Behnam Sadighi (Iran) has a practice founded in documentary photography. He develops his ideas through the phenomena of his surroundings caused by socio-political and cultural issues. The experiences that have the most powerful effects on Iranian lifestyle and relationships, particularly in urban environments. These changes in phenomena and self, play an integral role in reflecting his personal interpretation of life and living.
Behnam’s work is the documentation of present situations often seeming mundane and ordinary, sometimes with design or as a result of an accident. In these ways, his pursuit to record them is critical, aiming to open up window into the real world.
Behnam’s work has been exhibited at the Royal College of Art, London (2013), Silk Road art gallery, Tehran (2013), Sharjah Museum of Art (2014), Mils Gallery, Sydney (2014), as well as numerous venues in Iran. He also taught as a photography instructor in various institutions in Iran since 2009 such as: Professional Photography School, Free Education Center of Faculty of Fine art at the University of Tehran, Tehran Technical Complex, University of Applied Science and Technology and Mazyar High Education Institute. Sadighi has also worked as a photojournalist for Culture & Research magazine; Jam E Jam newspaper, Ayandeh No newspaper and Soureh photo Agency 2003-2008. One of his notable projects is published by Mahriz Publication, entitled Ekbatan, West of Tehran from the EYE book series, Tehran (2010).
Behnam Sadighi is the winner of Magic of Persia Contemporary Art Prize 2013. During his residency he will be exhibiting a new project, The Reminder, 8-13 September, 2014 at The Showroom, London. This recent project is an attempt towards an-other look at the Facebook profile pictures of Iran’s youth. Through a reconstruction of the portraits their authorship is lost in the midst of their innumerability. These pictures, usually taken as snapshots, seem to conceal the represented person as well as all of the elements that characterise them. Does such loss of the authorship and privation of representation occur because of the countlessness of the photographs, or is it because their viewers are skimming through them so quickly? Is it caused by a desire in making and/or representing a different sort of being in a matter of seconds? Or, it is such way of doing, a remembrance of an existence that shares the untold and the hidden in a corner of time?