2012- 25th European Media Art Festival, April 18-24, Osnabrück, Germany.
2012- Open Door 7, Rosalux gallery, Juried by Steve Dietz, Minneapolis, MN.
2011- The 6th Streaming Festival, Netherlands.
2011-2012 The Taubman Museum of art, Juried, Roanoke, Virginia (December 2, 2011 to February 26, 2012).
2011- Thomas Erben gallery, invitational, NYC, NY (Dec 13th-17th)
2011- 24th Annual Dallas VideoFest, invitational, Angelika Film Center, Dallas, TX.
2011- Sun Flower Art Center, CologneoFF 2011, Beirut, Lebanon.
2011- Busan International Film Festival, invitational, Busan, South Korea.
2011 - FROZEN FILM FEST: Best Animated Shorts 2011, Roxie Theater, San Francisco, CA.
2011-Unlike Gallery, Juried Show, Berlin, Germany.
2011-Currents 2011, El Museo Cultural de Santa Fe, Santa Fe, New Mexico.
2011-Athens International Film and Video Festival, Athens, Ohio.
2011-Arad art museum, Cologne Off 2011, Romania.
2011-The 7th Berlin International Directors Lounge, Berlin, Germany.
2011-CologneOFF 2011, Juried and curated by Alysse Stepanian.
2011-Union gallery, Juried, University of North Texas.
Over There Is Over Here explores the dialectics of time, space, real and unreal to define and critique the position of those who have left Iran in the last 4-5years in relation to current political prisoners in Iran. The project uses 3D animation and data glitch as a way to illustrate presence-less presence and to show the passage and collapse of the time. In my recent trip to Iran, I found a picture of political prisoners, which is at least 100years old. Looking at the prisoners chained to each other, I saw a tragic relationship between the past and the present of Iran; a shared pain from the same soul, generation after generation. In my animation, the concept of time is used as a non- linear and collapsed concept in which the past and present have come together in order to create an “unreal” reality. Through a self-reflexive narrator, Over There Is Over Here alternates between the literary definition of a third person narrator to my actual, physical “third person” role outside Iran as narrator of the story. The narrator explores my relationship with imprisoned friends and classmates. In this relationship, I am the outsider who will always fail to understand the reality of a prisoner’s life. The more I live outside Iran, the more I will forget details of the “reality” of life inside Iran. For these reasons, the animation is a deliberate mix of real and unreal, fake and genuine.
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