Fariba Hajamadi

Galerie Laage-Salomon

In this exhibition, Fariba Hajamadi worked with the conjuncture of violence and eroticism, perfecting her mode of hybrid composition—montages in which she juxtaposes different photographs taken of museum spaces. But for the first time, Hajamadi’s intervention was extended to include the gallery space. She covered each wall with wallpaper whose lively colored, repetitive patterns (like toile de Jouy) contrasted with the enigma of the sepia-toned photographs transferred onto wood. Thus, each wall held imagery that is both decorative and obsessive: scenes of executions and rape, in a series taken from Goya’s “Disasters”; coded eroticism from 19th-century Indian miniatures; the serial paganism of an 18th-century hunting scene.

At first glance, this superimposition of the photos onto wallpaper arises from a spatial extension of the artist’s distinctive method, one that plays on the effects of

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