SCATTERED MEMORIES OF A DISTORTED FUTURE

This series explores the profound shift in my faith in artistic creation. The catalyst was the devastating news on January 8, 2020, when a Ukrainian airplane crashed in Tehran, claiming the lives of all 176 passengers and crew. The ensuing period unfolded with a series of unfortunate events—political turmoil, a water crisis, economic recession, the migration of my family and friends, and the COVID-19 pandemic. Each morning, I wake up to a landscape resembling a demolished site, with everything seemingly in ruins: myself, my family, my friends, my relationships, my city, and my country. The suffering we endure speaks in the language of ruins.

As an artist grappling with this collective agony, I seek to explore how artistic creation can serve as a source of healing, inspiration, and efficacy in the face of such devastation. What impact can artists have on this state of ruin? What role do we play in the ruins of humanity’s constructions and creations?

In this series, ruins serve as a poignant metaphor for pain. Here, between a silent past and a distorted future, I invited female painters to paint what they like in abandoned places; a painting on the masculine history, a picture on the face of the past, and an unanswered question for the future

Photography, lighting, set designing: Maryam Friuzi

Executive manager: Roozbeh panahpour

Technical executive: Kian koohestaniArt consultant: Mehdi Javaherian
:PaintersSahar Nahavandi, Sorahi rafati, pooneh Oshidari, Najmeh Kazazi, Raziyeh Iranpoor, Fateme Eslamian, Hejazi sisiter ( Manijeh & Parisa
hejazi), Zahra shafei, Tarlan Tabar, Faxteh Shamsian, Ghazal Marvi, Soudeh Davoud, Safi Fadaee