Page 5 - (کیهان لندن - سال سى و دوم ـ شماره ۴۰ (دوره جديد

‫ﺻﻔﺤﻪ ‪ 5‬ـ ‪ Page 5‬ـ ﺷﻤﺎﺭﻩ ‪40‬‬
‫ﺟﻤﻌﻪ ‪ 1‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 7‬ژﺍﻧﻮﻳﻪ ‪2016‬‬

‫ﻧﻤﺎﻳﺸﮕﺎﻩ »ﺁﻧﺘﻰ ﺑﻴﻮﺗﻰﻙ« ﺩﺭ ﺗﻬﺮﺍﻥ‪ :‬ﺩﺭﻣﺎﻥ ﺑﺎ ﻫﻨﺮ ﻭ ﺍﻧﺪﻳﺸﻪ‬ ‫ﺳﺎﻝ ﻧﻮ ﻣﻴﻼﺩﻯ‬

‫ﻫﺮ ﺍﺑﺰﺍﺭ ﻭ ﺭﺳﺎﻧﻪﺍﻯ ﺩﺭ ﺧﺪﻣﺖ ﻳﻚ‬ ‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻴﻨﻨﺪﻩ ﺩﺭ ﻭﻫﻠﻪ ﺍﻭﻝ ﺩﺭ‬ ‫ﺭﺿﺎ ﻣﻘﺼﺪﻯ‬ ‫ﻋﻘﺮﺑﻪﻫﺎﻯ ﺳﺎﻋﺘﻢ‬
‫ﻣﻔﻬﻮﻡ ﻭﺍﺣﺪ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ‬ ‫ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻥ ﺑﻴﻦ ﻧﺎﻡ ﻧﻤﺎﻳﺸﮕﺎﻩ‬ ‫ﺭﻭﻯ ﺯﻣﺎ ِﻥ ﺗﺎﺯﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﻬﺎﺭﻩ ﻭ ﺑﻨﻔﺸﻪ ﻓﺮﻳﺲﺁﺑﺎﺩﻯ‬ ‫ﺷﺨﺼﻴﺖﻫﺎ ﺻﺮﻓﺎ ﺑﺮ ﺍﺳﺎﺱ ﺳﻠﻴﻘﻪ‬ ‫ﻭ ﻧﻘﺎﺷﻰﻫﺎﻯ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﺪﻩ‬
‫ﻭ ﻋﻼﻗﻪ ﺧﻮﺩ ﻣﺎ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩﺍﻧﺪ«‪.‬‬ ‫ﺳﺮﮔﺮﺩﺍﻥ ﺷﻮﺩ؛ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺍﻳﺠﺎﺩ‬ ‫ﻣﻌﻨ ِﻰ ﺭﻭﺯﮔﺎﺭ ﻣﻦ‬
‫ﻣﻌﻨﺎﻯ ﺍﺑﺘﺪﺍﻳﻰ ﻭ ﻓﻴﺰﻳﻜﻰ ﺁﻥ‪ -‬ﻧﺪﺍﺭﻧﺪ«‪ .‬ﺩﺭ ﭼﻨﺪﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﮔﺮﻭﻫﻰ ﻧﻘﺎﺷﻰ‬ ‫ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﮔﺎﻥ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ‬ ‫ﺍﻳﻦ ﺳﺮﮔﺮﺩﺍﻧﻰ ﺍﺯ ﺳﻮﻯ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﮔﺎﻥ‬ ‫ﺟﺎﻥ ُﻭ ﺟﻬﺎ ِﻥ ﺗﺎﺯﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﻬﺎﺭﻩ ﻓﺮﻳﺲ ﺁﺑﺎﺩﻯ ﺩﺭﺑﺎﺭﻩ ﺍﻳﺪﻩ ﺍﻭﻟﻴﻪ ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﻫﻨﺮﻯ ﺧﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻭﻟﻴﻦ‬ ‫ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩﺷﺎﻥ ﺗﻼﺵ ﺩﺍﺭﻧﺪ ﺗﺎ‬ ‫ﻋﺎﻣﺪﺍﻧﻪ ﺑﺎﺷﺪ‪» .‬ﻫﻨﺮ ﭼﻨﺪﺭﺳﺎﻧﻪﺍﻯ ﺁﻧﺘﻰ‬
‫ﺷﻜﻞﮔﻴﺮﻯ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻣﻰﮔﻮﻳﺪ‪ :‬ﭘﺮﻭژﻩ ﻣﺸﺘﺮﻙ ﺍﻭ ﺑﺎ ﺧﻮﺍﻫﺮﺵ‪ ،‬ﺑﻨﻔﺸﻪ‬ ‫ﺍﺯ ﺩﺍﻧﺴﺘﻪﻫﺎ ﻭ ﻣﻌﻠﻮﻣﺎﺕ ﻣﺨﺎﻃﺐ‬ ‫ﺑﻴﻮﺗﻰﻙ« ﻧﻤﺎﻳﺸﮕﺎﻫﻰ ﺍﺳﺖ ﺍﺯ ﺑﻬﺎﺭﻩ ﻭ‬ ‫ﻛﻴﺴﺖ ﺩﺭﻳﻦ ﻛﺮﺍﻧﻪﻫﺎ‬
‫»ﺍﻳﺪﻩ ﺑﺮﮔﺰﺍﺭﻯ ﭼﻨﻴﻦ ﻧﻤﺎﻳﺸﮕﺎﻫﻰ ﻭ ﻓﺮﻳﺲﺁﺑﺎﺩﻯ‪ ،‬ﺩﺭ ﺳﺎﻝ ‪92‬ﺩﺭ ﮔﺎﻟﺮﻯ ﺩﻧﺎ‬ ‫ﺁﺷﻨﺎﻳﻰﺯﺩﺍﻳﻰ ﻛﻨﻨﺪ؛ ﺩﺍﻧﺴﺘﻪﻫﺎﻯ ﺟﺪﻯ‬ ‫ﺑﻨﻔﺸﻪ ﻓﺮﻳﺲﺁﺑﺎﺩﻯ ﻛﻪ ﺍﺯ ﭼﻬﺎﺭﻡ ﺩﻯ‬ ‫ﻧﺎﻡ ِ ﺗﺮﺍ ﺳﺮﻭﺩ ﻛﺮﺩ؟‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩﻫﺎﻳﻰ ﻛﻪ ﻣﺎ ﭘﻴﺶﺗﺮ ﺑﺮﮔﺰﺍﺭ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﺎﺩﺭﻯﺳﺖ‪ ،‬ﺍﺯ ﻣﻦ‬ ‫ﻣﺨﺎﻃﺐ ﺭﺍ ﺑﻪ ﺷﻮﺧﻰ ﺑﮕﻴﺮﻧﺪ ﻭ ﺑﺮﺍﻯ ﺍﻭ‬ ‫ﻣﺎﻩ ﺩﺭ ﮔﺎﻟﺮﻯ ﺩﻧﺎ ﺩﺭ ﺗﻬﺮﺍﻥ ﺩﺭ ﺣﺎﻝ‬
‫ﭼﻴﺴﺖ ﻛﻪ ﺳﻴﻨﻪﻯ ﺗﺮﺍ‬
‫ﺩﻏﺪﻏﻪﻫﺎﻯ ﺗﺎﺯﻩ ﺍﻳﺠﺎﺩ ﻛﻨﻨﺪ‪.‬‬ ‫ﺑﺮﮔﺰﺍﺭﻯ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﺗﭙ ِﺶ ﺳﺘﺎﺭﻩﻫﺎ‬
‫ﺁﻧﻬﺎ ﺁﻧﺘﻰ ﺑﻴﻮﺗﻴﻚﻫﺎ ﻭ‬ ‫ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺷﺎﻣﻞ ‪ 16‬ﺍﺛﺮ ﻧﻘﺎﺷﻰ‬
‫ﻣﻴﻜﺮﻭﺍﺭﮔﺎﻧﻴﺴﻢﻫﺎ ﺭﺍ ﻣﺎﻧﻨﺪ ﺩﻭ ﺟﺎﻣﻌﻪ‬ ‫ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻫﻨﺮﻯ ﻭ ﺍﺩﺑﻰ ﻭ ﻳﻚ‬ ‫ﺷﻌ ِﺮ ﺳﭙﻴ ِﺪ ﺭﻭﺩ ﻛﺮﺩ؟‬
‫ﺍﻧﺴﺎﻧﻰ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪﺍﻧﺪ ﻭ ﺑﻪ ﺳﻠﻴﻘﻪ‬ ‫ﻭﻳﺪﻳﻮﻯ ﺩﻩ ﺩﻗﻴﻘﻪﺍﻯ ﺍﺳﺖ‪.‬ﺩﺭ ﺑﻴﻦ‬
‫ﺧﻮﺩﺷﺎﻥ ﮔﺮﻭﻫﻰ ﺭﺍ ﺁﻧﺘﻰ ﺑﻴﻮﺗﻴﻚ ﻭ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﺪﻩ‬ ‫ﺳﺎ ِﻝ ﺧﻤﻴﺪﻩ ‪ ،‬ﺩﺭ ﮔﺬﺷﺖ‬
‫ﻫﻢ ﻟﺌﻮ ﺗﻮﻟﺴﺘﻮﻯ ﻧﻮﻳﺴﻨﺪﻩ ﺭﻭﺱ ﺩﻳﺪﻩ‬ ‫ﺳﺎ ِﻝ ﺧﺠﺴﺘﻪ‪ ،‬ﺳﺮ ﺭﺳﻴﺪ‪.‬‬
‫ﮔﺮﻭﻫﻰ ﺭﺍ ﻣﻴﻜﺮﻭﺏ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﻫﻢ ﺍﻧﺪﻯ ﻭﺍﺭﻫﻮﻝ ﺍﺯ ﭘﻴﺸﮕﺎﻣﺎﻥ‬
‫ﺑﻪ ﮔﻔﺘﻪ ﺑﻬﺎﺭﻩ ﻓﺮﻳﺲ ﺁﺑﺎﺩﻯ ﺗﻌﺎﺭﻳﻔﻰ‬ ‫ﺟﻨﺒﺶ ﻫﻨﺮ ﭘﺎپ ﺩﺭ ﺩﻫﻪ ‪ 60‬ﻣﻴﻼﺩﻯ ﻭ‬ ‫ﻋﻘﺮﺑﻪﻫﺎﻯ ﺳﺎﻋﺘﻢ‬
‫ﻛﻪ ﺁﻧﻬﺎ ﺍﺯ ﺁﻧﺘﻰ ﺑﻴﻮﺗﻴﻚﻫﺎ ﺍﺭﺍﻳﻪ ﺩﺍﺩﻩﺍﻧﺪ‬ ‫ﻫﻢ ﻟﻮﻳﻴﺲ ﺑﻮﻧﻮﺋﻞ ﻓﻴﻠﻢﺳﺎﺯ ﻣﻌﺮﻭﻑ ﻭ‬ ‫ﺳﻮﻯ ﭘﺮﻧﺪﻩ ‪ ،‬ﭘﺮ ﻛﺸﻴﺪ‪.‬‬
‫ﺑﺎ ﺗﻌﺎﺭﻳﻒ ﺍﻳﻦ ﺩﺍﺭﻭﻫﺎ ﺩﺭ ﺍﺫﻫﺎﻥ ﻋﻤﻮﻣﻰ‬
‫ﺩﺭ ﺗﻀﺎﺩ ﻧﻴﺴﺖ ﻭ ﺁﻧﻬﺎ ﺻﺮﻓﺎ ﻣﺎﻫﻴﺖ‬ ‫ﺁﻭﺍﻧﮕﺎﺭﺩﺍﺳﭙﺎﻧﻴﺎﻳﻰ‪.‬‬
‫ﻣﺘﻔﺎﻭﺗﻰ ﺑﺮﺍﻯ ﺁﻧﺘﻰ ﺑﻴﻮﺗﻴﻚﻫﺎ ﻗﺎﺋﻞ ﺷﺪﻩ‬ ‫ﺑﻬﺎﺭﻩ ﻓﺮﻳﺲﺁﺑﺎﺩﻯ ﻳﻜﻰ ﺍﺯ ﺩﻭ ﺧﻮﺍﻫﺮ‬
‫ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﺑﺴﺘﺮﻯ ﻣﺘﻔﺎﻭﺕ ﺑﺎﺯﺁﻓﺮﻳﻨﻰ‬ ‫ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﻩ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺩﺭﺑﺎﺭﻩ ﻧﺤﻮﻩ‬
‫ﺍﻧﺘﺨﺎﺏ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﻪ ﺗﺼﻮﻳﺮ‬
‫ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺑﻪ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﻣﻰﮔﻮﻳﺪ‪:‬‬
‫»ﺩﺭ ﻳﻚ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﻨﺮ ﭼﻨﺪﺭﺳﺎﻧﻪﺍﻯ‪،‬‬
‫ﺗﻤﺎﻣﻰ ﺁﺛﺎﺭ ﺍﺭﺍﻳﻪ ﺷﺪﻩ ﺩﺭ ﻫﺮ ژﺍﻧﺮ ﻭ ﺑﺎ‬

‫ﺟﻨﮓ ﺩﺍﺧﻠﻰ ﺳﻮﺭﻳﻪ ﺩﺭ ﻗﺎﺏ ﺗﺼﻮﻳﺮ ﻳﻚ ﻫﻨﺮﻣﻨﺪ‪:‬‬

‫ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺟﺎﻯ ﺁﻧﻬﺎ ﺑﮕﺬﺍﺭﻳﺪ!‬

‫ﻋﻜﺲ ﺑﮕﻴﺮ« ﺑﻪ ﺍﺟﺮﺍ ﺩﺭﺁﻣﺪ‪.‬‬ ‫ﻛﺮﺩﻩﺍﻳﻢ ﺩﺭ ﭘﻰ ﮔﻔﺖ ﻭ ﮔﻮﻫﺎﻯ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ‪.‬ﺍﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻣﺎ ﺗﻼﺵ ﻛﺮﺩﻩﺍﻳﻢ‬ ‫»ﭼﻬﺮﻩ ﻣﺪﺭﻥ ﺳﻮﺭﻳﻪ« ﻋﻨﻮﺍﻥ‬
‫ﺑﻨﻔﺸﻪ ﻓﺮﻳﺲﺁﺑﺎﺩﻯ ﻣﺘﻮﻟﺪ ‪ 1360‬ﺩﺭ‬ ‫ﺭﻭﺯﺍﻧﻪ ﻣﺎ ﺷﻜﻞ ﮔﺮﻓﺖ‪ .‬ﺍﻳﺪﻩﻫﺎﻯ ﻣﺎ ﺍﺯ‬ ‫ﺩﺭ ﺍﻳﻦ ﺁﺛﺎﺭ ﻧﺸﺎﻥ ﺩﻫﻴﻢ ﻛﻪ ﺗﻨﻬﺎ ﺭﺍﻩ‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﺍﻧﻔﺮﺍﺩﻯ ﺟﺪﻳﺪﻯ ﺍﺳﺖ ﻛﻪ‬
‫ﺗﻬﺮﺍﻥ ﻭ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺭﺷﺘﻪ ﻣﻮﺳﻴﻘﻰ‬ ‫ﺩﻝ ﺑﺤﺚ‪ ،‬ﺗﻮﺟﻴﻪ ﻭ ﺍﻗﻨﺎﻉ ﻣﻦ ﻭ ﺑﻨﻔﺸﻪ‬ ‫ﻧﺠﺎﺕ ﺣﻴﺎﺕ ﺑﺸﺮﻯ ﭘﻨﺎﻩ ﺑﺮﺩﻥ ﺑﻪ ﺍﻳﻦ‬ ‫ﺩﺭ ﻟﻨﺪﻥ ﺑﺮﭘﺎ ﺷﺪ‪ .‬ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺑﻪ‬
‫ﺩﺭ ﺳﺎﻝ ‪ 84‬ﺍﺳﺖ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻳﻚ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺷﻜﻞ ﻣﻰﮔﻴﺮﺩ ﻭ ﺑﻪ ﻣﺮﺣﻠﻪ ﻧﻬﺎﻳﻰ ﻭ ﺍﺟﺮﺍ‬ ‫ﺁﻧﺘﻰ ﺑﻴﻮﺗﻴﻚﻫﺎ )ﻳﻌﻨﻰ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ‬ ‫ﻣﻨﻈﻮﺭ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻥ ﭼﻬﺮﻩ ﺟﻨﮓ‪،‬‬
‫ﺷﻌﺮ ﺑﺎ ﻋﻨﻮﺍﻥ »ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺑﻌﺪ ﺍﺯ‬ ‫ﻛﻪ ﺳﺎﺩﻩﺗﺮﻳﻦ ﻣﺮﺣﻠﻪ ﺍﺳﺖ‪ ،‬ﻣﻰﺭﺳﺪ‪«.‬‬ ‫ﺧﻮﻧﺮﻳﺰﻯ ﻭ ﻭﺣﺸﺖ ﺭﻭﺯﺍﻧﻪ ﺩﺭ ﺳﻮﺭﻳﻪ‪،‬‬
‫ﺍﻧﺘﺤﺎﺭ«‪ ،‬ﺗﺮﺟﻤﻪ ﺳﻪ ﺭﻣﺎﻥ ﺩﺭ ﺩﺳﺖ‬ ‫ﺍﻳﻦ ﻧﻘﺎﺵ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ‪» :‬ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ‬ ‫ﺍﻧﺪﻳﺸﻤﻨﺪﺍﻥ( ﺍﺳﺖ‪«.‬‬
‫ﺍﻧﺘﺸﺎﺭ ﻭ ﺍﺟﺮﺍﻯ ﭘﺮﻭژﻩ ﻣﻮﻟﺘﻰﻣﺪﻳﺎ ﻳﺎ‬ ‫ﻳﻜﻰ ﺍﺯ ﻣﺎ ﻛﺎﺳﺘﻰﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺭﺍ ﺟﺒﺮﺍﻥ‬ ‫ﺑﻪ ﮔﻔﺘﻪ ﺍﻳﻦ ﻧﻘﺎﺵ ﺟﻮﺍﻥ »ﺍﻟﻤﺎﻥﻫﺎﻯ‬ ‫ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪.‬‬
‫ﭼﻨﺪﺭﺳﺎﻧﻪﺍ ِﻯ »ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﺎﺩﺭﻯﺳﺖ‪ ،‬ﺍﺯ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺍﺛﺮﻯ ﻣﻰﺭﺳﻴﻢ‬ ‫ﻧﻘﺎﺷﻰ ﺷﺪﻩ ﺑﺮ ﺭﻭﻯ ﻋﻜﺲﻫﺎ ﺍﺯ ﺁﺛﺎﺭ‪،‬‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﭼﻬﺮﻩ ﻣﺪﺭﻥ ﺳﻮﺭﻳﻪ ﺩﺭ‬
‫ﻣﻦ ﻋﻜﺲ ﺑﮕﻴﺮ« ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪﻯ ﻫﻨﺮﻯ‬ ‫ﻛﻪ ﺗﻮﻗﻊ ﻫﺮ ﺩﻭ ﻣﺎ ﺭﺍ ﺑﺮﺁﻭﺭﺩﻩ ﻣﻰﻛﻨﺪ«‪.‬‬ ‫ژﺳﺖﻫﺎ‪،‬ﻋﺎﺩﺍﺕ ﻭ ﺍﻧﺪﻳﺸﻪﻯ ﻛﺎﺭﺍﻛﺘﺮﻫﺎ‬ ‫ﺑﺮﮔﻴﺮﻧﺪﻩ ﺁﺛﺎﺭ ﻫﻨﺮﻣﻨﺪ ﺗﺒﻌﻴﺪﻯ ﺳﻮﺭﻯ‬
‫ﺑﻬﺎﺭﻩ ﻓﺮﻳﺲ ﺁﻳﺎﺩﻯ ﻣﺘﻮﻟﺪ ﺳﺎﻝ ‪1357‬‬ ‫ﻧﺸﺎﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﮔﺎﻩ ﻛﺎﻣﻼ ﻣﻨﻄﺒﻖ‬ ‫ﺑﺎ ﻧﺎﻡ ﻣﺴﺘﻌﺎﺭ ﺍﻣﺮﺍﻧﻮﻯ ﺑﻮﻟﺪ ﺍﺳﺖ ﻛﻪ‬
‫ﺧﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩﺭ ﺗﻬﺮﺍﻥ ﻭ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺭﺷﺘﻪ ﻧﻘﺎﺷﻰ‬ ‫ﺑﺎ ﺁﻥ ﻭ ﮔﺎﻩ ﺩﺭ ﺟﻬﺘﻰ ﻛﺎﻣﻼ ﺑﺮﻋﻜﺲ‪.‬‬ ‫ﺑﺎ ﻃﻨﺰﻯ ﺗﻠﺦ‪ ،‬ﭼﻬﺮﻩ ﺑﺪﻭﻳﺖ‪ ،‬ﺟﻨﮓ ﻭ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ »ﻫﻨﺮ ﭼﻨﺪ ﺭﺳﺎﻧﻪﺍﻯ ﺁﻧﺘﻰ‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 1382‬ﺍﺳﺖ‪ .‬ﺍﻭ ﺍﻧﺘﺸﺎﺭ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻫﺪﻑ‪ ،‬ﺍﻓﺰﻭﺩﻥ ﺯﻳﺒﺎﻳ ِﻰ ﺗﺼﻨﻌﻰ ﻭ‬ ‫ﻫﺰﻳﻨﻪ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺟﻨﮓ ﻛﻨﻮﻧﻰ‬
‫ﺑﻴﻮﺗﻰﻙ« ﺗﺎ ‪ 14‬ﺩﻯ ﻣﺎﻩ ﺩﺭ ﮔﺎﻟﺮﻯ ﺩﻧﺎ‬ ‫ﺷﻌﺮ »ﺑﻨﻔﺸﻪﻫﺎﻯ ﻻﻯ ﺑﺮﻑ« ﻭ ﺷﺮﻛﺖ‬ ‫ﺍﻟﺼﺎﻗﻰ ﺑﻪ ﺷﺨﺼﻴﺖﻫﺎﻳﻰﺳﺖ ﻛﻪ ﺍﮔﺮ‬
‫ﺯﻳﺒﺎ ﻧﻴﺴﺘﻨﺪ ﻧﻴﺎﺯﻯ ﻫﻢ ﺑﻪ ﺯﻳﺒﺎﻳﻰ‪ -‬ﺑﻪ‬ ‫ﭘﺮﺩﺍﺧﺘﻪ ﻣﻰﺷﻮﺩ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﺪ‪.‬‬
‫ﻣﻬﻤﺎﻥ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﻫﻨﺮ ﺍﺳﺖ‪.‬‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﺍﻣﺮﺍﻧﻮﻯ ﺑﻮﻟﺪ ﻧﻘﺎﺵ ﺳﻮﺭﻯ‬
‫ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪ ﮔﺮﺍﻓﻴﺴﺖ ﻛﻪ ﺩﺭ ﺣﺎﻝ‬
‫ﺭﻣﺎﻥ ﺑﺨﻮﺍﻧﻴﻢ‪ :‬ﻃﻌﻢ ﺩﺍﻧﻪﻯ ﺳﻴﺐ‬ ‫ﺷﺪ‪ .‬ﭘﺲ ﺍﺯ ﻣﻬﺎﺟﺮﺕ‪ ،‬ﺗﻤﺮﻛﺰ ﺑﺮ ﺭﻭﻯ‬ ‫ﺍﻧﮕﻴﺰﻩﺍﻯ ﺷﺪ ﺗﺎ ﺍﻣﺮﺍﻧﻮﻯ ﻣﺠﻤﻮﻋﻪ ﺁﺛﺎﺭ‬ ‫ﺣﺎﺿﺮ ﺩﺭ ﺩﻭﺑﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ ﺑﺮﺍﻯ‬
‫ﺧﻠﻖ ﺁﺛﺎﺭ ﻫﻨﺮﻯﺍﺵ ﺑﻪ ﻫﺪﻑ ﺍﺻﻠﻰ ﻭﻯ‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ”ﭼﻬﺮﻩ ﻣﺪﺭﻥ ﺳﻮﺭﻳﻪ“ ﺭﺍ‬ ‫ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺗﺼﻮﻳﺮ ﺟﻨﮓﻫﺎﻯ ﺩﺍﺧﻠﻰ‬
‫ﺗﺎﺑﺴﺘﺎﻥﻫﺎﻯ ﻛﻮﺩﻛﻰ ﻣﻰﺍﻧﺪﺍﺯﺩ‪.‬‬ ‫ﺍﻭ ﺩﺭ ﺩﺭﻳﺎﭼﻪﻯ ﺳﻴﺎﻩ ﺷﻨﺎ ﻛﻨﻴﻢ‪،‬‬ ‫ﻫﺮ ﺁﻧﭽﻪ ﺭﺍ ﺯﻧﺪﮔﻰ ﻭ ﺍﻣﻜﺎﻧﺎﺕ ﻣﺤﺪﻭﺩ‬ ‫ﺳﻮﺭﻳﻪ ﺭﺍ ﺩﺭ ﻛﺎﺭﻫﺎﻯ ﺧﻮﺩ ﺑﻪ ﮔﻮﻧﻪﺍﻯ‬
‫ﺷﺎﻫﺪ ﺑﻮﺳﻪﺍﻯ ﺑﺎﺷﻴﻢ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﺎ‬ ‫ﻳﻚ ﺍﻧﺴﺎﻥ ﺑﻪ ﺍﻭ ﺍﺟﺎﺯﻩ ﻧﻤﻰﺩﻫﺪ ﺗﺎ‬ ‫ﺗﺒﺪﻳﻞ ﺷﺪ‪.‬‬ ‫ﺧﻠﻖ ﻛﻨﺪ‪.‬‬ ‫ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﻛﻪ ﺑﺎﺯﺗﺎﺏ ﻭﺿﻌﻴﺖ‬
‫ﺑﺮﺍﻯ ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏ ﻟﻄﻔﺎ ﺭﻭﻯ‬ ‫ﺩﻭﺳﺖ ﺩﻭﺭﺍﻥ ﻛﻮﺩﻛﻰﺍﺵ ﭘﻴﻮﻧﺪ‬ ‫ﺧﻮﺩ ﺗﺠﺮﺑﻪ ﻛﻨﺪ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺍﺩﺑﻴﺎﺕ‬ ‫ﺍﻛﻨﻮﻥ ﺍﻣﺮﺍﻧﻮﻯ ﺑﻮﻟﺪ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ﺗﺼﻮﻳﺮ ﺍﻧﺘﻘﺎﺩﻯ ﺍﺯ ﺑﺸﺎﺭ ﺍﺳﺪ ﺑﺎ ﻣﺪﺍﻝ‬ ‫ﺩﺭﺩﻧﺎﻙ ﻭ ﺑﺤﺮﺍﻥ ﭘﻨﺎﻫﻨﺪﮔﻰ ﺩﺭ ﺁﻥ‬
‫ﻋﻜﺲ ﻛﻠﻴﻚ ﻛﻨﻴﺪ‪:‬‬ ‫ﻣﻰﺯﻧﺪ‪ ،‬ﻫﻤﺮﺍﻩ ﺍﻭ ﻛﻪ ﺍﺗﺎﻕ ﺑﻪ ﺍﺗﺎﻕ‬ ‫ﻭ ﺭﻣﺎﻥ ﺍﺯ ﺳﺮ ﮔﺬﺭﺍﻧﺪ ﻭ ﺣﺘﻰ ﺷﺨﺺ‬ ‫ﺑﺎ ﻧﻤﺎﻳﺶ ﺁﺛﺎﺭ ﺧﻮﺩ ﺍﺯ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﺍﻓﺘﺨﺎﺭﻯ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ‬ ‫ﻛﺸﻮﺭ ﺍﺳﺖ‪ .‬ﺍﻣﺮﺍﻧﻮﻯ ﻛﺎﺭ ﮔﺮﺍﻓﻴﻚ‬
‫ﻣﻰﺭﻭﺩ ﺧﺎﻃﺮﺍﺗﺶ ﻭ ﻣﻬﻢﺗﺮ ﺍﺯ ﺁﻥ‬ ‫ﺩﻳﮕﺮﻯ ﺷﺪ! ﺧﻮﺍﻧﺪﻥ ُﺭﻣﺎﻥ ﺗﻨﻬﺎ‬ ‫ﺩﺭﺧﻮﺍﺳﺖ ﻛﻨﺪ ﻛﻪ ﻟﺤﻈﻪﺍﻯ ﻭﻗﺖ‬ ‫ﻣﺮﺩﻡ ﻛﺸﻮﺭﺵ ﺑﻪ ﺍﻭ ﺩﺍﺩﻩ ﺷﺪﻩ ﻳﻜﻰ ﺍﺯ‬ ‫ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺭﺍ ﺍﺯ ﻭﻗﺘﻰ ﻛﻪ ﺩﺭ ﺳﻮﺭﻳﻪ‬
‫ﺧﻮﺍﻧﺪﻥ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻧﻴﺴﺖ ﺑﻠﻜﻪ‬ ‫ﮔﺬﺍﺷﺘﻪ ﻭ ﺩﺭ ﻣﻮﺭﺩ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ‬ ‫ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ ﺷﺮﻭﻉ ﻛﺮﺩ ﺍﻣﺎ ﺟﻨﮓ‬
‫ﻓﺮﺍﻣﻮﺷﻰﺍﺵ ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﻨﻴﻢ‪.‬‬ ‫ﺗﺠﺮﺑﻪﻯ ﺯﻧﺪﮔﻰﻫﺎﻳﻰ ﺍﺯ ﻧﻮﻉ ﺩﻳﮕﺮ ﺩﺭ‬ ‫ﺗﻌﻤﻖ ﻛﻨﻨﺪ ﻛﻪ ﺑﻪ ﻋﻔﺮﻳﺖ ﺟﻨﮓ‬ ‫ﺗﺼﺎﻭﻳﺮ ﻣﻮﺭﺩ ﺑﺤﺚ ﺍﺯ ﺁﺛﺎﺭ ﺍﻭﺳﺖ‪.‬‬ ‫ﺁﻥ ﮔﺮﻭﻩ ﺍﺯ ﻣﺨﺎﻟﻔﺎﻥ ﺑﺸﺎﺭ ﺍﺳﺪ ﻛﻪ‬
‫ﻓﺮﺍﻣﻮﺷﻰ ﺧﺎﻧﻮﺍﺩﮔﻰ‪ ،‬ﺍﻋﻤﺎﻝ ﭘﺪﺭ‬ ‫ﺯﻣﺎﻥﻫﺎ ﻭ ﻣﻜﺎﻥﻫﺎﻯ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪.‬‬ ‫ﺑﻰ ﺑﻰ ﺳﻰ ﺟﻬﺎﻧﻰ ﻣﻰﻧﻮﻳﺴﺪ‪ ،‬ﻇﻠﻢ‬ ‫ﺧﻮﺍﻫﺎﻥ ﺩﻣﻮﻛﺮﺍﺳﻰ ﻫﺴﺘﻨﺪ ﺑﺎ ﻣﻮﺍﻓﻘﺎﻥ‬
‫ﺑﺰﺭگ ﺩﺭ ﺯﻣﺎﻥ ﺁﻟﻤﺎﻥ ﻫﻴﺘﻠﺮﻯ‪،‬‬ ‫ﺯﻣﺎﻥﻫﺎ ﻭ ﻣﻜﺎﻥﻫﺎﻳﻰ ﻛﻪ ﻫﺮﮔﺰ ﺩﺭ ﺁﻧﻬﺎ‬ ‫ﮔﺮﻓﺘﺎﺭ ﺁﻣﺪﻩﺍﻧﺪ‪.‬‬ ‫ﻭ ﺳﺘﻢ‪ ،‬ﮔﺮﺳﻨﮕﻰ ﻭ ﻛﺸﺘﺎﺭ ﺟﻤﻌﻰ‬ ‫ﺣﻜﻮﻣﺖ ﻭﻯ ﺳﺒﺐ ﺷﺪ ﺗﺎ ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪ‬
‫ﻣﺮﺩﺍﻧﻰ ﻛﻪ ﺩﺭ ﺯﻧﺪﮔﻰ ﺩﺧﺘﺮﺍﻥ ﺑﺮﺗﺎ‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻏﺮﺏ ﻣﺸﻐﻮﻝ‬ ‫ﺳﺒﺐ ﺷﺪ ﺗﺎ ﺍﻣﺮﺍﻧﻮﻯ ﺑﻪ ﺟﻤﻊ ﻣﺨﺎﻟﻔﺎﻥ‬ ‫ﺍﻧﮕﻴﺰﻩ ﺑﻴﺸﺘﺮﻯ ﺑﺮﺍﻯ ﻛﺎﺭ ﺑﺮ ﻟﺒﻪ ﺗﻴﺰ‬
‫ﻧﻘﺶ ﺩﺍﺷﺘﻨﺪ ﻭ ﻣﺰﻣﺰﻩ ﻛﺮﺩﻥ ﻫﻤﻪ‬ ‫ﻧﺒﻮﺩﻩ ﻭ ﻧﺨﻮﺍﻫﻴﻢ ﺑﻮﺩ‪.‬‬ ‫ﺗﺼﻤﻴﻢﮔﻴﺮﻯ ﻭ ﺑﺤﺚ ﺑﺮ ﺳﺮ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻭ ﺗﻈﺎﻫﺮﻛﻨﻨﺪﮔﺎﻥ ﻋﻠﻴﻪ ﺩﻭﻟﺖ ﺍﺳﺪ‬
‫ﺟﻮﺭ ﺳﻴﺒﻰ ﻛﻪ ﺩﺭ ﺑﺎﻍ ﺭﻭﺑﺮﻭﻯ ﺧﺎﻧﻪ‬ ‫ﺑﺎ ﺍﻧﮕﻴﺰﻩﻯ ﺗﺸﻮﻳﻖ ﺑﻪ ﺧﻮﺍﻧﺪ ِﻥ ﺭﻣﺎﻥ‬ ‫ﻛﻪ ﺑﺎ ﺑﺸﺎﺭ ﺍﺳﺪ ﻭ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﺍﺳﻼﻣﻰ‬ ‫ﺑﭙﻴﻮﻧﺪﺩ؛ ﺍﻭ ﻳﺎ ﺑﺎﻳﺪ ﻗﺒﻮﻝ ﻣﻰ ﻛﺮﺩ ﻛﻪ‬ ‫ﺳﻴﺎﺳﺖ ﭘﻴﺪﺍ ﻛﻨﺪ‪.‬‬
‫ﺑﻪ ﻭﻓﻮﺭ ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ ﻭ ﺑﻌﻀﻰﻫﺎ‬ ‫ﻭ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ ﺗﺠﺮﺑﻪﻫﺎﻯ ﺑﻴﺸﺘﺮ‬ ‫ﭼﻪ ﺑﺎﻳﺪ ﻛﺮﺩ‪ ،‬ﺍﻣﺮﺍﻧﻮﻯ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ‬ ‫ﺩﺭ ﺍﺭﺗﺶ ﺍﺳﺪ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﻣﺮﺩﻡ ﻭ‬ ‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺳﺎﻳﺖ ﺑﻰ ﺑﻰ ﺳﻰ‬
‫ﺩﺍﻧﻪﺍﺵ ﺭﺍ ﻫﻢ ﺗﺎ ﺗﻪ ﻣﻰ ﺧﻮﺭﺩﻧﺪ‬ ‫ﻭ ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺩﻧﻴﺎﻫﺎ ﻭ ﺍﻧﺴﺎﻥﻫﺎﻯ‬ ‫ﻫﻨﺮﻣﻨﺪ ﻭﻇﻴﻔﻪ ﺧﻮﺩ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﺑﺎ ﺁﺛﺎﺭ‬ ‫ﻧﺎﺑﻮﺩﻯ ﻛﺸﻮﺭﺵ ﺛﺒﺖ ﻧﺎﻡ ﻛﻨﺪ ﻭ ﻳﺎ‬ ‫ﺟﻬﺎﻧﻰ‪ ،‬ﺩﺭ ﺳﺎﻝ ‪ 2012‬ﺯﻣﺎﻧﻰ ﻛﻪ‬
‫ﻭ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﻃﻌﻢ ﺑﺎﺩﺍﻡ ﺗﻠﺦ‬ ‫ﺩﻳﮕﺮ‪ ،‬ﻣﺘﻦ ﻛﺎﻣﻞ ﺗﺮﺟﻤﻪﻯ ﺭﻣﺎﻥ‬ ‫ﺧﻮﺩ‪ ،‬ﺷﺪﺕ ﮔﺮﻓﺘﻦ ﺟﻨﮓ ﺧﻮﻧﻴﻦ ﺩﺭ‬ ‫ﺳﺮﺯﻣﻴﻦ ﻣﺎﺩﺭﻯﺍﺵ ﺭﺍ ﺗﺮﻙ ﺑﮕﻮﻳﺪ‬ ‫ﻗﺘﻞ ﻋﺎﻡ ﺩﻫﻜﺪﻩ ﺗﺎﻟﺪﻭ )‪ (Taldou‬ﺩﺭ‬
‫ﻣﻰﺩﻫﺪ ﻭ ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺩﺭﺧﺘﻰ ﻛﻪ ﺑﻪ‬ ‫»ﻃﻌﻢ ﺩﺍﻧﻪﻯ ﺳﻴﺐ« ﺑﻪ ﺷﻜﻞ »ﭘﻰ‬ ‫ﻛﻪ ﺳﺮﺍﻧﺠﺎﻡ ﻣﺠﺒﻮﺭ ﺑﻪ ﺗﺮﻙ ﺳﻮﺭﻳﻪ‬ ‫ﻧﺰﺩﻳﻜﻰ ﺷﻬﺮ ﻫﻮﻻ ﺩﺭ ﺣﻤﺺ ﺭﺥ ﺩﺍﺩ‪،‬‬
‫ﻓﺮﻣﺎﻥ ﻋﺸﻖ ﻭ ﻧﻪ ﺟﺒﺮ ﻃﺒﻴﻌﺖ ﻏﺮﻕ‬ ‫ﺩﻯ ﺍﻑ« ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺷﻤﺎ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ‬ ‫ﺳﻮﺭﻳﻪ ﺭﺍ ﺑﻪ ﺟﻬﺎﻧﻴﺎﻥ ﻳﺎﺩﺁﻭﺭﻯ ﻛﻨﺪ‪.‬‬ ‫ﺑﻴﺶ ﺍﺯ ‪ 108‬ﻧﻔﺮ ﺍﺯ ﻣﺮﺩﻡ ﺑﻰﮔﻨﺎﻩ ﻛﻪ‬
‫ﺷﻜﻮﻓﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻬﻤﺎﻧﻰ ﻛﻪ ﻣﺎ ﺭﺍ‬ ‫ﺑﻴﺸﺘﺮ ﺁﻧﻬﺎ ﺭﺍ ﻛﻮﺩﻛﺎﻥ ﻭ ﺯﻧﺎﻥ ﺗﺸﻜﻴﻞ‬
‫ﻫﻔﺘﻪﻫﺎ ﺑﻪ ﺧﻮﺩ ﻣﺸﻐﻮﻝ ﻣﻰﻛﻨﺪ ﻭ‬ ‫ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﻣﻰﺩﺍﺩﻧﺪ‪ ،‬ﻛﺸﺘﻪ ﺷﺪﻧﺪ‪ .‬ﺍﻳﻦ ﻓﺎﺟﻌﻪ‬
‫ﺑﻪ ﻳﺎﺩ ﻫﻤﻪﻯ ﺧﺎﻃﺮﺍﺕ ﺗﻠﺦ ﻭ ﺷﻴﺮﻳﻦ‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﻧﻮﺷﺘﻪﻯ ﻛﺎﺗﺮﻳﻨﺎ ﻫﺎ ِﮔﻨﺎ ﻭ‬
‫ﺩﺭ ﮔﻔﺘﮕﻮ ﺑﺎ ﺻﺪﺭﺍﻟﺪﻳﻦ ﺯﺍﻫﺪ‪...‬‬
‫ﺗﺮﺟﻤﻪﻯ ﮔﻠﻨﺎﺯ ﻏﺒﺮﺍﻳﻰ ﺍﺳﺖ‪.‬‬

‫ﻣﻘﺪﻣﻪﺍﻯ ﺑﺮ ﻃﻌﻢ ﺩﺍﻧﻪﻯ ﺳﻴﺐ‬ ‫»ﺑﺮﺍﻯﺩﻳﺪﻥﻭﻳﺪﺋﻮ‪،‬ﺭﻭﻯﻋﻜﺲﻛﻠﻴﻚﻧﻤﻮﺩﻩﻭﻳﺎﺑﻪﺳﺎﻳﺖﻛﻴﻬﺎﻥﻟﻨﺪﻥﻣﺮﺍﺟﻌﻪﻧﻤﺎﻳﻴﺪ‪«.‬‬ ‫ﻛﺘﺎﻳﻮﻥ ﺣﻼﺟﺎﻥ‪ ،‬ﻋﻠﻰ ﺍﺷﺘﻴﺎﻕ ‪-‬‬
‫ﻛﺘﺎﺏ »ﻃﻌﻢ ﺩﺍﻧﻪﻯ ﺳﻴﺐ«ﻭ ﺑﻪ ﺍﻳﻦ‬ ‫ﻫﻤﺮﺍﻩ ﺑﺎ ﺻﺪﺭﺍﻟﺪﻳﻦ ﺯﺍﻫﺪ ﻣﻰﺷﻮﻳﺪ‬
‫ﺩﺭﻙ ﺭﺳﻴﺪﻡ ﻛﻪ ﻧﻪ ﻓﻘﻂ ﻓﺮﺍﻣﻮﺷﻰ‬ ‫ﺭﻭﻯ ﺻﺤﻨﻪ ﺑﺮﺩﻩ ﻭ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺩﺭ ﺑﻴﺶ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺳﻮﺭﺑﻦ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﻳﻚ ﺳﺎﻋﺖ ﺗﻤﺎﻡ ﺑﺎ ﺍﻭ ﺩﺭ ﻏﺎﺭﻯ‬
‫ﺷﻜﻠﻰ ﺍﺯ ﻳﺎﺩﺁﻭﺭﻯﺳﺖ ‪ ،‬ﺑﻠﻜﻪ‬ ‫ﺍﺯ ‪ 30‬ﺷﻬﺮ ﺁﻥ ﺭﺍ ﺍﺟﺮﺍ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫»ﺍﻓﺴﺎﻧﻪ ﺑﺒﺮ« ﺍﺛﺮ ﺩﺍﺭﻳﻮ ﻓﻮ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﺗﺎﺭﻳﻚ ﺑﺎ ﻳﻚ ﻣﺎﺩﻩ ﺑﺒﺮ ﻭﺣﺸﻰ ﻭ ﭘﺴﺮ‬
‫ﻳﺎﺩﺁﻭﺭﻯ ﻫﻢ ﺷﻜﻠﻰ ﺍﺯ ﻓﺮﺍﻣﻮﺷﻰﺳﺖ‬ ‫ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﻳﺘﺎﻟﻴﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﻛﻮﭼﻚﺍﺵ ﻣﻰﻣﺎﻧﻴﺪ‪ ،‬ﺑﺎ ﺍﻭ ﻣﻰﺗﺮﺳﻴﺪ‪،‬‬
‫ﺍﻳﻦ ﻧﻤﺎﻳﺶ ﺩﺭ ﺍﻳﺮﺍﻥ ﻧﻴﺰ ﺩﻭ ﺑﺎﺭ ﺑﻪ‬ ‫ﺳﺎﻝ ‪ 1978‬ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻓﺮﻳﺎﺩ ﻣﻰﻛﺸﻴﺪ ﻭ ﺯﺧﻢ ﺑﺮﻣﻰﺩﺍﺭﻳﺪ ﻭ ﺑﺎ‬
‫)ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ(‪.‬‬ ‫ﺭﻭﻯ ﺻﺤﻨﻪ ﺭﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻳﻚ ﺑﺎﺭ ﺗﻮﺳﻂ‬ ‫ﻧﻤﺎﻳﺸﻨﺎﻣﻪ ﻳﻚ ﺳﺮﺑﺎﺯ ﻣﺠﺮﻭﺡ ﭼﻴﻨﻰ‬ ‫ﺩﺭﺩﺵ‪ ،‬ﺷﻤﺎ ﻧﻴﺰ ﻣﻰﻧﺎﻟﻴﺪ‪ .‬ﺻﺪﺭﺍﻟﺪﻳﻦ‬
‫ﺧﺎﻃﺮﺍﺕ ﺗﺎﺑﺴﺘﺎﻧﻰ ﺍﻳﺮﻳﺲ ﺍﺯ ﺧﺎﻧﻪ‬ ‫ﻫﺎﺩﻯ ﻋﺎﻣﻞ ﺑﺎ ﺑﺎﺯﻯ ﻫﺪﺍﻳﺖ ﻫﺎﺷﻤﻰ ﻭ‬ ‫ﻛﻪ ﺩﺭ ﺣﺎﻝ ﻣﺮگ ﺍﺳﺖ ﻭ ﮔﺮﻓﺘﺎﺭ ﺳﻴﻞ‬ ‫ﺯﺍﻫﺪ ﺑﺎ ﺑﺎﺯﻯ ﺑﻰﻧﻈﻴﺮ ﻭ ﺗﺴﻠﻂﺍﺵ ﺑﺮ‬
‫ﺟﺬﺍﺏ‪ ،‬ﺭﻧﮕﺎﺭﻧﮓ ﻭ ﺁﻓﺘﺎﺑﻰﺳﺖ ﻭ ﺣﺎﻻ‬ ‫ﻭ ﺗﻮﻓﺎﻥ ﺷﺪﻩ ﻭ ﻫﻢﺭﺯﻣﺎﻥﺍﺵ ﻧﻴﺰ ﺍﻭ‬ ‫ﺻﺤﻨﻪ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺗﺼﻮﺭ‬
‫ﻛﻪ ﺑﻌﺪ ﺍﺯ ﮔﺬﺷﺖ ﺳﺎﻝﻫﺎ ﭘﺎ ﺑﻪ ﺍﻳﻦ‬ ‫ﺑﺎﺭ ﺩﻳﮕﺮ ﺗﻮﺳﻂ ﺍﺷﻜﺎﻥ ﺟﻨﺎﺑﻰ‪.‬‬ ‫ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﻧﺎﮔﺰﻳﺮ ﺑﻪ ﻏﺎﺭﻯ ﭘﻨﺎﻩ‬ ‫ﻛﻨﻴﺪ ﺷﻤﺎ ﺭﺍ ﺑﻪ ﻭﺳﻂ ﻣﻴﺪﺍﻥ ﺟﻨﮓ‬
‫ﺧﺎﻧﻪﻯ ﻗﺪﻳﻤﻰ ﻛﻪ ﺍﺭﺛﻴﻪﻯ ﻣﺎﺩﺭﺑﺰﺭگ‬ ‫»ﺍﻓﺴﺎﻧﻪ ﺑﺒﺮ« ﺑﻪ ﻫﻤﺮﺍﻩ ﻳﻚ ﻧﻤﺎﻳﺶ‬ ‫ﻣﻰﺑﺮﺩ ﻭ ﺍﻳﻦ ﺳﺮﺁﻏﺎﺯ ﺁﺷﻨﺎﻳﻰ ﺍﻭ ﺑﺎ ﻣﺎﺩﻩ‬ ‫ﻣﻰﺑﺮﺩ ﻭ ﺍﻓﺴﺎﻧﻪ ﺑﺒﺮﺵ ﺭﺍ ﺑﻪ ﺭﺥ‬
‫ﺍﺳﺖ‪ ،‬ﻣﻰﮔﺬﺍﺭﺩ‪ ،‬ﺧﺎﻃﺮﺍﺕ ﺳﻪ ﻧﺴﻞ‬ ‫ﺩﻳﮕﺮ ﺑﻪ ﻧﺎﻡ »ﺷﺐ ﻭ ﻧﺎﺯﻯ‪ ،‬ﻣﻦ ﻭ ﺗﺐ«‬
‫ﺑﻪ ﺳﺮﺍﻏﺶ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﺧﺎﻃﺮﺍﺗﻰ ﻛﻪ‬ ‫ﺑﺎ ﺍﻗﺘﺒﺎﺱ ﺍﺯ ﻧﻤﺎﻳﺸﻨﺎﻣﻪﺍﻯ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ‬ ‫ﺑﺒﺮ ﻭﺣﺸﻰ ﺍﺳﺖ‪.‬‬ ‫ﻣﻰﻛﺸﺪ‪.‬‬
‫ﺧﻴﻠﻰﻫﺎﺗﻼﺵﻛﺮﺩﻧﺪﻓﺮﺍﻣﻮﺷﺶﻛﻨﻨﺪ‪.‬‬ ‫ﺍﺯ ﺣﺴﻴﻦ ﭘﻨﺎﻫﻰ ﺩﺭ ﺍﻭﺍﺧﺮ ﻣﺎﻩ ژﺍﻧﻮﻳﻪ ﻭ‬ ‫ﺻﺪﺭﺍﻟﺪﻳﻦ ﺯﺍﻫﺪ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺎ‬ ‫ﺻﺪﺭﺍﻟﺪﻳﻦ ﺯﺍﻫﺪ ﺩﺍﻧﺶﺁﻣﻮﺧﺘﻪ‬
‫ﺧﺎﻃﺮﺍﺗﻰ ﻛﻪ ﻣﺜﻞ ﺁﺑﺸﺎﺭ ﺍﺯ ﺷﺎﻧﻪﻯ‬ ‫ﺍﻭﺍﻳﻞ ﻣﺎﻩ ﻣﺎﺭﺱ ‪ 2016‬ﺩﺭ ﻓﺮﺍﻧﻜﻔﻮﺭﺕ‬ ‫ﺗﻐﻴﻴﺮﺍﺕ ﺍﻧﺪﻛﻰ ﺑﻪ ﺷﻴﻮﻩﻯ ﺍﻳﺮﺍﻧﻰ ﺑﻪ‬ ‫ﺑﺎﺯﻳﮕﺮﻯ ﺍﺳﺖ ﻭ ﺗﺠﺮﺑﻪ ﻛﺎﺭ ﺑﺎ ﭘﻴﺘﺮ‬
‫ﻣﺎﺩﺭﺑﺰﺭگ ﺳﺮﺍﺯﻳﺮ ﺷﺪﻧﺪ ﺗﺎ ﺟﺎﻯ‬ ‫ﺑﺮﻭﻙ ﺑﺮﺍﻯ ﺍﻭ ﻧﻘﻄﻪ ﻋﻄﻔﻰ ﺩﺭ ﻓﻌﺎﻟﻴﺖ‬
‫ﺧﺎﻟﻰﺷﺎﻥ ﺗﺒﺪﻳﻞ ﺑﻪ ﻫﺰﺍﺭﺍﻥ ﺣﻔﺮﻩﻯ‬ ‫ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ ﺧﻮﺍﻫﺪ ﺭﻓﺖ‪.‬‬ ‫ﺣﺮﻓﻪﺍﻯﺍﺵ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﺎﺭﻫﺎ ﻭ ﺑﺎﺭﻫﺎ ﺩﺭ‬
‫ﺻﺤﻨﻪﻫﺎﻯ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺑﺎﺯﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﻛﻮﭼﻚ ﻭ ﺑﺰﺭگ ﺩﺭ ﺫﻫﻦ ﺑﺮﺗﺎ ﺷﻮﺩ‪.‬‬ ‫ﺯﺍﻫﺪ ﺩﺍﺭﺍﻯ ﻓﻮﻕ ﻟﻴﺴﺎﻧﺲ ﺗﺂﺗﺮ ﺍﺯ‬
‫ﺩﺧﺘﺮﺍﻥ ﺑﺮﺗﺎ ﺑﺎ ﺩﺭﺩﻫﺎ‪ ،‬ﻏﻢﻫﺎ ﻭ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺳﻮﺭﺑﻦ ﺍﺳﺖ ﻭ ﺩﺭ ﻓﺮﺍﻧﺴﻪ‬
‫ﺷﺎﺩﻯﻫﺎﻯ ﻛﻮﭼﻚ ﻭ ﺑﺰﺭﮔﺸﺎﻥ‬ ‫ﻧﻴﺰ ﻛﺎﺭﻫﺎﻯ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺗﻰ ﺭﺍ ﺑﻪ ﺭﻭﻯ‬
‫ﺍﺯ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ ﺍﺗﺎﻕ ﻭ ﺑﺎﻍ ﺳﺮ ﺑﺮ‬
‫ﻣﻰﺁﻭﺭﻧﺪ ﻭ ﺭﺯﻣﺎﺭﻯ ﻛﻪ ﻣﺮﮔﺶ‪،‬‬ ‫ﺻﺤﻨﻪ ﺑﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﻣﺮگ ﺧﺎﻧﻪ ﺑﻮﺩ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺑﺎ ﺧﻨﺪﻩﻫﺎ‪،‬‬ ‫ﺍﻭ ﺗﺠﺮﺑﻴﺎﺕ ﺑﺴﻴﺎﺭﻯ ﻧﻴﺰ ﺩﺭ ﺳﻴﻨﻤﺎ‬
‫ﻣﺎﺟﺮﺍﺟﻮﻳﻰﻫﺎ‪ ،‬ﻣﻮﻫﺎﻯ ﻗﺮﻣﺰ ﻭ‬ ‫ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺩﺍﺭﺩ ﻭ ﺁﺛﺎﺭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‬
‫ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺑﻪ ﻓﺎﺭﺳﻰ ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﺍﺳﺖ‬
‫ﻟﺒﺎﺱﻫﺎﻯ ﺭﻧﮕﻰﺍﺵ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﻣﻘﺎﻻﺕ ﺯﻳﺎﺩﻯ ﺩﺭ ﺣﻮﺯﻩ‬
‫ﻧﻮﻳﺴﻨﺪﻩ ﻣﺎ ﺭﺍ ﺑﻪ ﻣﻬﻤﺎﻧﻰ ﻳﻚ‬ ‫ﻧﻤﺎﻳﺶ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﻫﻢ ﺍﻛﻨﻮﻥ‬
‫ﻫﻔﺘﻪﺍﻯ ﺑﺎ ﺍﻳﺮﻳﺲ ﻣﻰﺑﺮﺩ ﺗﺎ ﻫﻤﺮﺍﻩ‬ ‫ﻧﻴﺰ ﻣﺸﻐﻮﻝ ﮔﺬﺭﺍﻧﺪﻥ ﺩﻭﺭﻩ ﺩﻛﺘﺮﺍ ﺩﺭ‬