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Alborz Kazemi | "None Turned into Memory": Dastan's Basement

Past exhibition
3 - 17 December 2021 The Basement
  • Overview
  • Installation Views
  • Press release
Overview
Alborz Kazemi | 'None Turned into Memory', Dastan's Basement

A solo presentation of works by Alborz Kazemi at Dastan's Basement

  • 3D Tour of the Exhibition
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Installation Views
  • 1400 2021 Alborz Kazemi None Turned Into Memory Dastan S Basement Installation View Lowres 01 Alborz Kazemi1
  • 1400 2021 Alborz Kazemi None Turned Into Memory Dastan S Basement Installation View Lowres 02 Alborz Kazemi2
  • 1400 2021 Alborz Kazemi None Turned Into Memory Dastan S Basement Installation View Lowres 06 Alborz Kazemi6
  • 1400 2021 Alborz Kazemi None Turned Into Memory Dastan S Basement Installation View Lowres 05 Alborz Kazemi5
  • 1400 2021 Alborz Kazemi None Turned Into Memory Dastan S Basement Installation View Lowres 03 Alborz Kazemi3
  • 1400 2021 Alborz Kazemi None Turned Into Memory Dastan S Basement Installation View Lowres 10 Alborz Kazemi10
  • 1400 2021 Alborz Kazemi None Turned Into Memory Dastan S Basement Installation View Lowres 07 Alborz Kazemi7
  • 1400 2021 Alborz Kazemi None Turned Into Memory Dastan S Basement Installation View Lowres 04 Alborz Kazemi4
Press release

Dastan’s Basement presents “None Turned into Memory", a solo exhibition of works by Alborz Kazemi. The exhibition opens on Friday 3 December 2021 and will be on view until Friday 17 December 2021. 

Alborz Kazemi (b. 1989) studied painting at Tehran’s School of Fine Arts. After his graduation, he became more interested in photography and cinema and most of his works have been photography-based. His works have been previously presented in Four solo shows and various group exhibitions in Iran and worldwide including Tehran National Sculpture Biennial in 2020. 

Kazemi has documented regional press in videos and photographs for years. As a documentarist he has lived with the belief that a photograph is a reference. Skeptical today of this referential hubris, he is now destroying and altering his negatives to reclaim emotions and experiences he feels is lost. Returning to images that he has been storing for years, he realized at some point that there is always a loss in the stutter of a photograph. The fact that a photograph flattens the world of things, its content is at the mercy of many outside forces, and finds new identity in its presentation casts doubt as to the nature of its referential status. In the current collection, Alborz Kazemi destroys and reconstructs his negatives to imbue them with feeling and sensibilities that they have forgotten. 

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