An Index of Undesirable Elements

Tiziana Di Caro Gallery will be hosting the first solo exhibition in Italy of New York based artist Shadi Harouni (Hamedan, Iran, 1985), entitled An Index of Undesirable Elements, opening on Saturday, March 25, 2017 at 19:00, in the gallery at Piazzetta Nilo 7, Naples.

In her work, Shadi Harouni employs a range of mediums, from sculpture to video, printmaking, text and photography. The themes she addresses are rooted in the history of her native Iran; she often engages in a play with language to connect this history to a universal experience of loss, repression, recovery and defiance. Her work centers on the politics of space and of the gaze, and the tension between the moment of revealing and that of concealment. Her work often evokes a relationship between fullness and cavities, taut with the tension of hiding and the desire to reveal.
An Index of Undesirable Elements opens with a dysfunctional neon sign. The piece re-enacts a forgotten store sign in a provincial city in Iran. Written in Farsi, it spells out the name of the popular Iranian Prime Minister Mosadegh, a symbol of hope and progress, overthrown in 1953 through a coup d’état organized by the American and British intelligence services. But the sign lights up partially, revealing only a fragment of the name, i.e. the ending degh which in Farsi means death from heartbreak.

The exhibition continues with a series of five monoprints, pulled from a larger body of work. The abstract ethereal forms pressed onto paper are rooted in real events and archival work in Iran. They evoke narratives and people, as well as locales, landscapes, and monuments. They recall the history of sacred objects created to call in what is no longer there. Each is accompanied by a text written in the first person, that functions both as a narrative and a commentary. Here, the weight of politics is merged with the poetic, bringing out poignant themes, at the basis of which we find a persisting attempt to erase history, dodge progress, prevent memory.

A sculptural element stretching across the floor leads us to the final room where the video I Dream the Mountain is Still Whole is projected. Set in the isolated landscape of a quarry in the mountains of Kurdistan, the video features the first-person narration of a man who stands as a figure of political resistance, of the values of individuals marginalized by society. The monumental nature of this work is contrasted by another, presented in miniature form. Here, the pretext for narration is an absurd game of football played in the rocky mountainside, for which the artist herself acts as a ball girl. The presence of the woman on the scene becomes comical, as the players are both amused and embarrassed by her performance of labor. The levity of the game dampens the resignation of the project’s protagonist, who is forced to live in exile, deprived of his real life, in order to survive and bear witness.

Installation view

Artworks displayed

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Shadi Harouni

MOSADEGH Reza Nik was a shoemaker in Hamedan. A few days after the Revolution, he changed the name of his little shop to Mosadeqh, the name of the first elected prime minister of Iran, deposed in a CIA coup. He installed a neon sign with the namefour connected letters that in Farsi, reads as MSDQ. In a month or so, the new authorities ordered him to change the name. He had the first letter taken out, and now the shop was called Sedqh, which means truth. After a few years, the light in the S went out too. His shops new name was Deqhwhich means death by heartbreak. He let this new title stand,
2017,
plexiglass sign, LED light,
cm 40 x 100 x 7

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Shadi Harouni

When they began to execute the enemies of religion the Leftists, or the atheists, or even the Islamists who strayed from the official paththe hardliners faced the problem of where to bury the bodies. In the beginning, the bodies were buried in the main cemetery of the city. But the pious claimed that the infidels threatened the peace of their martyrs souls. So a Fatwa was passed, and in my city, Rasht, where the infidel had died in strong numbers, the authorities received a permit to remove the undesirable elements to a far corner, away from the others. A grave here, a grave there was dug up and pushed to the cornerlittle, inconspicuous empty spots. Except for where the three Ahmadi brothers and two of their cousins had been buried next to one another, all killed on the same night, in the same prison. There was then a large, empty hole. At night, it was rumored, someone had brought in a little monument and placed it there. In a few days, the authorities removed it. No one had taken a picture, no one seemed to know what it looked like, or who had placed it there,
2017,
monotype on platinum paper, silkscreen on wooden frame,
cm 143 x 87 x 5

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Shadi Harouni

My father was there when Dr. Mosaddeq was buried in a room in his own home in Ahmadabad. The old prime minister had asked to be laid to rest with the people who had died defending his elected government. The secret police wouldn't have it, and so Mosaddeq's friends and family brought the body back to his house, washed it, and placed it in a grave they dug in one of the rooms. My father was a young villager from Ahmadabad, come to pay his last respects. He helped dig the grave, then helped line it with bricks to make sure the body would remain intact until such time as it could be moved to a proper burial place. Thirty years and a revolution later, I went with dad to Ahmadabad to visit the tombeven the new government wouldn't allow it to be moved to a real cemetery. There was a guard at the door, a young conscript soldier, and he barred our entrance and got a little nasty when my father insisted.Ive tried often since, but I've never been allowed in,
2017,
monotype on platinum paper, silkscreen on wooden frame,
cm 143 x 87 x 5

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Shadi Harouni

The Bahi cemetery in Tehran was next to the Jewish cemetery, where my father is buried. Where the Bahi graves used to be, there is now what they call a cultural center. The government excavated the Bahi graves. Years of grave digging had weakened the soil, so they had to dig especially deep. The stones were broken and, along with the rest of what was removed from the land, poured into the foundations of the highway that was being constructed nearby. My fathers grave in the Jewish cemetery is at the Western-most corner, where all of those who died of unnatural causes are buried. When we stand by his grave, its usually to the roar of the busy highway and the sound of cheap disco music coming from the cultural center next door,
2017,
monotype on platinum paper, silkscreen on wooden frame,
cm 143 x 87 x 5

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Shadi Harouni

The mass graves where the government buried the victims of the prison massacres were shallow. In the early years, after a heavy rain, faces stared out of the arid Khavaran hillside. The regime has never acknowledged the thousands of political prisoners buried at Khavaran. But the families have gathered there every year, risking arrest and abuse, to mark the land with makeshift monuments. In 2009, the authorities ordered trees to be planted there, no doubt, in an attempt to remove the markers of a disturbing history. The state employees, however, had not counted on the graves being so shallow. As the bulldozers turned the earth, once again, the bodies surfaced. Bones and clothes poured out of the land and lay in piles. Everyone, including the workers, were upset. The bodies were pushed back into the land or removedwe couldnt quite tell. But we still gather there every year, just before the New Year breaks,
2017,
monotype on platinum paper, silkscreen on wooden frame,
cm 143 x 87 x 5

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Shadi Harouni

The grave of the Sufi in Kermanshah, a minor shrine of sort for the third generation of his students, was paved over in 2010. It was an overnight job, and no one had felt the need to remove the knickknacks inside the little shack that covered the grave. When I went there a year later, the tiny rug that lay at its entrance had been swallowed by the pavement,
2017,
sculpture, mortar, clay, digital photo on silk chiffon,
cm 160 x 120 x 12

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Shadi Harouni

I Dream the Mountain is Still Whole,
2017,
HD video,17'06'',
ed. 5 + 2 AP

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Shadi Harouni

Unnamed Mountain,
2017,
c – digital print,
cm 50 x 75,
ed. 3 + AP

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Shadi Harouni

I Long for a Game of Football,
2017,
HD video, 18'50'',
ed. 5 + 2 AP

News

Shadi Harouni, I Dream the Mountain is Still Whole

Public exhibition

We are glad to announce that Shadi Harouni is among the artists included in the exhibition If words are to be sounded at CAP • Centre d’art de Saint-Fons

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Shadi Harouni - Speaking After the Body

Public exhibition

We are glad to announce that Shadi Harouni is among the artists included in the exhibition Speaking After the Body curated by Lorenzo Lazzari.

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Shadi Harouni

Public exhibition

We are glad to announce the participation of Shadi Harouni and Damir Očko in the 15 Bienal de La Habana.


The group exhibition curated by Giacomo Zaza ‘Horizontes Fluidos’ opens to the public today at Casa Víctor Hugo in La Habana Vieja.

15 November 2024 - 28 February 2025

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Shadi Harouni

Event

This screening presents works by Shadi Harouni, Noor Abuarafeh, and Erin Johnson, each exploring complex intersections of myth, memory, and place.

Shadi Harouni

Award

We are very happy to announce the John Simon Guggenheim Memorial Foundation has awarded the Guggenheim Fellowship in Film-Video to Shadi Harouni to whom we offer our congratulations.

Trad u/i zioni d'Eurasia al Museo MAO di Torino

Public exhibition

Shadi Harouni is among the artists invited to the exhibition Trad u/i zioni d'Eurasia at the MAO Museum in Turin

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PANORAMA L'Aquila 2023

Public exhibition

As members of Italics we will participate in Panorama L'Aquila with works by Shadi Harouni

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Shadi Harouni - She Devil at BIENALSUR

Public exhibition

Shadi Harouni is among the artists included in the upcoming edition of She Devil, which will take place in the frame of BIENALSUR.