reviews

Mahmoud Bakhshi, The Unity of Time and Place (detail), 2017, vintage cinema chairs, found objects, carpet, ink-jet prints, two HD video projections (black-and-white, sound, 2 minutes 23 seconds; color, sound, 4 minutes 15 seconds). Installation view.

Mahmoud Bakhshi

narrative projects

Mahmoud Bakhshi, The Unity of Time and Place (detail), 2017, vintage cinema chairs, found objects, carpet, ink-jet prints, two HD video projections (black-and-white, sound, 2 minutes 23 seconds; color, sound, 4 minutes 15 seconds). Installation view.

Mordad, the fifth month of the Iranian calendar, is the hottest time of year in the country. As it happens, both the coup d’état of 1953 and the start of the Islamic Revolution of 1979 occurred on the twenty-eighth of Mordad, or August 19, according to the Gregorian calendar. Mahmoud Bakhshi’s gallery-filling installation The Unity of Time and Place, 2017, evoked this chronological overlap and a place central to these events: Abadan, an oil-producing city in southwestern Iran.

The artist approaches his story about revolutions by way of Gavaznha (The Deer, 1974), a film directed by Masoud Kimiai. It tells a story of two school friends who see each other years after they’ve parted ways only to discover that poverty and lack of perspective have pushed both men toward crime and drug addiction. Their civil disobedience is punished by the police, who ambush the pair at home, killing

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