Shirin Mohammad

2022

GAK (Gesellschaft für Aktuelle Kunst), Bremen, Germany

transparent broken glass sticker, metal, milk bucket, milk, fake blood, LED panel, transparent glass paper, metal water tap, a4 paper.

Text written by Noëlle BuAbbud

As you start working sheep it is important to make sure they follow you, the Shepard. Otherwise your cause is lost. Or maybe it isn’t. The Shepard has a way out–– a special door, just for you. You can opt out of the way of the guillotine.

It’s quite a thing to stand on one side of the viewing glass and believe you are actually, in fact, outside. To see yourself as separate from this circulation of events, say crisis, say what is happening right now, is to see yourself as standing on this side of the glass, shielded. It is all a staging, a set up: the protests, the demonstrations, the moments of collective refusal. Except when it isn’t. Here, they sleep outside for climate justice while their taxes go to support one of the global leaders in weapons manufacturing and exports. There, they bring a flock of sheep to slaughter before the eyes of government officials, demanding their labor rights, while the clean water runs dry and so does the milk. Here, they point a finger with a stately pomp at corruption over there, then send their foundations and NGOs as saviors. There, they resist. Here, resistance is rendered benign. There, they wage an asymmetrical battle against corruption, proxy invasions and collapse. Here, it is only in preparation for what is to come, a dress rehearsal. It is the same as there but at a safe distance on this side of the glass. It’s like setting the dining table even though it will not host any guests in the near future. Except the future is a horizon which has already approached, and we are late to the party.

Crisis calls the wolves forth. It has been noted that sheep will sometimes take on the characteristics of wolves when placed under duress.

Photos © Jiwoo Park

2023

Künstlerhaus Bremen, Germany

Rebellion of the slogans features the first iteration of a research-based multi-chapter work that concentrates on the language and aural aspect of slogans from various historical ruptures in Iran; from the Constitutional Revolution (aka Enghelāb-e Mashrūteh) in the early 1900s, to the current. For the first chapter of the work at Künstlerhaus, Mohammad focuses on four general strikes and protests dating between 2017 and 2023.

Photo: © Fred Dott

Part of “Off-screen Sound” solo show

metal, water, sand, wire, fluorescent light, glass

2017

O Gallery , Tehran

Generation Mechanism of a Tsunami:

 As the wind blows into the ocean, the force of the wind adds pressure to the surface of the ocean while transferring some of its energy to the water. The story between water and wind generates waves.  Water reacts to wind and the result is the generation of waves that are created on the surface of the water.  These waves, known as "surface waves" are the result of the displacement of longitudinal and transverse particles in water; particles that move clockwise in circular motions. 

"Tsunami" is different from regular ocean waves; tsunami is caused by sudden displacement of a substantial amount of water attributed to turbulent currents underneath the sea, such as underwater explosions, earthquakes, and landslides.  Tsunami is often caused by the displacement and detachment of underlying layers of the ocean from earth. As a result of this displacement, the fearsome force of depth moves to the surface of water and spreads in all directions.  The average height of these waves horizontally varies between three and thirty meters.  Tsunami begins its journey unnoticed at a speed of about 800 km/hr. and is often invisible to sailors and seafarers. 

It takes hours and days for tsunami to finish its journey and reach the coast.

Tsunami waves have a small amplitude (wave height) offshore and a very long wavelength (often hundreds of kilometers long), forming only a slight swell usually about 300 millimeters above the normal sea surface with a very high level of destruction. 

As tsunami waves approach the coast and the waters become shallow, its speed gradually decreases and its amplitude grows enormously and the tsunami takes over the entire land.

In this experiment, the force caused by the movement is demonstrated by the cube suspended over the water, which by its potential submergence into the water, an enormous wave is generated and the elevated section of the sand is destroyed.

Photo © Mehran Danaei

Kunstverein in Hamburg, Germany

2023

Two-channel video

KW Berlin, Saatchi Gallery London

Portrayed is a former industrial complex located between the two cities of Nehbandan (Southern Khorasan province) and Zabol (Sistan-and-Baluchestan province) both on the official list of exile destinations. The complex went under construction in 1977 and started production in the 1980s. It is located in a desert climate exposed to the Wind of 120 Days; four-month long summer wind. The winds affect every aspect of life in the region, raising blinding sandstorms and causing more drought in turn.

2017

O Gallery , Tehran

video, sound, installation - solo show

“Off-Screen Sound” in cinema refers to the sound that is part of a scene, but its origin is unknown to the viewer, from a source outside of the visible frame. “Off-Screen Sound” is a collection of videos, installations, and sounds based on archival material studied by me on the Iran-Iraq war documentary TV series, Ravayat-e Fath (The Narration of Victory) directed by Morteza Aviny.

Photo © Mehran Danaei

2017

O Gallery, Tehran

metal, blue velvet fabric, LED

2015

Kunstverein Gallery, Freiburg, Germany

War No.1 | 02:23 | color | sound | one channel

War No.2 | 01:15 | color | sound | one channel

Part of “Off-screen Sound” solo show

2017

microphones, microphone stands, blue velvet fabric

O Gallery (Tehran) , Rotterdam Art Fair (Netherlands)

multi channel video and sound installation

video : two channels, mute, 00:40, loop

sound : 01:29 , loop

Photo © Mehran Danaei

2018

Bonhams, London

mixed media installation

“Plot generator” is a collection of a video, sound installation, photography and archival materials, displays a giant rock which fell down from the mountain on March 27th, 1978 in one of the north roads of Iran. This rock falling had happened nine months before “1979 Revolution” occurred in January 1979.

 “Plot generator” creates a broad range of tasks by prompting scenario that can be developed into any scale for immediate future. Each sentence variables are designed to come together and generates scenario with character, setting, situation, and theme.

2016

No.6 Gallery (Tehran) , CC ISFAHAN (Iran)

metal, reflex glass, aluminium board

cube size : 50x50 cm , stand height: 100 cm

research board

Reflex Glass:

In daylight, no one can watch the inside of the house from outside and the surface of the glass from inside is not mirroring. At night an outsider may watch the inside of the house and the glass from inside is mirroring.

 Disadvantages: buildings will turn into a set of “window-eyes” capable of watching and being watched.

 Advantages: buildings will turn into a set of “window-eyes” capable of watching and being watched.