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  Shahram Entekhabi
   
 
Miguel
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Miguel
Mladen
8:1

 
Shahram Entekhabi (Iran 1963) lives and works in Berlin. He studied graphic design in Tehran and architecture/urbanism at state University in Reggio Calabria, Italy. As an Iranian-born artist who left to study in Europe, he is a product of Persian-Islamic culture enriched with a deep insight of European culture and its everyday life. As he travels the world and witnesses the similarities and differences between various cultures, he observes his surrounding without consuming it. His main interest is to reveal our sense of insecurity when faced with someone unfamiliar to us. His work therefore engages with our prejudices and suspicion of 'the Other', of our fear and delusions. He explores this by visualizing our fear and paranoia and the stereotypes we construct, because of color, religion or ethnicity; as well as how we try to separate 'them' from 'us' and in that process, how we participate in the ghettoization of the minority through perception, politics, propaganda and control.

Miguel (2005) assumes an exceptional position in the complex of works of Entekhabi. The character reminds of a Guerilla-combatant, his clothes correspond to those of a paramilitary, his full beard characterises him as anti-western. While starring at the camera, holding a cigar in the mouth and loading his Revolver, “Miguel” bursts out laughing, becoming louder and louder during the film. He grabs at his pocket and takes out a hand grenade like one of those that have been often used by suicide bomber since the Second World War. He pulls the splint and throws the bomb on the floor with a careless gesture, starting so the deferment which anticipates the detonation. Alluding to the parallelism of concepts of detonating a bomb and lighting a cigar, “Miguel” pulls out a match and lights his cigar. He takes a deep puff. He exhales the smoke laughing. The image blurs. CAMERA Arne Hector

Mladen (2005) An unknown criminal from the Balkans - In particular, I choose to highlight those individuals who would ordinarily be marginalized, made invisible or forced into self-ghettoization from the urban domain such as migrant communities and their culture, particularly the communities from the Middle East and their diaspora. The question of visibility and invisibility, therefore, has been a situation that I actively explore within my practice. With reference to my earlier video work I create different scenarios of an unknown migrant figure known as “M” who is presented in various public scenarios ( 2004, Rockerfeller Boulevard, 2004, Alcazar, 2004). Sometimes "M" is walking, running or busy creating informal structures using caution tape to raise claim for his own territory. “M” is forever on the move, mostly with his belongings in his suitcases in tow, always already aware of the fact that as a guest he may be asked to leave at any given moment. CAMERA Arne Hector

8:1 (2006) references the opening sequence of the Hollywood film "West Side Story" set in Pakistani surroundings. The work suggests ideas of isolation, displacement and undercurrent violence in the presence of the gang of young men, sharply contrasted with the presence of the young girl gradually containing herself in a web like drawing to create a secure space for herself. COLLABORATION Asma Mundrawala CAMERA M. Rizwan Khalid SOUNDTRACK Irfanullah CAST Mohsun Riaz, Mikail Ahmed, Zeeshan Ahmed, Khizr Farooq, Hurmat ul Ain, Ejaz Mubeen, Arsalan Rafique, Jawad Saleem, Jawad Tariq, Akdas Wasim

Gallery
AARAN Gallery (Tehran) www.aarangallery.com


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