مفصل‌بندی وجه روایی زبان نوشتاری در گفتمان چندوجهی نقاشی معاصر ایران

در بخشی از هنر معاصر با هنری روایتگر روبه‌رو می‌شویم که روش‌های گوناگونی را در روایت‌پردازی به نمایش می‌گذارد. یکی از این روش‌ها کاربرد زبان نوشتاری در بافت هنر معاصر یعنی خلق و نمایش آثار هنری در قالب‌های گوناگون است. هدف از مقاله پیش رو پاسخ به این پرسش است که نقش و کارکرد عنصر روایی وجه زبانی در مفصل‌بندی گفتمان چندوجهی زبانی/تصویری هنر معاصر از جمله نقاشی معاصر ایران چیست؟ و این مفصل‌بندی چگونه انجام می‌شود؟ با توجه به گسترش کاربرد زبان نوشتاری در هنر معاصر به نظر می‌رسد که این وجه از زبان به عنصری اساسی در خلق و نمایش در نسبت نزدیک با تصویر تبدیل شده‌است. نظریه گفتمان لاکلاو و موف با ارائه مفاهیمی به‌منزله ابزار تحلیل برای دست‌یابی به این هدف کارگشا خواهد بود. جامعه آماری این پژوهش، هنر معاصر ایران و نمایش‌های انفرادی نقاشی برگزارشده در گالری طراحان آزاد است که نمونه‌های آن را نیز شکل می‌دهند. یافته‌های به‌دست‌آمده نشان‌دهنده‌ آن است که در هنر معاصر ایران وجه زبان به یکی از ابعاد و گره‌گاه‌های اصلی در مفصل‌بندی گفتمانی نقاشی معاصر تبدیل شده‌است. به این معنا که دو وجه زبان و تصویر با همکاری یک‌دیگر در قالب یک فرم بیانی تازه در فرآیند معناسازی و معنایابی و به بیان دیگر روایت‌پردازی قرار می‌گیرند.

articulating the textual narrative mode in the multimodal discourse of contemporary iranian painting

based on the achievements of visual narratologists, it is no secret that stories and narratives are not only reserved for time oriented arts, including literature, but images can also find narrative features. of course, there are different viewpoints on how to narrate the image or images, all of which go back to the theorists’ definitions of the concept of narration. visual narratologists believe that all arts, including painting, can be narrators. this group of thinkers define visual narrative in the function of the image and in the presentation of the narrative and its various forms of transmission. one of the methods of presenting the narrative is to combine the semiotic resources of language and image in the form of a new artistic text which can create a narrative and in other words a multimodal discourse consisting of language and image in the artwork itself or in its paratextual situation such as the name of the works or the name of the show, and also its statement.the addition of linguistic and narrative elements in postmodern art, where linguistics is placed instead of epistemology, becomes one of its most important features. the fence that was tried to be built between language and image in modern art, destroyed in contemporary art and the interaction of these two has led to the formation of an inter relationship and a multimodal linguistic and visual discourse finally. in other words, modern narrative avoidance or de narrative gives way to the return of narrative to the field of arts in different forms. narrative in contemporary visual arts can be defined in different ways: from the incorporation of a recognizable and straightforward subject that modern art was fighting with, to the narrative as material to do the work. even the act of creating a work of art itself can be a narrative act. in this paper, only one of the types, the use of written language in contemporary art and how it works, is considered.the purpose of the upcoming article is to answer the question, what is the role and function of the narrative element of the linguistic mode in the articulation of the multimodal linguistic/visual discourse of contemporary art, including contemporary iranian painting? and how is this articulation done? it seems that the use of this method has increased in recent years in iranian contemporary art.at first, concepts of laclau and mouffe’s thought that help to answer the question of this article are described. and with a brief mention of how to use the narrative aspect of language in the art of the 40s to the present decade, the targeted sample of the article (that is, solo of painting exhibitions the middle of 1385 1395 in azad gallery) is analyzed quantitatively. this gallery is selected because on the one hand, it is one of the effective galleries in shaping and expanding the art flow and on the other hand, it has uploaded a relatively complete archive (including exhibition statements) compared to other websites of galleries with the same lifespan. iran’s contemporary art, which has been devided into official art and approved by the country’s cultural and artistic observers and unofficial art, since the 70s, has been looking for new ways of expression and adopting unique views and in many cases critical of current affairs. one of these methods is the use of a language policy that challenges the separation of image and language in various ways.  and it shows this fact even more that image has an inseparable relationship with language and requires multimodal interaction. we see the increasing growth of this policy in language forms in the structure of the work itself or paratext by studying a quantitative research sample. the title of the works and the show and exhibition statements are part of these linguistic paratexts.