Photo London 2023
ROYA KHADJAVI PROJECTS AND NEMAZEE FINE ART BRING TOGETHER THE WORKS OF SIX IRANIAN PHOTOGRAPHERS WHOSE PRACTICE IS BASED ON DOCUMENTARY ENGAGEMENTS THAT INTERTWINE SOCIAL CONSCIOUS AND ENVIRONMENTAL WORKS FROM THE URBAN COMMUNITIES TO THE RURAL LANDSCAPE. THE ARTISTS CHALLENGE THE TABOOS, RELATED TO ETHNICITY, AND SEXUAL ORIENTATION AS WELL AS ISSUES CONCERNING THE ENVIRONMENT. THEY HOPE TO SHIFT THE PRECONCEPTIONS AND PREJUDICES TO SOCIAL RECONCILIATIONS.
Tahmineh Monzavi treats the unacknowledged ecological disasters such as the drying up of lake Hamoun and its wetlands in the Sistan and Baluchistan regions of Iran. This project concerns the Baluchi speakers of African heritage in the Makran region. Her focus is above all on women. Her work is marked by a kind of careful portraiture-telling compositions, equally depicting individuals, communities, and their environments. Born and raised in the oppressively homophobic climate of 1980s Iran, Ali Tahayori assumed the identity of an outsider, further compounded by his migration to Australia in 2007. Combining fractured mirrors with text and imagery, he draws on philosophies of reflection and light to create moments of revelation and concealment and hint at the conflicted nature of his identity. the abbreviated truth in one frame. In her series titled Claustrophobia, Maryam Palizgir stages the body in the contemporary moment by addressing sociopolitical issues. An amalgam of the protuberant naked body parts with unconventional materials such as Balloon plants seed pod, plywood and metal are staged in a constructed space to articulate fear, anxiety, grief, loss, and inequality in the contemporary moment. In her second series titled Extrapolate, by mixing nature with the Urban, she scans spatial Perspective in urban/rural architectures as a way of identifying the interconnectedness of various spaces with human presence. In his series, “Of Construction Sites”, Scaffoldings and Structural elements”, Farsad Labbauf examines the fabric of Metropolitan life through monumental structures. He first started photographing scaffoldings as a means to study lines and their formations to construct and inhabit volume. The raw skeletal aesthetic reveals an inner core and in doing so transforms each edifice into a primordial vessel echoing whispers of a metaphysical landscape. of mystery. The camera less images in Mo Jahangir’s “Light Study” lack any figurative or narrative imagery, while drawing the legacy of color nature Painting, and pure abstraction into photography. Dariush Nehdaran’s inspiration is to capture the fine line between a clear depiction of reality and the abbreviated truth in one frame. His motivation in taking these photographs was to exhibit concealment.
Opening Times
Wednesday 10 May: 13:00–21:00. No re-entry.
Thursday 11 May: 13:00–20:00. No re-entry.
Friday 12 May: 13:00–20:00. No re-entry.
Saturday 13 May: 12:00–20:00. No re-entry.
Sunday 14 May: 12:00–18:00. No re-entry.
Place: Somerset House, Strand, London WC2R 1LA
For Sales and Press Please Contact:
Roya Khadjavi: roya.khadjavi@gmail.com