In this collaboration with Marc-Andre Weibezahn, each of us contributed one projection to create a site-specific narrative from analogue and digital materials. The projections where shown on the Mosque Sidi Brahim in Houmet Souk, the main town of the Tunesian island Djerba, for the media art festival See Djerba 2019".
The phrase “لا تفرقوا — Do Not Disperse” is a part of a verse of Quran, Surah Ale-Omran Ayaat 103.s. These words are represented in a caligraphic style called "Kufic", using iron fillings, and applied on an analogue overhead projector. A swinging magnet moves the metallic particles over time, altering the structure of the pattern. Eventually, unpredictable shapes emerge from the trails of each individual "grain".
Marc-Andre Weibezahn’s digital projection is a reaction to, and a translation of what is happening to the iron fillings scripture. A software observes and processes its structure constantly and draws a pattern from a set of digital "tiles" with geometric ornaments. At first, this pattern is very regular, but as the sand and the script changes, it gains more variety. Over time it comes to a very dynamic state which might even seem chaotic—but a closer look reveals that the designs of the tiles are still all connected.
15th-18 May 2019, Hulsberg Crowd, Bremen
“ectomy” is a suffix used in surgical terminology. It is the act of cutting out, the surgical removal of something, usually a part of the body. This suffix is used for this project since the procedure of the project, is similar to a surgical act on the materials that are used, which are photographs.
Ectomy includes a series of installations investigating the concept of false autobiographical memory. The focus of this project lies on my own childhood photographs as a reliable material containing the past. It explores distinct approaches to reconstruct the autobiographical memories using the same material in a different framework. The suffix -ectomy usually is used after the name of the removed part like Thyroidectomy. However, in a false memory, one cannot say which part is removed, or if they have a false memory at all.
Material: digital print on OHP foil, wood, acrylic, aluminum sticks
A photo is printed, scanned, and printed again. This process has been repeated several times on a single image, up to the point that the Imperfect sensors, biased algorithms, and bleeding ink jets create a different representative of the source image.
In this installation, the source image - which the process started with - is attached to the wall and not easily accessible to see. However, the last produced image in this process is the outermost layer is clearly available.
The source image is a photo from a mural painting, taken in a historical house-Boroujerdiha- in Kashan, Iran. The details of the painting are already discarded by the forces of nature. In the center of the painting, there is a portrait of a woman with no face, with no reliable evidence if it was painted so, or if it was censored by the authorities.
Does information live forever? One would tend to answer this question with “yes”, and the reasoning would be that information lives in its own immaterial sphere, that it is ephemeral and ageless.It is not that easy, though.
To be used by us, information has to be communicated. To do so, we introduce it into our imperfect material world, and every process of such communication, using whatever medium is available, alters the information it carries, if ever so slightly.
In these works we see images which are exposed to a dramatically accelerated process of ageing. The paintings on the walls of the famous Borujerdi house already were damaged by forces of nature, and now their representations are introduced into an aggressive environment of hardware and software. Just like the decay of organic material, the images, which now consist of pure information, are robbed off their structural integrity and quickly move to states of higher entropy. Just like wind and weather erode a canyon, like bacteria feast on a cadaver on the forest floor, the net of machines digest this information. Imperfect sensors, biased algorithms and bleeding ink jets create a artificial cultural fever dream, a colorful mould that is crawling over the once masterfully crafted paintings.
Das Ausgangsbild dieser Arbeit ist die Fotografie eines Wandgemäldes an "Boroujerdiha", einem historischen Haus in Kashan, Iran. Im Zentrum befindet sich ein gesichtsloses Porträt einer Frau. Wind und Wetter haben dem Gmälde zugesetzt. Ich habe diese Fotografie gedruckt, den Ausdruck gescannt, das Ergebnis erneut gedruckt, und diesen Prozess 16 mal wiederholt. Dabei haben die Eigenschaften der Geräte – ungenaue Sensoren und Drückköpfe, Rauschen und Kompression – das Motiv immer weiter verändert und seine Information erodiert, bis nur noch ein abstraktes Muster aus Primärfarben übrig blieb.
Film Photography, 2017
I lived on the 3rd floor as the only inhabitant of an empty apartment building. Many hours I spent looking outside of my window, watching the building which was the only thing that I could see in my view. The curtains were always closed, but sometimes I could find signs of life in the form of wet clothes that were hanging outside to dry, on the 3rd floor. I soon tried to imagine who was living there, in front of me, and what kind of person I could find there. For about six months, I was playing the role of a detective for my curiosity.
During this period, I took photographs of the clothes from my window, with my imagination of the person who lives there always changing, with every new piece of clothes I saw. I tried to recreate the personalities I constructed in my mind along the way which I then combined and contrasted with the pictures of the building.
Finally, a few days before I moved out, I saw this person for a few moments while she was hanging a piece of cloth outside.
2017, Single Channel video, 2’
2016, Single channel video , 2’45”
The main character in PERSONA- the Ingmar Bergman film- strongly impressed me. Elizabeth makes me convert. We both come from different ways which only overlap each other in some points. Perhaps, the conversion to her is a time-consuming process which happens little by little. It may never happen completely.
This conversion can happen to everyone in his or her daily life.
These staged self-portraits are the result of one year solitude and isolation, after finishing the art school. This series is crucially important to me, as it was the first step of the way I wanted to be exposed in. An investigation in self, identity and sexuality.
Iranian Living Room is the first of a series of editorial projects self-published by Fabrica.
Under the creative direction of Enrico Bossan, head of photography at Fabrica, 15 young Iranian photographers welcome us into the "Iranian living room", a unique space beyond global media and local state. This is where life is lived in private in Iran; it is often where life takes place, in fact.
In this living room both literal and metaphorical, we are privileged to discover multiple interpretations of Iranian reality: cultural differences and similarities, solitude and conviviality, relaxation and excitement, dressing up for an interior life versus dressing up for the street, the rhythms of religious ceremony and the patterns of everyday life.
Where much life on the street is presented by the world's media as foreign and inhibited, behind these closed doors the lens captures a life that is immediately recognisable in all its untrammelled richness. It takes on a central role as a kind of counterpoint to the contested street, functioning as a new public sphere. It is both far away and close to home. These vignettes are framed by young photographers who, through their own storytelling, might help change the stories we tell about Iran.
Iranian Living Room
Mohammad Mahdi Amya
Nazanin Tabatabaei Yazdi