Have you ever thought about being another body?
Have you ever thought about your mother’s dreams at your age?
Have you ever thought about your mother’s dreams at your age?
The statement is an ongoing text on the project “Poor Knee; [Loose Tongue]; Trigger Finger”. The project presents the scattered stories of indeterminate bodies at the intersection of identity and gender. All sub/narratives are woven together in multiple mediums, from word(s), archives, and found archives, to craft a video collage/video installation.
The project is grounded in the idea of navigating the body in moments it has internally forgotten. I flew to lands my ancestors had never visited in an effort to envision/remap the string of bodies. I filmed myself there, I danced, I rested, and I stole. This project utilizes and challenges the implication of the perpetrator’s position that I inherited.
Thinking about the line-oriented history and the doubt it arouses in me stitches me to a potential—the potential of words, sub/narratives, visual language, becoming someone else, undoing the woven threads of my inherited history, and archiving my multiple selves.
Thinking about the line-oriented history and the doubt it arouses in me stitches me to a potential—the potential of words, sub/narratives, visual language, becoming someone else, undoing the woven threads of my inherited history, and archiving my multiple selves.
Film
The film consists of a series of short videos (archives made, archives found) scattered in a 3D landscape/world that references the space of home/rest/safe space. The architectural factors of the space are very solid, formed by elaborated objects whose shapes and designs are inspired by the visual culture of Iranian kitsch—a visual language of images and everyday objects that comprise the main tropes of my works and from which I have regularly aesthetically borrowed over the last few years. These objects embody the potential for transition within the narrative and give physical fluidity to the space and the fragmented videos.
The film consists of a series of short videos (archives made, archives found) scattered in a 3D landscape/world that references the space of home/rest/safe space. The architectural factors of the space are very solid, formed by elaborated objects whose shapes and designs are inspired by the visual culture of Iranian kitsch—a visual language of images and everyday objects that comprise the main tropes of my works and from which I have regularly aesthetically borrowed over the last few years. These objects embody the potential for transition within the narrative and give physical fluidity to the space and the fragmented videos.
The main element of the landscape is the confrontation of a retrieved dream and a vague memory that evokes a transcendent past, undone by any action, which steps towards an entangled narrative. Through this narrative, I render myself formless, identity-less, and ultimately disembodied. In this human-concrete space, the encounter with the audience/other happens improvisationally, disrupting the linear flow of the narrative and preventing itinerating.
Moving Objects/Physical Objects
In the continuation of the project, and to explore the possibilities of the somatic world, I began fabricating objects from the landscape of the film. The idea of forming these objects comes from within the landscape defined for the film. These objects are pre-designed assets of the film that derive their similarity and existence from the real world, but due to their multi-dimensional life, they have no real-world equivalents. They emphasize the importance of their digital origin. These objects do not serve as guides or instructors but only suggest the possibility of deceiving and intensifying the illusionary atmosphere. The idea is of a universal right to see fraud through some arbitrary objects. These do not halt the process of plunder that made others and other worlds available to some; they just open a gate to domestic/imaginary spaces surrounded by care and narratives.
In the continuation of the project, and to explore the possibilities of the somatic world, I began fabricating objects from the landscape of the film. The idea of forming these objects comes from within the landscape defined for the film. These objects are pre-designed assets of the film that derive their similarity and existence from the real world, but due to their multi-dimensional life, they have no real-world equivalents. They emphasize the importance of their digital origin. These objects do not serve as guides or instructors but only suggest the possibility of deceiving and intensifying the illusionary atmosphere. The idea is of a universal right to see fraud through some arbitrary objects. These do not halt the process of plunder that made others and other worlds available to some; they just open a gate to domestic/imaginary spaces surrounded by care and narratives.
I am longing for your love
History has a fever
It is important to be sensitive
It is written like ALLERGY
تاریخ تب دارد
حساس بودن اهمیت دارد
مانند حساسیت نوشته می شود اما متفاوت است
وابسته است به دیدن
مثل گرفتن سر با دو دست و پوشاندن صورت در خیابان
فشرده شدن
Compressing
در شب دوباره روز را زندگی کردیم
تو گفتی زمانی برای استراحت نیست
;
;
;
پس به خودت آسان بگیر
بدنم حسی از تمام ناتمام‌های مادرم و پدرم
بارها عکس‌های گوشی را نگاه می‌کنم
Scrolling photos on my phone every day
Paint the heart below
Time not allocated for painting
Like you praying
Like a painful epode from my childhood
And a quest for storytelling
بخاطر من قلب اون پایین را رنگی کن
زمانی برای رنگ کردن نیست
برای تو نوشتن راحت است ٪×٬ٌ﷼٪×٫×﷼*)×(×(*(٪×
با ربات حرف زدن و رقصیدن را تقدیر می کنند
،)*(،*(،،،،،*) ربات بودن آن را نفهمیدم
در ساعت‌های زود روز
صدایش شبیه صدای مادرت است
دندون شماره یک خیلی شکننده است
بوسیدن را کنار بگذار
خوردن را کنار بگذار
زخم‌ها در دهان تکرار می‌شوند
تکرار زخم در جمع خانواده
تکرار زخم در روایت دوستی که تو ندیده‌ای
آن شب
با چشم درد یک همکاری
خاطره از یک غریبه
تو را با او آشنا کرد
موهای دست‌ها بلند شد
بازگشتیم کوتاه شد
و تو گفتی پاهایت را تکان بده اما من هیچ زمانی به آن‌ها نگاه نکردم نگاه نکردم
Time reminds time
Strange and familiar into a similar co-existence
