this project and compares this urban-scaled movement to people's reference to art galleries and museums. Data for this study are collected using questionnaires and interviews.

Abstract In the history of Islamic reign, the century fifth hijri is contemporaneous to reign of... more Abstract
In the history of Islamic reign, the century fifth hijri is contemporaneous to reign of the Seljuq dynasty, one of the dynasties supportive of arts and culture, which equals, on the other hand, to the eleventh century A.D, a part of the medieval era in west. In contrast to the unprecedented advances in Islamic arts in the Seljuqs era, the western art in the medieval era did not enjoy a considerable level of progression due to the unstable and chaotic situation of that time. Nevertheless, this period had a considerably advantageous characteristic which is, indeed, the interrelations of east and west as a result of different factors such as the first Crusade. These relations led to some cultural and artistic interchanges and consequently some interactions of which the reflections could be seen in the artworks handed to us from that time. The present research studies the metalwork of Seljuqs and their western medieval peers. In order to do so, the history textbooks have been used as well as pictorial sources. The data has been worked on through theoretical- analytical method along with inference.

Abstract Envisaging an active role for the audience, interactive artworks hold a lot of potentia... more Abstract
Envisaging an active role for the audience, interactive artworks hold a lot of potential for getting people engaged in the Arts. Therefore in recent decades a lot of studies have been conducted on how to make the utmost use out of interactive art’s potential in order to build collective appreciation of art. Nevertheless, before taking an active part, an individual should in the first place take a stand as a viewer. Knowing how to direct the audience’s attention towards the artwork is thus, the first and foremost important concern. Needless to say failing to cease the audience’s attention in the very first step of confrontation, an interactive artwork might fail to fulfill its ultimate purpose despite having proper qualities to engage the audience. Correspondently, the present research aims to study some effective features of encouraging the audience to connect to the work and meanwhile explores them is some works of Daniel Rozin, an interactive art activist. To do so the documentary analysis approach has been adopted and a comparative study has afterward been done on the collected data. The result suggests containing collective issues, unexpectedness, curiosity development, entertaining, and user-friendly medium as features effective in encouraging the audience to start an interactive connection with the art.
Keywords: Interactive Art, Audience, Encourage, Daniel Rozin, engage

Tehran Carnival is a group of six Iranian women who create their artworks in different places aro... more Tehran Carnival is a group of six Iranian women who create their artworks in different places around Tehran. Being rejected from official artistic establishments, these women continued to work independently of mainstream institutions and in the process have forged a new field of artistic creation in Iran. Their works have considerable innovative characteristics; they are mostly grandiose installations situated in quiet and marginalized areas around the city. In analyzing the characteristics of Tehran Carnival's work, they appear to conform to the paradigms set forth by Patricia C. Philips work, Out of Order: The Public Art Machine, most notably her conceptions of 'Public Space' and 'Public Art'.

Reconsidering the Visual Sphere of Femininity in Tehran, 2023

The Future: Urban Creativity Studies, 2021

This article explores how a series of street art images in Tehran which address the restriction o... more This article explores how a series of street art images in Tehran which address the restriction of the right of women to enter sports stadiums, challenge the official discourse of femininity within the semiotic landscape of Tehran. It investigates how, through techniques of carnivalesque satire, these images subvert the gender order that dominate the official visual discourse of femininity in urban space. The article proposes that the function of this street art series as a form of resistance is enacted both by its internal generic structure, and in relation to the official mural landscape of the city.

On the W@terfront, 2020

Aquest article es el resultat d’una investigacio exploratoria sobre art public al parc ashb-o-Āta... more Aquest article es el resultat d’una investigacio exploratoria sobre art public al parc ashb-o-Ātash de Teheran. Estudia la forma en que els tres elements del disseny, el lloc i la materia afecten la participacio del public amb les obres d’art public. La investigacio s’ha realitzat mitjancant metodes qualitatius, es a dir, observacions i enquestes discretes. Les obres d’art s’han identificat a partir d’especificacions extretes de l’analisi del discurs dels conceptes d publicitat i d’autoria en art public. A partir d’aleshores, les caracteristiques de les mostres visuals s’han processat mitjancant analisi de clusters pel que fa al disseny, el lloc i la materia per comparar-los i relacionats amb els resultats de les observacionsde la participacio de l’audiencia. Els resultats proposen una correlacio entre els temes de les obres d’art i la participacio del public al parc de Āb-o-Ātash.

قرن پنجم هجری در تاریخ حکومت اسلامی هم‌زمان با حکومت سلجوقیان، از سلسله‌های حامی فرهنگ و هنر، برا... more قرن پنجم هجری در تاریخ حکومت اسلامی هم‌زمان با حکومت سلجوقیان، از سلسله‌های حامی فرهنگ و هنر، برابر با قرن یازده میلادی از سده‌های میانه در غرب است. برخلاف رشد بی‌سابقه‌ی هنر اسلامی در دوره‌ی سلجوقیان، هنر غرب در سده‌های میانه، به دلیل نابسامانی و بی‌ثباتی شرایط آن دوره، پیشرفت چشمگیری نداشت. بااین‌حال این دوران یک ویژگی مفید قابل‌توجه دارد و آن همانا ارتباط شرق و غرب به‌واسطه‌ی عوامل گوناگون همچون وقوع دوره‌ی اول از جنگ‌های صلیبی است. این ارتباطات، تبادلات فرهنگی و هنری و درنتیجه تأثیرگذاری­ها و تأثیرپذیری­هایی را در پی داشت که انعکاس آن‌ها را می‌توان در آثار هنری به‌جای مانده از این ادوار مشاهده نمود. در همین راستا، پژوهش حاضر به مطالعه آثار هنر فلزکاری دوره‌ی سلجوقی و نمونه‌های مشابه مربوط به غرب سده‌های میانه، با در نظرگیری تأثیرات آثار گروه اول بر دسته­ی دیگر می‌پردازد. بدین منظور از منابع مکتوب تاریخی و همچنین منابع تصویری استفاده‌شده و روش کار نظری است.

از جمله خصلت‌های جمعی که امروزه، در شاخه‌های مختلف علم مورد توجه بسیاری قرار گرفته است، خلاقیت جم... more از جمله خصلت‌های جمعی که امروزه، در شاخه‌های مختلف علم مورد توجه بسیاری قرار گرفته است، خلاقیت جمعی است. مطالعه خلاقیت جمعی از دریچه رویکرد اجتماعی-فرهنگی، نشان می‌دهد که شرایط بروز این نوع از خلاقیت در فضاهای عمومی به مثابه بازنمود عرصه عمومی فراهم است. در همین راستا، مقاله حاضر با استناد به رویکرد جامعه‌شناسی فرهنگی به خلاقیت جمعی، درصدد پاسخ به این پرسش است: آیا می‌توان از هنر عمومی به عنوان هنری که با فضای عمومی مرتبط است، در راستای ارتقای خلاقیت جمعی بهره جست؟ به منظور پاسخ به این پرسش، ابتدا، تعاریف ساختاری هنر عمومی، فضای عمومی و خلاقیت جمعی، و ارتباط این حوزه‌ها با روش تحلیلی بررسی شد که نتیجه حاصل از تحلیل داده‌ها، حاکی از توانایی هنر عمومی در توسعه خلاقیت جمعی است. در مرحله بعد، با توجه به تعدد انواع هنر عمومی، نوع مناسب هنر عمومی برای گسترش خلاقیت جمعی معرفی گردید. نتیجه آن‌که، با توجه به ملزومات فضای مورد نیاز برای ممارست خلاقیت جمعی، هنر عمومی در صورت ایفای نقش فعال در عرصه عمومی می‌تواند به روند بروز این فضا کمک کند. هم‌چنین، از میان انواع هنر عمومی، هنر عمومی سبک نو ب...

On the W@terfront, 2020

This article is the result of an exploratory research on public art in Āb-o-Ātash 1 park in Tehra... more This article is the result of an exploratory research on public art in Āb-o-Ātash 1 park in Tehran. It investigates the way the three elements of design, site, and subject matter affect audience engagement with public artworks. The research has been conducted through qualitative methods, namely unobtrusive observations and surveys. Artworks have been identified based on specifications extracted from discourse analysis of the concepts of publicness and authorship in public arts. Thereafter, characteristics of the visual samples have been processed through cluster analysis with respect to design, site, and subject matter in order to be compared, and related to the results of observations of audience engagement.

journal of research in art and humanities, 2020

In Tehran, the capital of Iran, billboards bear two parallel responsibilities with, of course, di... more In Tehran, the capital of Iran, billboards bear two parallel responsibilities with, of course, different directions. Some of them have commercial functions, while others transmit moral messages and religious and political slogans. In the spring of 2015, billboards in Tehran suddenly transmitted a new message. A new urban project, called "A City-wide Art Gallery", converted Tehran into a gallery using billboards. For many people, this was "a city-wide coincidence". This was the first time that the municipality of Tehran allocated billboards to a topic that followed neither a commercial nor an ideological purpose. The change that the project brought about in the city's landscape has sparked debates among citizens and experts. The present study investigates the relationship of citizens with the images displayed in this project and compares this urban-scaled movement to people's reference to art galleries and museums. Data for this study are collected using questionnaires and interviews.

Abstract In the history of Islamic reign, the century fifth hijri is contemporaneous to reign of... more Abstract
In the history of Islamic reign, the century fifth hijri is contemporaneous to reign of the Seljuq dynasty, one of the dynasties supportive of arts and culture, which equals, on the other hand, to the eleventh century A.D, a part of the medieval era in west. In contrast to the unprecedented advances in Islamic arts in the Seljuqs era, the western art in the medieval era did not enjoy a considerable level of progression due to the unstable and chaotic situation of that time. Nevertheless, this period had a considerably advantageous characteristic which is, indeed, the interrelations of east and west as a result of different factors such as the first Crusade. These relations led to some cultural and artistic interchanges and consequently some interactions of which the reflections could be seen in the artworks handed to us from that time. The present research studies the metalwork of Seljuqs and their western medieval peers. In order to do so, the history textbooks have been used as well as pictorial sources. The data has been worked on through theoretical- analytical method along with inference.

Abstract Envisaging an active role for the audience, interactive artworks hold a lot of potentia... more Abstract
Envisaging an active role for the audience, interactive artworks hold a lot of potential for getting people engaged in the Arts. Therefore in recent decades a lot of studies have been conducted on how to make the utmost use out of interactive art’s potential in order to build collective appreciation of art. Nevertheless, before taking an active part, an individual should in the first place take a stand as a viewer. Knowing how to direct the audience’s attention towards the artwork is thus, the first and foremost important concern. Needless to say failing to cease the audience’s attention in the very first step of confrontation, an interactive artwork might fail to fulfill its ultimate purpose despite having proper qualities to engage the audience. Correspondently, the present research aims to study some effective features of encouraging the audience to connect to the work and meanwhile explores them is some works of Daniel Rozin, an interactive art activist. To do so the documentary analysis approach has been adopted and a comparative study has afterward been done on the collected data. The result suggests containing collective issues, unexpectedness, curiosity development, entertaining, and user-friendly medium as features effective in encouraging the audience to start an interactive connection with the art.
Keywords: Interactive Art, Audience, Encourage, Daniel Rozin, engage

Tehran Carnival is a group of six Iranian women who create their artworks in different places aro... more Tehran Carnival is a group of six Iranian women who create their artworks in different places around Tehran. Being rejected from official artistic establishments, these women continued to work independently of mainstream institutions and in the process have forged a new field of artistic creation in Iran. Their works have considerable innovative characteristics; they are mostly grandiose installations situated in quiet and marginalized areas around the city. In analyzing the characteristics of Tehran Carnival's work, they appear to conform to the paradigms set forth by Patricia C. Philips work, Out of Order: The Public Art Machine, most notably her conceptions of 'Public Space' and 'Public Art'.