sculpture, installation, video
Chelgis series, The Well, Sara’s Paradise
Mandana Moghaddam is an Iranian-Swedish contemporary visual artist whose installation work was most notably exhibited in the 51st Venice Biennale. Affected by the Iranian Revolution, Moghaddam was granted asylum in Gothenburg, Sweden where she continues to work to this day. Her work covers such themes as alienation, communication, and gender. Working with these themes, Moghaddam creates works that attempt to bridge cultural boundaries, inspire intercultural dialogue, and memorialize oftentimes contentious aspects of Iranian life.
1 Early life and education
2.2 Significant works
2.2.1 Chelgis Series (2005)
2.2.2 The Well (2008)
2.2.3 Sara’s Paradise (2009)
3 See also
5 External links
Early life and education
Mandana Moghaddam was born in Tehran in 1962. At the age of 17, the Islamic Republic came to power in a revolution that later led to her father’s execution as a member of the Shah’s army. She was raised in the often hostile environment of Tehran, and was in her early twenties during the majority of the Iran–Iraq War (1980–88). Her education was disrupted and as a result of hostile conditions, she was forced to flee the country.
Moghaddam’s exposure to unrest, strong nationalism, violence, and instability the Iranian revolution was to have great effect on Moghaddam’s later works, as well as her own sense of identity. Moghaddam’s later installations, specifically Sara’s Paradise (2009), show that Moghaddam finds her identity not only in the memory of her country and people, but in a global sense of unity and reconciliation. This she reflects and promotes in her works, as an inspiration to dialogue, healing, and good will. In doing so Moghaddam recovers the broken sense of self and identity tied to her early years.
Chelgis Series (2005)
The Chelgis series, based on an Iranian fairy tale, works with hair as a symbol of the experience of a woman in contemporary Iranian culture. The series is realized in four parts, each part utilizing a different medium and perspective on the locus of the series, hair. Moghaddam’s use of natural hair in the installat