Hossein Valamanesh – Char Soo

Hossein and Nassiem Valamanesh’s video installation Char Soo places the viewer at the centre of a four-way intersection in an Iranian Bazaar. Filmed with stationary cameras placed at eye level, the viewer stands at the centre of a crossroad, passively observing the events of the day projected on the four walls around them. People pass, shopping, sometimes eyeing the camera.

Char Soo, translated as “four sides”, provides a nexus for Valamanesh – literally, in terms of being the main intersection in the bazaar, but also to anchor Valamanesh’s thought as he explores themes of boundary and translocality. The flows and the breaks between different spaces are central to Valamanesh’s work, and from the position of the camera standing in the bazaar we are invited to reflect on how these are concretised in the space.

The inclusion of a second work by Valamanesh, Passing Time (2011), underscores his interest in time and non-participation. Video of the artist making infinity symbols with their hands loops endlessly, presented inside a black box – but so is Char Soo, in a sense. Passing Time is an obvious double for Char Soo, highlighting the non-participation of the viewer as they watch the artist’s hands fold over and over, forever. What ever changes?

Effectively providing recess from time, Valamanesh provides the viewer a rare view from nowhere.

Char Soo is presented in collaboration with the Sydney Film Festival, this is the first year the festival includes virtual reality in their program. (ZS)

Jun 9–Jul 17, 10am–6pm. Carriageworks, 245 Wilson Street, Eveleigh. Free. Info: carriageworks.com.au/events/char-soo/

BY ZEIYA SPEEDE