Light is a powerful force that drives life forward with its quick, propulsive energy. It brings hope and illumination to our consciousness, connecting us to the divine. The lighting of a lamp has the power to dispel darkness and bring forth new ideas. Over time, the method of illuminating our surroundings has evolved. We have transitioned from using candles and oil lamps to gas lamps and eventually to electric bulbs. There are countless ways and purposes for spreading light, ranging from lamps and lighthouses to neon signs. Navid Nuur’s debut solo exhibition in Portugal, titled Fight Light Fight revolves around that.

Fight Light Fight is a collection of diverse media and materials that aim to capture light in its countless forms. The exhibition features resources that are constantly reinvented and never depleted. Navid Nuur refers to his sculptural objects as interimodules in his artistic practice. He views them as hybrid objects that can interact and reconfigure themselves spatially and temporally with the various places they traverse. These objects are not considered sculptures or installations in the traditional sense. The term is a compound of “interim” and “module,” which he explains as “temporary module-like works that feed off each other when they are together”^[1].

The entrance door to the Jahn und Jahn gallery is marked by a lightbox displaying the word “There”. Upon entering, we are guided through a grid adorned with posters and a chain of lightbulbs (These are the Days, 2004-2023), which leads us into the first exhibition room. The grid extends into it, defining the boundary where two pieces intersect. Tentacle Thoughts Nr. 19 (2006 – 2023) features a geometric composition created using tubular lamps. The vibrant yellow threads emanating from it are interconnected with all the other paired bulbs in the exhibition. Located in the opposite corner, the artwork The Passage (2020-2023) is an original etching created by Pieter Bruegel printed on vinyl and is displayed in a manner that extends from the ceiling to the floor. Navid Nuur’s artistic practice involves printing a specific section of an original image, which results in a reconfiguration of its context and meaning. The illustration that originally depicts the resurrection of Jesus Christ at the tomb’s entrance now suggests the presence of an angel who appears to light up a pathway or an exit. The passage materializes itself and leads to the next room. Upon crossing it, one may experience a sensation similar to being in a tunnel.

Tentacle Thoughts Nr. 19 reaches this room as well. The lamps are removed from their original position on the ceiling rails and are rearranged to form a new and unique light layout. Evidently, Nuur has the ability to conduct electricity, causing lamps to move from their original position and altering the distribution of electric light. Untitled (2011 – 2023) presents us with an image of ourselves using multiple layers of mirrors. On the floor, there is a small pile of material residues that the artist has titled Self Portrait (1976-2023). Nuur’s approach to self-portraiture goes beyond the conventional understanding of the genre, offering a thought-provoking perspective on how we depict and perceive ourselves.

We exit through the nucleus we entered, passing through the darkness to reach the light again. The sun is the bright star at the center of our solar system, and its light rises and sets every day. Over a period of six months, Nuur documented the sun’s movement across the sky in Location (study). The process was accomplished by transforming a tin can into a pinhole. It shows the medium used to create the work, along with the original photograph and a larger scanned version. The image has an atmospheric and abstract quality to it. It depicts several curved lines with small interruptions that represent the concrete tracks of the sun. Sunlight offers a multitude of benefits. Its rays have a seemingly magical ability to enhance our creativity and overall sense of well-being. Sunlight is crucial for our body to produce vitamin D. And Navid Nuur utilized a collection of effervescent tablets, powders, and oils that serve as a substitute for vitamin D to create the artwork Untitled (2010-2015). These materials were applied to the canvas as paint. Nuur works on the sun, using a poetic and conceptual approach to explore its role as a great emitter of light.

In the artwork Untitled (2023), light is utilized in one of its earliest forms. A lit candle resides in a ceramic piece that is positioned above our eye level. Half of the wax has already disappeared, and we are envisioning its gradual disappearance over time and where it will ultimately end up. This fiery lamp serves as a reminder of the flames found in temples, mosques, and churches, where a lit candle symbolizes the presence of the divine.

The Jahn und Jahn gallery courtyard is adorned with two striking installations, Broken Meter (2010-2012) and Untitled [&] (2006-2013), featuring red neon lights that boldly contrast with the bright sunlight. The current visual display focuses on the interplay between natural and artificial light, prompting contemplation on the duality and interdependence of these two types of illumination.

Navid Nuur’s Fight Light Fight takes us on a journey to a radiant and contemplative realm. Through this piece, we are prompted to contemplate our own sense of self and the idea of going beyond our limitations. The exhibition invites you to contemplate light and experience Navid Nuur’s unique expression of his attraction to it.

The exhibition is at Jahn und Jahn gallery until July 1, 2023.

^[1] Quote available in: https://parasol-unit.org/whats-on/navid-nuur-phantom-fuel/