The Archive of Suspension is a collection of images that mark points of suspension, a set of points that start to develop from the day one is born. Due to constant and chronic presence of death and nothingness, they develop into heavy and unknown spots in our private space, like black holes in a galaxy that swallow everything. Nothing, not even light, can escape from their gravitational fields.
Although this private space, now filled with suspension points, dangles between ”the Will to Live” together with the injustice and torment that fill the world on the one hand and death and nothingness on the other, but constantly revolts against it’s outer space, builds an enclosure around itself and remains a personal space; a space that defies the systematic definitions of the outer world and thereby acquires a rather unknown form in the process and finally, the only permanency it finds is the very permanency of collapse – the collapse of the worlds around it.
Past Exhibitions
Artists: Tanaz Amin, Aylene Bahmanipour, Hasan Kamali, Mona Kheirabadi, Nogool Mazlomi, Mehrdad Mirzapour, Keyhan Nabavi, Aliyar Rasti, Hanieh Sadri, Rene Saheb, Elnaz Salehi, and Farzad Shekari
For six days, January 11th – 16th, 2013, Aaran Gallery will host a series of events and screenings of videos, experimental films, animations and sound pieces and performances. The program hours will be from 3 to 8 pm everyday.
For daily program download: http://aarangallery.com/uploaded_files/Daily%20program.pdf
For catalog of the festival download: http://www.aarangallery.com/uploaded_files/limited-access-ex.pdf
Limited Access Team (Fourth Edition)
Festival Director: Amirali Ghasemi (Parkingallery Projects – Tehran)
Program Coordinator: Shahrzad Malekian
Guest Curators: Anahita Hekmat (Paris), Sona Safaie (Toronto), Arash Khakpour (Mooweex – Tehran), Arash Salehi (Saroseda -Tehran), and Ryan B. Willie (Free From Film Festival -San Francisco)
Festival’s History
Founded in early 2007, Limited Access, International Festival of Video, Sound and Performance celebrates its 6th year-anniversary in January 2013 at Aaran gallery. The Tehran based Festival, naturally evolved from Parkingallery’s Video Archive, an ongoing project documenting the diverse and fragmented new media scene both in Iran and abroad since 2004. Limited Access collaborates with individuals, collectives and archive projects across the globe.
About Parkingallery Projects
Parkingallery is an independent project space based in Tehran, started in 1998 originally as a temporary exhibition space, and graphic design studio. Parkingallery’s Video Archive The video archive of Iranian and International artists, has been launched in 2004 ; we collect, keep and update the artworks for educational and non commercial purposes, we also promote the work by organizing screenings, artist/expert talks and presentations along with exhibiting them in Iran and abroad.
About Saroseda
Saroseda is a creative initiative which is trying to make new sonic and visual projects by integrating technology, science, interactive environments and Audio Visual programming platforms. Saroseda by different pose to mainstream tries to reach new forms in Iranian Contemporary Art scene by introducing the potential of collaboration between different disciplines in the shape of organizing workshops and jamming of computer based artists.
About Mooweex
The mooweex internet cinema was launched to show selected works by Iranian film-makers. The cinema shows a broad spectrum of films including documentaries, fictions, video clips, animations and video arts. On mooweex you can watch the work of new artists as well as a number of old and rare Iranian films. The cinema gives easy access to some exceptional works including a number of international prize winners. The aim of the collection is to provide a deep insight into Iranian culture which is not achievable by any other medium in the same way.
I have transformed myself in the zero of form
I have destroyed the ring of the horizon and got out of the circle of objects
Kazimir Malevich
The monochrome works of art are inexplicable, a mysterious presence that resists interpretation. The appearance suggests simplicity and unity, which masks a potential paradox. Monochrome has two foundations, mystical and actual, a spiritual search for a transcendental experience and the wish to emphasize the material presence of the object as a concrete reality and not an illusion.
The artists, who are committed to monochrome, adhere to the unity and indivisibility of the practice not as a style but as a personal stance: a view of the world. Replacing the figurative icon with an abstract consciousness related to the mystical doctrine of perceiving the unity of being.
In our part of the world, Sufi mysticism gives priority and meaning to the monochrome. According to Sufi doctrine, the monochrome is the realm of God, where differentiation is impossible. The loud colors of self and passion are obliterated. The spiritual world has one color. A world of fullness and void, devoid of time and color. In white there is the least amount of shadow, a purity that invites us to contemplate, to take one moment of silence away from the hectic world. This is reduction of art in to its essence.
This time, closer than ever and in my own house, I fixed my camera on a tripod; in front of the window where I’d watched the same view of the city for ten years, a city that I don’t know if I love or not. A window that opens on to many other windows that are all closed and I cannot see into. This is the story of others. The others that I know and their stories. I have captured moments from their stories in this room and within the frame of a window that looks upon the cold and hazy view of My City.
Newsha Tavakolian
At the same time an earlier series of work by Newsha Tavakolian, titled “Mother’s of Martyrs” is on display among a selection of photography from Middle East at Victoria and Albert Museum in London, UK.
Certain types of mirrors were imported to Iran from Venice in sixteen century. The pieces that were broken along the route were ingeniously incorporated by Iranian artists into the walls of the grand buildings of that era and thus started a tradition that lives on. Mirror is a metaphor for light and lucidity. The geometrical cuts that are achieved using diamond – one of the purest of substances- reduces from the homogeneity of the surface, but it accentuates the glitter ten folds. Once you immerse in this radiance and glow, it appears as if you have reached the other side, for this perception you need to believe in light.
Negar Varasteh
Curated by Mahoor Toosi
Artists: Mohamed Eskandari, Saffaeddin Emami, Caraballo Farman, Behzad Hatefi, Ali Honarvar, Siamac Sariolghalam, Nastaran Safaei, Hamed Rashtian, Parvin Shokri, Sepideh Taraqi, and Mahoor Toosi
This is not an exhibition about America, rather it is about us, and what we yearn to realize, about what motivates us and what disappoints, it’s a reflection on us. America has long been discovered and continuously changes. In our search to understand it, each time we encounter new paradoxes, fashioned by our inner faculty: hyper-reality, the land of promises, a desert devoid of culture, the New World. These assumptions vary according to the place on Earth that we live in; As if the existence of America depends on its outer reflection. America is not limited to 77 longitude and 39 latitude, it is not simply a piece of land bordering the Tropic of Cancer and Arctic Circle. Depending on where you stand in the world your perception changes and in order to understand yourself and where you are, you are obliged to look at it. This synthesis happens in different ways and manners and this time we offer our own, from a distance of 11469 Km from the center.
Mahoor Toosi
Artists: Sara Abri, Abnous Alborzi, Mona Aghababaee, Ghazaleh Bahiraie, Nahid Behbodian, Sara Ghanbari, Leila Ghandchi, Anahita Ghassemkhani, Sepanta Ghassemkhani, Fatemeh Fakhraimanesh, Marziyeh Fakhr, and Alishia Morasaie
Albert Camus once wrote: ”We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them to the world; it is to fight them in ourselves and in others”. This is an incredibly beautiful sentence with an important ethical imperative concerning the art of fighting the roots of darkness. But how is darkness fought without suppressing it? By forgetting it? Shouldn’t the ethical imperative instead involve admitting the darkness, grief and pain, giving these undesirable phenomenon bearable forms so that others can also experience them? This is where art comes in, as a link between the incompatible – reconciliation between the irreconcilable. And yes, certain things cannot be reconciled with and some wounds must be reopened constantly.
From a text by Sinziana Ravini: The Promises of Grief
I would have never believed that a photograph could look exactly like reality. At the same time, no photograph is anything but reality. The fact that a photographer selects a frame through the lens of his camera is an example of how he has interfered with that particular reality. This is because only a small portion of reality has been framed and the larger remaining portion has been consciously ignored and omitted. But we cannot deny that this particular frame has been selected, it’s not reality, the only reality is that which we, as the audience, observe from the perspective of the photographer, a selected reality, free and without borders. It is not always necessary for us to search for a captured version of external reality; because our minds are also reality. We can choose to go one step further, and select the reality that is within our minds and arrange it and remember it the way we want. It is only necessary for us to stand and see reality through the eyes of Ebtehaj and Amin. I don’t know why these days everyone seems to be leaving.
Reza Kianian
What kind of reaction should the viewer have to Ibrahim Haghighi “still lives”?
Haghighi attempts to get closer to the “still life” paintings of the Renaissance era and to find similarities near and distant, with the post-Medieval ages in order to see what reaction he can invoke in the audience. In reality, his photographic narrative in this particular selection is evident and defies any explanation. However, the important question remains that in these times of violence, when the Iranian society has come face to face with the ugliness of aggression, that has penetrated different levels of the communities, what can an artist do to help the society?
On the other hand, aren’t photographs of severed animal heads that the photographer ordered from the butcher an act of violence that transforms Ibrahim Haghighi’s role from an artist to an executor and a portrayer of violence? Artist shows an ugly scenario, something that we must avoid, an unavoidable reality that we are exposed to anyhow, and at times we even becomes players in such dramas.
In Ibrahim Haghighi’s “still life” images, the layout and symbols are in obvious conflict with what we have come to comprehend of this specific philosophy in Renaissance art. Artists of the era derived inspiration from fruits, food, and objects and hunted animals . Such artists were able to freely create and harvest their talents, delivering beautiful works, which despite absence of direct signs of violence and aggression, depicted the act of Hunting. For these artists the foreground was just as important as the background and they did not shy away from this fact.
Similarly, Ibrahim Haghighi has approached “still life” in same manner, in that the foreground displayed in his work, although seemingly simple and inconsequential is in fact worthy of attention. Even though the background and lighting accurately convey his message, he consciously directs our attention to the foreground, where we are faced with a perceptively created layout and lighting, which is in contrast with the background, thus resulting in the work having a dual meaning. This poetically violent images are not unlike the real images experienced in our present society. Without a doubt, if these images included bowls of fruit or seasonal flowers, the poetry of the work would be vulgar, but with the present arrangement, the artist’s poeticism depicts a violence that is the paradox of our time and even shows our role in promoting this violence, a fact that is utterly undeniable. Finally, it is his fascination with the history of art and the influence he gained from it that makes his work thought provoking and appealing.
Mahmoud Reza Bahmanpour
Ebrahim Khadem Bayat is a documentary photographer on his way to becoming an artist with a camera. This is a happy marriage where strong concept and superb experienced technique meet. I have been witness to this evolution. He first came to me to photograph and document my art collection and during the Last ten years I have criticized and encouraged him to do his own personal work. He had turned his lens actively on the landscape of his shattered society. He offers and answers but puts the viewers at a turning point on the road. The road a picture-window of our surroundings and it’s progression: the sky a reflective mood mirror. These passive fish-eye- panoramas are reminiscent of moody hell and holocaust. And very classical in their symmetry and order. Definitely an evolution in progress.
Fereydon Ave
This exhibition brings together four different projects: The Blissful Artist/Arriving Shoes/Empty/Earth series are installed as an inhomogeneous collage whose content can correlate at least at one point. These projects together juxtapose different topics in one single domain and are considered either unfinished or in progress. The Blissful Artist is a character in contrast to the image of an idealist artist which is sometimes a dreamer, sometimes an illusionist, sometimes desperately blissful and sometimes a wanderer. There are times when The Blissful Artist holds onto the events and there are times he clings to the images in his head without pursuing any objective or trying to form whilst he is being productive. The Blissful Artist believes that uniformed homogenous series abolishes individualist values and drives him to a certain repetition and an absolute commitment to the interlocutor to the extent where the conclusion is interpreted as the final objective. The Blissful Artist insists on the variety of forms and accentuates the color and the ambiance to the point of confining the concepts to their synonyms in order to bestow the responsibility of interpretation to the interlocutor. For instance in the “Empty” part, the concept of being void which is constantly followed by philosophical notions, is being mocked by the use of ordinary images of empty boxes, unsolved labyrinths, unloaded guns and ornamental flowers framing nothing or in the other words here, the void becomes voided.
Mehran Saber combines within the same frame, creatures and elements normally not found together to produce illogical and startling effects. The philosophical and visual aspects of the paintings make up emotionally powerful and poetic reality of his latest works. The dream-like qualities of the paintings makes you wonder if the painter has worked while in trance, whether he has sleep-walked through creation. His images are pure creation of the mind .Reality is dismissed and even Surrealism is distorted. The objects and personages are almost three dimensional, and seem to be floating in a world of their own , in a bubble , inviting the viewer to step in to this wonderful color palette. The illogical world of the artist is governed by the strength of dreams, a world of his own. He successfully transfers his emotions and turmoil’s but also creates scenes and objects that are complete and precise. A perfect balance.
Nazanin Pouyandeh juxtaposes her memories and the outside world. The energy emanating from her paintings are transmissions of her cross cultural identity. In majority of the paintings, she creates a world of her own where the landscapes are glorious and often magical. Characters fill up the paintings in the predetermined pose as defined by the artist, each playing their own role, posed for eternity. The landscapes, trees and rocks are often hiding secrets and imagery thus inviting the viewer to excavate and find the deeper layers. The paintings are summons to explore a world that is illogical, and frozen in time. There is at the same time something familiar and foreign in her works. A familiarity and sincerity that is attractive and yet puzzling.The world seems to be a fusion to her, east meets west and they merge effortlessly. She is a unique painter and an explorer who seems to have listened and learned the history of the whole world, all of it’s stories and fables and is able to visually transfer them to her paintings. The power of her imagination is overwhelming so is the harmony of her colors. Perhaps it’s best not to try and explain her work, but to float in the beauty of the world she creates.
Playing with the forms that exist in his surroundings without the slightest change in them is Amir Mousavi’s passion. Repeating the firm elements next to the variable ones and finding different points of concentration are his usual practice. In his new series “ The Wonderland “ he documents the new Murals of Tehran. Time stands still, as if the walls of the city are staring back at the viewer. The mural paintings of Tehran transform to photographs and once they are printed on canvas , they are resurrected as paintings. The play of shadow and light and the resilience of artist in capturing just the right angle, are what makes him stand out from the rest. In his own words: “In the same way that it’s pointless to try and put a specific meaning to poetry, I do not attempt to explain my photographs. I just know that I do not have any critical, social, documentary or conceptual approach to photography. I began with painting and arrived at photography. from the beginning I loved surfaces, and the flattest of surfaces were walls, which for me have a life of their own.”
The exhibition includes photography of Jassem Ghassbanpour, the renowned Iranian Documentary photographer, whose extensive archive of photographs is a time line of this devastating war. The photographs on show are not the gruesome images of the dead soldiers, which he has lovingly recorded, but this selection is as anti-war as it can be. Innocence lost, lives shattered, trusts betrayed.
Wafaa Bilal, an Iraqi-born artist living in the United States, joins the Iranian artists in this exhibition to war, absence, and remembrance. “A Call,” a performance and video projection, presents the corporal impact of war and commemorates the Iranian and Iraqi people who lost their lives, along with those who are often overlooked or left behind. Over 80 Iranian performers will take part in this memorial to the dead and the living. Bilal will be attending the exhibition remotely, from a parallel opening at White Box, an art space in New York City. A live video feed will be streamed on the White Box’s walls ,this mediated performance will enact the dislocations, delays, and ruptures that war breeds.
Baktash Sarang Javanbakhat, the youngest of three artists, was born on the same year that the deadly conflict began. He appears to be consumed with human sufferings, particularly the type that is inflicted on humans by humans. Very much like his peers he has lived with consequences of a devastating war which happened right after an earth shattering revolution. He belongs to the Golden generation of Iranian Artists who believe in integrity of Humans despite all that has come to pass.
The Chief told the Endangered Spicy that from now own he is better suited to make decisions for his own carrot. Procreation became the order of the day and soon enough the creatures could live a dreamlike life. The Unknown became the executor of the Pattern for Development… a comprehensive policy prevented extinction of species. Animated entertainment replaced drugs and prostitution. Based on a five year plan it was determined that the population of endangered species ought to rise and extinction erased.
Majid Biglari
Room No 22 is a installation about a set moment. A day that has passed. Objects and appliances that invoke common memories. A mutual feeling raised from depth and brought in to surface. A tedious voice used as a language to depict the vague story that is roaming behind the walls of the houses. Artist anticipates the reaction of the visitor. Allowing for direct reaction to subject , it’s components , color and even the prevailing though process. A day among all these days.
Ebrahim Eskandari
It is stupendous to speak of complications that are intent on self destruction. While my creations have not overstepped the boundaries of emanation, albeit in praise of seclusion; this discourse resembles the clod that the followers of Hallaj throw at him which were far graver than the others’ because one can not learn except in the manner advocated by Hallaj.
Hamid Hemaytian
Haleh Anvari, founder of AKSbazi.com
Selecting Committee: Kaveh Kazemi, Shohreh Mehran, Mehran Mohajer, Neda Razavipour, and Ramin Sedighi
Selected Players for this exhibition: Sara Abri, Sasan Abri, Hediyeh Ahmadi, Mehdi Alizadeh, Ehsan Amani, Banafsheh Amin, Hoda Amin, Arash Amir Azodi, Farhad Bahram, Siavash Bakhtiarnia, Ramin Beyraghdar, Shaghayeh Cyrous, Shirin Eghtesadi, Hamed Farhangi, Dana Farzanehpour, Ershad Fattahian, Sara Ghanbari, Sepanta Ghassemkhani, Ceemin Golshan, Hoofar Haghighi, Hana Hanayi, Mehdi Hassani, Samira Hatamizadeh, Mokhtar Hosseinzadeh, Amir Jadidi, Mostafa Jafari, Poolad Javaher Haghighi, Sohrab Kashani, Fardid Khadem, Mahsa Khalilpour, Bahman Kiarostami, Abbas Kowsari, Majid Lashkari, Niloofar Lohrasbi, Ehsan Mansoori, Babak Mehrabani, Nazanin Mirzabeigi, Nima Moghimi, Behnam Moharrek, Ali Akbar Mohamadkhani, Amir Mousavi, Afrooz Nabavi, Pendar Nabipour, Siavash Naghshbandi, Mohammad Nickdel, Majid Niketeghad, Omid Omidvari, Aliyar Rasti, Hamideh Razavi, Bita Reyhani, Sara Reyhani, Sara Salahi, Hessam Samavatian, Amir Arad Sanaei, Delbar Shahbaz, Behnaz Shamshiri, Hesam Tahamtan, Mahsa Tahamtan, Mohammad Mehdi Zaboli, Sara Zandevakili
The visual world of Ghazal Khatibi is filled with games and humor which is rooted in the seriousness and prejudice of the real world. “Mad World” is the first phrase that can describe her visual world and its interaction with her surrounding .Her unique mentality takes shape in the bosom of the real world. She reacts to incidents and phenomenon in a coquettish and witty way and translates them to satire and as a result the stagnation of the real world is replaced with fluidity and dynamism. Her work can not be surveyed within the limited and classic descriptions of painting. Because the seriousness and self glorification of academic painting is absent. What is important in her work is the humorous and simple and smooth narrations which is a product of her fluid mind and Improvisation .Her approach opens the path that draws inspiration from the glory of Expressionism but ends at promiscuous and smutty drawings that are not intended to excite the audience but are portrayal of absurdity of the reality that she faces.. Khatibi depicts the controversial social subjects with innocence and compassion. Her simple figures, with flat and glittery colors, show the transient and unseemly conditions and circumstances of certain types. As if the Artist by recording these moods is depicting these “ Humanesques “ and ridicules them . Her works are imagery of a world in which illusion surrounds reality and not vice versa. To properly observe and appreciate her world we should leave out the preconceived notions and rigid rules and float our imagination.
Excerpts from catalog by Behrang Samadzadeghan
They are young, energetic and modest artists and endeavoring to reach the height of their abilities through their curious eyes and sensitive conscious, paying attention to their surroundings away from all the hoopla. This is a familiar spirit for me. It reminds me of some of my friends and acquaintances of many years; my artist friends who “incidentally’ happen to be mostly female. I am not sure but maybe this has to do with lack of ambition in many of us; we are not looking to win the Marathon; it’s not so important for us to be The First… it’s as if our goals are not important to us. What goals? The” Journey “is the destination! It’s along this path that human experience takes shape and it’s called “life”… The goal, might be walking besides each other; as simple as that.
Jinoos Taghizadeh
This Damn Twenty-Four Hours isn’t the technique a complex of rules related to comprehension of morphology of objective functions and nature of a medium? I have not made photographs nor painted and certainly have not created images. These series that is titled “Blood Over Sword”, away from the attractions of the effects of everyday, is a reaction to listening and observing and of course parallel to the ordinary life of a non-demanding person in a vague Geography. These are related to the “everyday” in the sense that I have recreated whatever I have seen and heard through the public media, or have realized in my lived experiences – visual or not – and without insisting on sophistication or aesthetics. Whether the results fit within a certain medium does not affect the final outcome. I fear that “hearing through an intermediate“ is what you will see or what you will not hear, meanwhile the ever flowing repulsiveness, at speed of twenty four frames in a second, is made available through thousands of Medias.
Nahid Tavakoli
The spectacular style and flamboyant use of color in paintings and sculptures of Ali Akbar Sadeghi behold the richness of iconography in Qajar Era paintings, particularly a school of painting that has become known as the Qahveh Khaneh (Coffee house paintings). The meticulous detailing, intricate scenes and the subject matter, often heroes in full armor, follow the traditions of Miniature painting. At close inspection a large number of artists’ works are in one way or another self portraits. The story teller, the sleep walker, seems not to be able to invent without identifying with the characters of his imagination. Here is a marvelous world where the heroes of artist do not appear to be fighting the evils of the world, they are either frozen in time or seem to be engaged in their own internal conflict. From the “Hanged Coat” to the depiction of the old hero with a aid band on his face to the “Torture Armchair”, there is a strong sense of defeat but evil doesn’t seem to have prevailed. It appears as if the artist is content with wisdom that age and years of turmoil has brought him. The Emotional power of these self portraits and their poetic reality overwhelms the viewer and invokes feelings of sympathy that derives from conflict within every human being. The surreal world of Ali Akbar Sadeghi is governed by the strength of dreams, a world of his own. He successfully transfers his emotions and turmoil’s but also creates scenes and objects that are complete and precise. A perfect balance. And when he is not busy pushing nails in to the faces of his heroes he is ready to play chess. The game of nobility, that commands tact, maturity and dignity.
The paintings of Hadi Alijani not only depict his memoirs, but also they point to the fact that they often re-create the face of a painter. Although satire and tomfoolery have an important place in his works, still they are a type of throbbing paintings with fictional characteristics. While expressing thoughts and circumstances that he deems necessary, Alijani distorts the nature of what is observed. In the works of Alijani human beings are the measure and scale of everything and this belief leads to the formation of the concept of individuality and personal attitudes. Therefore, his paintings are used as tools to stress the uniqueness of the artists’ individuality. There is no such thing as graciousness and masterful humility in his works and the nude faces of shapes , suddenly jump out of his paintings through complex, complicated and injured turbulence. They stare at the viewer right in the face, mesmerizing them.
Raoof Dashti
Nazila Noebashari, Aaran Gallery
Kazem Heydari splits his paintings into two diverse artistic impulses, and strikes a balance between tableaus of human drama and explorations into color and mood. He transforms real-world settings into panes of primary and secondary/tertiary colors, while also stripping the paintings’ main subjects of all color. This two-fold manipulation increases the painting’s “snapshot” effect: the subjects are frozen in time and suspended within abstract blocks of color, or perhaps they are rifts in the composition itself. These rudimentary figures are not blank slates, however, but a means by which Kazem engages in a radically modern aesthetic: he presents us with subjects that are both present and absent.
Stephen Bracco
Good stories for good children, simultaneously depicts hope, regret, optimism and despair. The world around me is filled with a mixture of these feelings; gloom hidden behind a decorated curtain and smiles that become an image for propaganda and suggest joy and light. And when the gloom reappears from behind the curtain and shows itself beyond the Janus face of our society, we escape to humor and coquetry to make reality endurable. So we alter the reality to make it tolerable. Reality changes color in our hands. We listen to good stories to go to sleep like good children and close our eyes to the realities of the world. Good exotic stories create a veil between us and the reality. Soon, the reality itself becomes a colorful fantastic story (and I am tired of speaking in metaphors…). And we forget the bitterness of the reality because it is sugar coated; it’s because we are exhausted and disillusioned. Ivan Klima once said: “I wish I could be a postman. People expect postmen anxiously because most of them, unreasonably, are waiting for good news not bad ones”. I also expect the same!
Behrang Samadzadegan
In a deserted place in Iran there is a not very tall stone tower that has neither door nor window. In the only room (with a dirt floor and shaped like a circle) there is a wooden table and a bench. In that circular cell, a man who looks like me is writing in letters I cannot understand. A long poem about a man who in another circular cell is writing a poem about a man who in another cell… The process never ends and no one will be able to read what the prisoners write.
Jorge Luis Borges. “A Dream”, The New Yorker.
Imagine a dream, Eyes closed, mouths open, as if in a dream. Standing facing us with their backs to the darkness, they sing, soundless. They have been standing here, singing for themselves for a long time, imagining us, hearing. Standing; facing days of tedium, facing a world that has adorned them with a false crown. Standing, waiting.
Abbas Kowsari