Sirous Namazi, Carpet, 2014, printed Saxony carpet, 8 1/4“ × 7' 2 1/2” × 10' 6".

Sirous Namazi

Galerie Nordenhake | Stockholm

Sirous Namazi, Carpet, 2014, printed Saxony carpet, 8 1/4“ × 7' 2 1/2” × 10' 6".

On November 15, 1978, the family home of the artist Sirous Namazi, located in Shiraz, Iran, was looted and vandalized as part of a systematic persecution of adherents of the Baha’i faith. No one was home. When the family returned to assess the damage, a friend took four snapshots—the only remaining evidence of what the house looked like. The photos show it as a wreck, as if a tornado had torn it apart. Namazi was eight years old then. What followed was years of hiding in the volatile political climate of Khomeini’s Iran until, with the help of smugglers, he and his siblings got to Pakistan and later, as refugees, arrived in Lund, Sweden. Their parents followed three years later.

Such is the story behind Namazi’s exhibition “Twelve Thirty,” an exercise in memory, an attempt to reconstruct what was just outside the edges of the four now-faded images, which are presented in the

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