The Interior: Iran |



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Babak Kazemi: From the series The Exit of Shirin and Farhad, Tehran, 2011



Derived from a cinema and screen-writing term which is used to separate outdoor and indoor scenes, the notion may be read in terms of specialized knowledge about a particular situation that is revealed when we explore a deeper connection with a personal or social situation. The emphasis is also on the double life people lead as a result of societal pressure—from local or international forces, which render their lives a hidden story, a personal diary of events. The real challenge perhaps lies in the paradoxical compulsions of a public outlook and personal belief—living as a part of society yet being alone in ones discovery of the self.

What may be considered public limitations or taboos often result in personal hesitations, and at times a kind of political isolation, which abandons people to the shores of personal enclosures—their homes or even where they work. This situation sets uncertain boundaries between ones-self and ‘others’ who constantly redefine their physical, spiritual and intellectual lives, resulting in a kind of transformation: personal, social and creative.

Images could be in the form of documentary, fictional narratives and art photography, which includes still life, landscape, abstract, or figurative form. Photos can be taken with analog and digital or even cell-phone cameras. Furthermore, these are only some ways in which the theme may be interpreted—it is open to the photographers own personal understanding of title as well, given there is a brief accompanying note.

Note: In this issue, we would like to concentrate on Iran as the geographical location where the work is produced or derived from, however non-Iranian photographers are also free to submit.

Last Date For Submissions: April 15, 2013