Director
This film is based on retrospective and imagination, text and mobile images, and is also an attempt to re-materialize movies and film devices (apparatuses). During an excursion to Tehran, artists and authors revisited the cinema "street" burned during the Islamic Revolution in 1979. They used pre-revolutionary Iranian films and cinema venues as lenses for analyzing geopolitics and oil politics. Words, archives, mobile images, film materials, and sounds are interspersed with real and fictitious narrative structures, showing "silent" historical manipulation and the post-revolutionary state of Iranian society. The entanglement between war, desire, and matter points to an artificial doomsday "paradise" -- and also asks the audience from the historical level to which the radical revolution is spreading to the present.
Director
In this piece, the artist is interested in the division of a condition of possibilities between labour and sublimity. It examines the reinvigoration of sublime highlighted by modern technology and the invisibility and performativity of labour. This endeavor manifests labour power behind the Real Abstraction - a social construct with real effects that we experience and embody.
