This project came together from the integration of two ventures: First- Various collections of work from Roghayeh Najdi and Nasser Bakhshi, focusing on collective memories, documentation, collecting, getting inspiration, and creating from archival sources.

Second- A selection of works from the permanent archival repository and the works from the Tabriz Archive Museum, in addition to prints and publication works from the Archive Museum and the participating artists.

In recent decades, archive-based artists have used the integration of documenting in their projects to create a kind of artistic development, the results of which are artworks that present the unique view of artists toward the process of documentation, inspiration, gathering, and creation. Additionally, we can observe how the outlook of these artists regarding their respective subjects and the environs of their lived experiences changes and evolves over time.

Roghayeh Najdi and Nasser Bakhshi draw inspiration from the world of contemporary art and the collective memory from recent decades to move forward with an intertwined path of artistic creation and development. This project showcases a selection of the artworks and archival works of these artists.

Here we observe a general picture of their approach to the conception and shaping of their artworks, as well as the creation of the Archive Museum that they have constructed in their town of Tabriz; we can also witness their approach to historical documentary sources and how they integrated that into their artworks.

Statement

The Observer and Archive of Memory

Collective memory is a self-portrait of each society, and the observer is its witness. Exploring collective memory through the unique outlook of artists is an artistic approach toward the notion of memory, tainted with the personal touch and particular thought process of each artist. The observer, as an individual separate from the formation and existence of collective memory in recent decades, becomes a subject in the hands of political science theorists, undergoing transformations and controls, benefiting the rulers. In such situations, there will be no observer distanced from discussions and events; rather, those who observe are part of the occurrences themselves. As witnesses to various events, we must remember that we are also part of that situation and may share in events that might not be morally justifiable. This project, with the mentioned approaches, presents us with scenes from the collective memory of the geography of contemporary artists. Considering their backgrounds, they document issues and, using those resources, strive to create and present a form of art that reflects our identity or the discussions mentioned.