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.

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.

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.

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.

Essays

Florya walk-through

Mike Bode

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.

Shabli: Photography on the Threshold

Shakib Majidi

What distinguishes Ahlam Shibli's photographs from the plathora of visual representations of Palestine is that she abstain from dramatisation in her form as well as content. Shibli's images detail the impact of Israeli occupation on Palestinian lands. She approaches representation of victims with caution so that her work can go beyond sensational reactionism and instead serve as a level-headed critique of oppression.

Dialogues

Hijr: Exile and Seperation

Zobair Movahhed

Genocide Kitchen

Samaa Emad Abuallaban

Against Ready-Made Narratives

Asim Rafiqui

Asim Rafiqui was born and raised in Karachi. He is an independent photographer, writer, and researcher who provides a critical examination of his previous profession as a mainstream media reporter. His work can be perceived as a critique of politics of representation in news photography and what is often termed humanitarian journalism. Sarazad sat for an interview with Asim to learn more about his critical views on the ready-made narratives of the media.

Praxis

Genocide Kitchen

Samaa Emad Abuallaban

I, Nazly, My Father’s Son

Nazly Pourshirmohamad

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.