The review session for the project “Entertainment in Public” featured Mohammad Reza Aslani, a prominent filmmaker and theorist, along with Taha Zaker, the artist and researcher behind the project. This discussion focused on deep concepts presented by the exhibition, including democracy, violence, and the collective enjoyment of death within historical and social contexts.
Part 1: Mohammad Reza Aslani’s Perspective on the Project
Mohammad Reza Aslani began by praising the project, noting that it goes far beyond a simple research work. He mentioned that while research can be conducted on any subject, “Entertainment in Public” had the unique intelligence to push the audience beyond a mere sociological or historical study, delving into the depths of human concepts and the collective unconscious of society.
Aslani described the exhibition’s atmosphere, sharing his feeling of passing through “Hades,” the god of the underworld in Greek mythology:
“The project expands the fear step by step, rather than normalizing it.”
He highlighted this as a strength of the project, explaining that, unlike many cinematic works that normalize violence and crime, this exhibition progressively unveils the depth of the catastrophe with each step.
Part 2: Democracy and Violence in Aslani’s View
A significant theme discussed was the relationship between democracy, violence, and death. Aslani pointed out that in this project, democracy is not portrayed as a symbol of freedom but rather as a force that instills fear and death:
“Democracy can be as terrifying as fascism. Here, democracy itself introduces death as a means to protect freedom.”
He referenced the history of democracy in ancient Greece, arguing that while Greece is often celebrated as the cradle of democracy, its economy was built on slavery, and true democracy did not exist. Aslani emphasized the importance of critically examining history and avoiding blind admiration of Western democratic ideals.
Part 3: Collective Enjoyment of Death and the Modernization of Violence
The discussion then shifted towards society’s collective enjoyment of death. Aslani noted that humans not only accept death but often find pleasure in it. He considered this phenomenon more profound than the act of killing or violence itself, interpreting it as a reflection of the collective unconscious of human society.
Taha Zaker supported this view, providing historical examples from France. He mentioned that despite the numerous republics that rose and fell in French history, even during the last public execution, crowds still derived pleasure from watching it.
Zaker highlighted the modernization of violence in media:
“The guillotine may have been replaced by the electric chair, but the essence of public execution as entertainment remains.”
He shared research showing that many people who initially demand retribution often regret it within a year, realizing that seeking revenge does not bring the peace they expected.
Part 4: The Exhibition as a Labyrinth of Human Society
Aslani described the exhibition not just as an artistic installation but as a “labyrinth of the collective unconscious of human society.” He believed that the project, with its intricate and intertwined setting, forces the audience to confront the harsh realities of society.
He elaborated on the concept of “plasticity” within the exhibition, explaining how the labyrinth engages not only the viewer’s sight but also their entire physical presence. He compared this immersive experience to the works of Rembrandt, where the viewer’s gaze acts as a tactile sense, leading to a deeper understanding of the artwork.
Part 5: Suggestions and Conclusions
In conclusion, Aslani suggested that “Entertainment in Public” should not merely remain as a simple report or exhibition. He believed the project had the potential to transform into a tragic drama, allowing its profound message to resonate more effectively with audiences:
“This is not just a report; it has the potential to become a drama, a tragic narrative that truly conveys its message.”
He drew a parallel between the exhibition and the historical experience of Robespierre, suggesting it could serve as a crucial warning for any kind of transformation in Iran or elsewhere.
Afterword:
The discussion offered a deep philosophical and social analysis of democracy, violence, and the collective enjoyment of death. The “Entertainment in Public” project, as an artistic work, managed to transcend a mere exhibition format, enabling the audience to confront the unconscious of society and its hidden truths.
Both Mohammad Reza Aslani and Taha Zaker emphasized the importance of dramatizing this project to effectively communicate its complex ideas to society, presenting it not just as an artwork but as a critical societal mirror.
