Microhistory and Fragments of History: An Interview with Carlo Ginzburg

Magnus Bärtas, Andrej Slávik and Michelle Teran

In this interview, Carlo Ginsburg explains how he has come to understand and practice microhistory. Talking about his decades long career, he shares ideas about philology, generalization, case studies, and the connections between history and literature.

Against Mass Deportation from Iran to Afghanistan

Shahram Khosravi

Shahram Khosravi, in his article, critiques this state-led violence, discussing how the Iranian government constructs Afghan migrants as threats to obscure deeper systemic issues such as economic insecurity, corruption, and repression. Khosravi challenges the illusion of national borders as sites of sovereign resolution, proposing instead a politics of shared responsibility and coexistence.

Seeing Through the X-ray

Jelena Jovičić'

In Jelena Jovičić's reflection the affective impact of reading the book, The Gaze of the X-ray: An Archive of Violence, is interwoven into the analysis of the books various contributions, adding a personal perspective to the theoretical invesestigation of technology-baded violence of the X-ray.

Hijr: Exile and Seperation

Zobair Movahhed

Migration and crossing the border has always been a familiar topic to photographer, Zobair Movahhed. Zobair is from Khash and, for one of his photography series he joins migrants on thier journey across the Iran-afghanistan border to observe and depict the evident as well as hidden aspects of this perilous endeavour.

My Grandfather and I, and the City’s Panj Golo

Sobh Saeed

In this brief piece, the writer looks at the cause of Sindhi nationalism through the lens of her grandfather's political Journey and hopes for a future in which solidarity can take us beyond geographical autonomy.

Essays

My Grandfather and I, and the City’s Panj Golo

Sobh Saeed

Florya walk-through

Mike Bode

In this guide-like personal account, Mike Bode ties the description of his visit to a iconic modernist mansion - Florya - in Istanbul and his passing thoughts about its architecture to the historical and ideological implications of the emergence of Turkish nationalism and modern nation-state.

On Top of the Mountain

Behzad Khosravi Noori

Felestine square in Tehran and its monument have been the central stage for governmental demonstrations against Israel for years. Through investigation of the stories around the monument's creation and the relations between Iran and Palestine, Khosravi Noori looks into the question of how one can show meaningful solidarity with Palestine without falling for the propaganda of another regime.

Dialogues

Microhistory and Fragments of History: An Interview with Carlo Ginzburg

Magnus Bärtas, Andrej Slávik and Michelle Teran

Hijr: Exile and Seperation

Zobair Movahhed

Genocide Kitchen

Samaa Emad Abuallaban

Sama Emad is a young Palestinian artist from Gaza. In “The Genocide Kitchen”, she uses collage to document and archive the experiences of the Gazan people, focusing on their relationship with food and the scorched land during forced displacement and the use of starvation as a tool of genocidal warfare.

Praxis

Genocide Kitchen

Samaa Emad Abuallaban

I, Nazly, My Father’s Son

Nazly Pourshirmohamad

I, Nazli, My Father's Son is an artistic research project in which the artist explores her relationship with her father. Her inquiry gradually led her to gender studies and the in time her work aquires autoethnographic and collective traits. This text is the product of a coauthorship process in which Nazli's narrative becomes interwoven into the stories of her colleagues.

Somewhere in Between: Retracing Footsteps to My Forgotten Identity

Hira Munir

In this photo-essay, Pakistani photographer, Hira Munir, ties the history of her family to the history of the Sind region in the aftermath of the Indian partition and the arrival of the Urdu-speaking migrants. She tries to revisit the forgotten layers of her hybrid identity.

About Us

We are a small collective made up of individuals from diverse professional fields who felt compelled to establish an independent art space after gaining experience in various artistic environments. In recent years, Iran’s shifting political, social, and economic landscapes have sadly brought news of the closures of many alternative venues, once brimming with thoughts, writings, and gatherings. This has accentuated the pressing need for coming together and engaging in collaborative endeavours. Our journey commenced from casual conversations two years ago, and amidst its ebbs and flows, our bonds solidified, bringing our vision for Sarazad into clearer focus. These ties were not restricted to Sarazad’s founding members. Many joined us, supporting Sarazad’s ethos without any ulterior motives. Our aspiration is not just to nurture these connections but to expand this circle of camaraderie. Sarazad is a unique intersection of amateur passion and professional dedication. Regarding progress, our enthusiasm mirrors that of diligent students enamoured with their work. Financially, we have often leaned on our earnings as educators to fuel our dreams.