What's past is (not) prologue. Shirin Salehi

Through an autobiographical piece, the author explores the poetics of the hidden image in a space of tension that debates the desire to remember as opposed to the right to forget, in relation to the political events of her country of birth, Iran. With an extremely austere language, in a video accompanied by drawings, the author pushes the image to its limits, questioning it between what is exposed and what is hidden. Both in the erased drawings and in the video testimony on the unexposed family photographs, the dense emptiness is translated into a highly symbolic matter.