Between 1956 and 1968, the photographer Gholamreza Amirbegi captured a wealth of images from around his neighborhood in southwestern Tehran. At the time the city had just seen a major influx of working-class immigrants from the country’s smaller municipalities. By re-narrating these materials, which evoke not only particular, local memories, but also distinct subaltern histories, this overlooked archive tells stories of social change from below in Iran, as seen in Gholamreza’s subjects: global cinematic images, and unconscious colonial memory. By applying a comparative historical-material analysis, Khosravi Noori’s aim here is to develop a practice based, multi-sited archaeology of contemporary history. This approach begins with an excavation of the historical materials themselves, in order to both discover lost identities in these images, and to displace them from sedimented historical positions. In doing this, he asks the question: What happens to the past from the vantage point of the future?


Behzad Khosravi Nooris research-based practice includes films, installations, as well as archival studies. Behzad Khosravi Noori uses personal experience as a springboard to, through artistic research, establish a hypothetical relationship between personal memories and significant world events. Khosravi Noori’s works has been shown at Kalmar Museum, Malmö art Museum, Timisoara Biennale, Tensta Konsthall, Botkyrka Konsthall, CFF (Centre of Photography, Stockholm), Marabouparken, Centre of Contemporary art, Riga, among other venues. He is currently a Ph.D. candidate at Konstfack/KTH Stockholm, Sweden.

Keywords (exposition): Contemporary art, Artistic Research, Contemporary Archeology, Hyper-Politics, Narrative Strategy, Subaltern History, Historical Materialism, Global South, Modernism, Global Cinema, Immigration, Cold War, Microhistory

Language: English

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