performances 7 issue in focus interview campaign space Criminalization Azadeh Akhlaghi Together for Yes Questioning Dis/ability We explore why criminalization The photographer speaks Ireland’s historic This curated space provides is not the answer, and how about her political and referendum overturned a live and immersive we can build cross-movement artistic vision, and her photo a constitutional amendment experience on disability and alliances to work on stronger, series being exhibited at that highly restricted sexuality, and the experiences more just alternatives. 2 #recon2019. 8 access to abortion. 6 of women with disabilities. 5

reconference daily, kathmandu, nepal

ISSUE 1 10 APRIL 2019 ret h i n k rei m ag i n e reb o ot WWW.CREAWORLD.ORG REMOBILIZE Why are we here?

o much of our lives are SEX WORK Let’s rethink the under threat today. Restric- binary between feminism and sex S tive political environments work. Let’s reimagine how we are posing serious threats to criti- talk about sex work, and make #BLACKLIVESMATTER cal thinking, freedom of expres- the case for sex workers’ rights sion and human rights. States are and decriminalization. Let’s The Black Lives Matter cam- silencing dissent in the name of reboot feminist organizations paign was created in 2013 by national security. and movements to embrace three organizers called Alicia In this moment of shifting power sex workers’ rights and the full Garza, Patrisse Cullors and centers, feminists can no longer decriminalization of sex work – Opal Tometi in the US, as a count on governance structures or as a feminist issue. response to the acquittal of human rights systems to protect or Trayvon Martin’s murderer, secure women’s rights. Movements SEXUAL /GENDER DIVERSITY George Zimmerman. The cam- are gearing up in different ways to Let’s rethink why we are choos- paign works against violence meet these unprecedented chal- ing the language of ‘sexual and and systemic racism towards lenges. Feminists, activists, artists, gender diversity’. Let’s reimagine black people, and is a rallying allies and policymakers in their ideas about sexual liberation, cry for ALL black lives striving own distinct and diverse styles freedom and autonomy and place for liberation. and artistic expressions continue these back into the sexuality and to challenge, provoke, and reimag- gender discourse. Let’s reboot the ine another world. possibilities of cross-movement The following nine key themes alliance-building and advocacy are presented and highlighted at through narratives, stories and reconference in multiple mediums documentation. and formats. and in different people’s lives. intersections with the environ- SPORTS Let’s rethink how PINJRA TOD ABORTION Let’s rethink cul- Let’s reboot how ideas of consent ment. Let’s reimagine models of to tackle discriminatory practices tural and popular narratives that can be used to expand an intersec- resistance and leadership inspired that act against women in sports Pinjra Tod (Break the Cage) is guide the abortion discourse glob- tional feminist agenda. by the collective power of women on grounds of sexual orienta- an autonomous women’s col- ally. Let’s reimagine decriminali- in environmental activism. Let’s tion, , race, caste lective of students and alumni zation by mitigating the effects of DISABILITY Let’s rethink issues reboot our activism to address the and ethnicity. Let’s reimagine of colleges from across Delhi, restrictive legislation. Let’s reboot of disability and sexuality. Let’s inequalities faced by people on new perspectives and solidarities that seeks to make hostel conversations on some of the most reimagine, through art and per- the margins because of environ- within and across movements. and paying guest accommoda- profound fault lines that have formance, women with disabilities mental trends. Let’s reboot analysis around tion regulations less regressive so far limited cross-movement as artists and build a powerful the policy and legal frameworks and restrictive for women stu- alliance building on the issue of counter-narrative. Let’s reboot PLEASURE AND DANGER that restrict and control women dents. It also seeks to reclaim disability and abortion. conversations on some of the most Let’s rethink pleasure, danger in sports. public spaces. profound fault lines that have so and who is excluded when we CONSENT Let’s rethink critical far limited cross-movement talk about both. Let’s reimagine TECHNOLOGY Let’s rethink the questions about consent, recog- alliance building on the issue of social norms and popular culture role and significance of technol- nizing the need to ensure that disability and abortion. that push for contradictory defi- ogy in our lives. Let’s reimagine encounters are based on mutual nitions of pleasure and danger. the digital as a powerful political and enthusiastic desire and not ENVIRONMENTAL JUSTICE Let’s reboot the idea of pleasure space of opportunities and threats. just permission. Let’s reimagine Let’s rethink issues of gender, and danger as being a binary, and Let’s reboot our activism away how consent plays out for differ- sexuality, disability, health and redefine them through the lenses from the false binary of physical ent bodies, in different situations human rights, drawing upon of agency and autonomy. only versus digital only. #NOTJUSTMYWORK #NotJustMyWork is a campaign by CREA to draw attention to the myriad ways in which univer- sal human rights apply to sex What to expect at #recon2019? workers. Sex workers are organ- izing to claim and advance their ART. EXHIBITS. DANCE. POETRY. Reconference is being translated hotel was our first choice. rights as workers, as citizens 500+ into seven languages – Hindi, This time, Crowne Plaza Kath- PARTICIPANTS FROM THEATRE. CONVERSATIONS. entitled to social benefits, as ACROSS THE GLOBE INSTALLATIONS. CAMPAIGNS. English, Bengali, Arabic, Spanish, mandu, Soaltee has made all out- part of the feminist movement, PANELS.MUSIC. FILMS. French and Sign. door spaces wheelchair accessible. and as people entitled to a 180 CLIP REELS. SPOKEN WORD. In 2011, CREA organized its first The hotel has worked closely with life of non- and ORGANIZATIONS PRESENTATIONS. PAINTINGS. conference Count Me In! at Crowne us to build ramps and provide rea- respect. In partnership with the MEDIA. PUBLICATIONS. Plaza Kathmandu, Soaltee. This sonable accommodation to people All India Network of Sex Work- 50+ PODCASTS. MOVEMENTS. was the only hotel in the city to with disabilities. We have part- SELF-LED MOVEMENTS ers, CREA is launching this STAND UP COMEDY. MIME. adapt to the needs of people with nered with Planet Abled and have campaign to suspend judgment 38 STORYTELLING. PLENARIES. disabilities. In 2018, when CREA tried our best to make #recon2019 around sex work. ARTISTS WORKSHOPS. began planning for #recon2019, this as accessible as possible! 2 issue in focus 10 APRIL 2019 TODAY’S PLENARY Criminalization More harm than good challenging criminalization and is not the answer exploring feminist fault lines Excerpts from writings by CREA’s Executive Director Geetanjali Misra speakers: Monica Raye Simpson, SisterSong | Kholi n their article Criminal Law, ready focus of a lot of our activism. Butelezi, SISONKE | Estefania Activism and Sexual and Repro- When we engage with criminal law Vela, CIDE | Rupsa Mallik, ductive Justice: What We Can to further a human rights agenda, CREA | Jasmine George, I Learn from the Sex Selection Cam- there are a range of issues, possi- Hidden Pockets and RESURJ paign, Geetanjali Misra and Vrinda bilities, and challenges that merit moderator: Susana Fried Marwah begin by exploring the consideration.” complexity of determining evi- Geetanjali Misra goes on to dence of and causes for a skewed highlight the impact of crimi- -to­-male sex ratio. nalization in her article Decrimi- The authors consider some nalizing in India of the messaging and advocacy published in Reproductive Health intended to combat sex selection Matters. “This law had led to seri- and ask whether these have inad- ous discrimination against people vertently been counterproductive engaging in homosexual acts, who Geetanjali Misra to a more transformative women’s were subjected to frequent beatings Monica Raye Simpson rights agenda. Ultimately they want and blackmail attempts by police, brought to a successful conclusion. to examine the question of what who used the threat of prosecution A provision in the Penal Code of a principled use of criminal law against them. NGOs working with India that had endured since 1860, may look like on the questions of sexual minorities have also been when it was imposed on all British sex selection and abortion and, by harassed and sometimes charged colonies, was read down. The high extension, on the broader spectrum under Section 377. By stigmatizing publicity of the case has inspired of sexual and reproductive health homosexuality and threatening debate and discussion among and rights issues. men with prison, the law is also Indians who had not previously They write that, “Criminal law is likely to have impeded the battle considered sexuality issues, open- Kholi Butelezi a site where activists have sought against HIV.” ing minds and increasing the flow to inscribe or challenge the limits India began its struggle to of new ideas. Across the country, of sexual relations – saying no to decriminalize homosexuality in the decision sparked celebrations coercive sexual conduct and yes 2001 by challenging Section 377 among sexuality, , gay, to same-­sex sexual conduct, for of the Indian Penal Code. In 2009, bisexual and (LGBT) instance. And although we are when the Delhi High Court decrim- groups, which see decriminaliza- often acutely aware of the limits of inalized adult consensual sex, tion of homosexuality as a vital step the law as a force for social and sys- Geetanjali noted, “With this, an on the road to their acceptance by temic change, law also becomes a eight-year advocacy campaign was the wider society.” Estefania Vela

REREAD Beyond Virtue and Vice Jasmine George Rethinking Human Rights and Criminal Law Increasingly, a range of allied movements are challenging EDITED BY ALICE M. MILLER AND MINDY JANE ROSEMAN the criminalization of sexuality, sexual conduct and gender. An extract from the book’s introduction... and more What are the linkages between criminalization of sexuality and ecriminalization cam- A GLIMPSE OF THE BOOK gender? What does this suggest paigns for abortion, sex for building stronger cross-move- D work, and HIV regularly In Part I, Transnational Theory and ment alliances and strategies that produce empirical studies of who Practice, Janet Halley is in conver- encompass the range of linked gets policed or goes to prison sation with Aziz Ahmed. Alice M. forms of criminalization? How under these laws, with the factual Miller and Tara Zivkovic discuss do we effectively engage allies to evidence of the failure of intended how prosecution became the go-to challenge the ways we do advo- effects and discrimination enlisted tool to vindicate rights. Alli Jernow cacy and activism taking issues as part of the law reform efforts. discusses human rights, criminal around criminalization into con- Our calls to use criminal law for law and the regulation of sex and sideration? How do we help show our own ends require a similar com- gender and Widney Brown reflects the problems of going down the mitment to empiricism – solidarity as a human rights activist. path of criminalization? and empathy, at least rhetorically, In Part II, National Historical Let’s rethink criminalization open a path toward accountability: Perspectives, Sealing Cheng and and what it really accomplishes? the obligation to know and respond Ae-Ryung Kim write about pros- Let’s reimagine the alterna- to the distributional and propor- titution exceptionalism in South tives to criminalization. What tional consequences of criminali- Korea. Sonia Correa and Maria happens when you decriminal- zation for all… It is a tall order: the Lucia Karam discuss Brazilian sex ize? What else needs to be done cultivation of solidarity, empathy, laws. Oliver Philips discusses laws learnings from the sex selec- to address ongoing punitive poli- and accountability, informed by an and customs in protecting and tion campaign in India. Esteban cies and practices? awareness of indeterminacy and patrolling relations of gender and Restrepo Saldarriaga discusses Let’s reboot alliance-building the knowledge that if we hold back sexuality and Mindy Jane Roseman old moralities under new clothes. across criminalized groups. How on revenge, some may well suffer writes about abortion in France. Rasha Moumneh discusses sex do we bring a broader perspective unfairly through failure to redress. In Part III, Contemporary panics in Lebanon. Scott Long says to our advocacy? How do we get This is why we premise our rules National Concerns, Alice Miller objects in political mirrors may not movements that challenge crimi- of engagement on a cautious, even is in conversation with Wanja be what they appear and Joanna nalization in discussion with ambivalent regard for both criminal Muguongo. Geetanjali Misra and N. Erdman makes an argument for each other?Pictis rero tectemo justice and human rights. Vrinda Marwah write about their decriminalization. CRIMINALIZATION 10 APRIL 2019 exhibits 3

What has always elicit a particular kind of atten- interested me is the tiveness. And offer possibilities to relationship between build kinetic layers. I like to slow An Interregnum people down, to create embodied the viewer and the viewing. This underlies most of image – what I found my work, particularly immersive in these animated light exploring the art of installations. boxes – here there AG: In one of the light boxes in The was something that Yamuna Series, there is the image of was neither still nor a woman who is holding up papers moving but it was and it is juxtaposed against the Sheba Chhachhi bank of the Yamuna and it’s barren something in-between and you can see that it’s dystopic. and it basically draws Sheba Chhachhi is a photographer, women's rights activist, How did you conceive these juxta- your attention in a positions as you were researching writer, installation artist. She has exhibited her works widely very different way. It is The Yamuna Series? like an interregnum – in India and internationally. In 2017, she was awarded the SC: Well I think it began with going a space between. Prix Thun for Art and Ethics. In this interview, she talks to to the Yamuna and photographing We are inundated CREA’s Arushi Gupta. and finding this incredible white with moving images froth everywhere that actually and we are inundated looks quite beautiful when you just see it and then you realize that its with still images and pure poison, the water is extremely here something toxic. So there was this encounter else happens. with the river herself, with her condition and of course, all the research and reading about it. This connected with someone I had met AG: Can you please tell us some- some years before who lived on the thing about your personal and banks of the Yamuna. artistic journey? It’s a curious story. She was someone from a middle class SC: I started as a documentary pho- home who had gone to kill her- tographer and an activist in the self, drown herself in the Yamuna women’s movement. It wasn’t that but was saved by a sadhu (ascetic). I was documenting the movement She then began living in this little in any kind of journalistic sense. hut on the banks of the Yamuna I was basically recording it for us, and became a sadhu herself. Then for our own history. I was literally she faced a really ironical situa- pointing the camera one moment tion. As part of the drive to clean and shouting slogans the next. So up the Yamuna what they really do it was really photographed from is remove the poor. They destroyed within. Those images for me were a large community that was settled meant to circulate within the move- on the banks of the Yamuna for ment and challenge stereotypes. generations and turned the area In mainstream media, you either into Yamuna Golden Jubilee Park. had the helpless victim, the beau- The [people of the] community that tiful maharani or the consumer. lived on the banks have been sent These images were of women in far away from their jobs, their lives. struggle, militant women trying to So this woman was under threat change social structures, confront- of displacement. This was some- ing patriarchy. A lot of that early time in the late nineties. She was period when I came back to Delhi struggling to show that she had a and got involved with the wom- legal right to actually live in the en’s movement, the eighties, was little hut on the bank of the river. A very much about dowry murders. above Edible Birds III, Kukkut-Kak Asana, Myanmar Drought, Moving Image Lightbox, 2007 riverbank is home to many marginal I built up, over about more than below Yamuna 3, from The Yamuna Series (triptych), Moving Image Lightbox, 2005 lives and over the years of wander- ten years a substantial record of ing and traveling, it’s always been the movement, not just protest but sisters in the movement, humsafars the empathetic space that we had the city and ecology – this was in in any city, a very interesting place also workshops, discussions, street (fellow travelers) walking together. created between ourselves. For a way a continuation of the work to go… and meet all kinds of people plays, etc. The images that I had created over me this was also trying to embody on the body. I was looking at the who do not fit into the mainstream, By the end of the eighties, early this decade represented only one some feminist principles. I wanted body of the earth, the body of the who end up on banks of rivers. At nineties, I began to feel trou- aspect of who they were. to work these within the actual city, and our bodies in relation to one time the banks were where bled by certain questions. It was I then went into an experiment medium. their conditions. civilizations started and now it’s increasingly clear that all photog- to develop collaborative staged I was also troubled by the way the marginal and the rejects that raphy was interpretive and that portraits with seven women from in which photography is received… AG: Please share the idea behind you find there. They are often that no medium is transparent. So the women’s movement where I the gallery walk where you flip the still and the moving images in very interesting people so I made each image was produced through invited each woman to work with through the images the way you the two series that are going to be friends with this woman and she the subjectivity of the photogra- me to create a representation. This flip through the pages of a maga- exhibited, The Yamuna Series and told me about this struggle. I vis- pher and therefore the politics was very much about sharing [the] zine. The first thing that I wanted Edible Birds. ited her over the years and the last of the photographer. However, power of the photographer, chang- to do was to take the photographs time I saw her, she had this bunch this was contrary to the canon of ing the balance of power, giving off the walls, take them into space SC: What has always interested of papers where she was trying to documentary street photography the subject agency to determine and layer them, make the encoun- me is the relationship between get ID proof as a sadhu. She later and the objective ‘truth’ claim of how she is represented. I invited ter complex and draw the viewer the viewer and the image – what proved that she had a right to live photography. each woman [to] choose a place, to into the narrative. This led to creat- I found in these animated light there and to fight off the destruc- In my own practice, I found that choose props, objects that would ing large photo-based installations. boxes – here there was something tion of her home, for the time being. this militant image that I had in a help tell her story. A posture. A gaze. The work focused on women, on that was neither still nor moving When I was creating this project way developed and which had been Together we would create a kind of the body, cultural memory in the but something in-between which that encounter came back to me. circulated and had in many ways mise-en-scène – like a theatrical set early years and then I grew increas- draws your attention in a very dif- It is not necessary that I am work- become the face of the movement, up – within which she would pose, ingly concerned with urban ecology ferent way. It is like an interreg- ing on a project and everything had become the new stereotype. I speak; I would photograph. from around 2000. Personal experi- num – a space between. We are happens at that particular time would see press photographers, What I was trying to do was to ences, encounters with certain situ- inundated with moving images because these are ongoing enquir- reproducing that same shouting create a space of inter-subjectivity ations, as well as reading, analysis, and we are inundated with still ies, ongoing interests. The image mouth and raised fist. That brought where the image we were produc- research fed into this concern. I do images and here something else of her holding her papers becomes with it another kind of self-reflec- ing was not mine and it was not a lot of research, which is an inte- happens. For a moment you think emblematic of the precariousness tion. I felt that while I knew these even fully hers but it was something gral part of my process. I began to it’s a video and then people slow and fragility of the lives of women women so well, they were my that we had co-created because of work more with questions around down and they start looking. They in a hyper-developing city. 4 participants 10 APRIL 2019

Aapurv Jain | Aarthi Pai | Adelaida Garcia Codina | Aditi Gogia | Aditi Rai | Afrah Shafiq | Afroja Arman | Agnieszka Król | Ahodi Credo Addis Semevo | Aicha Chennaoui | Aiman Khan | Aldijana Silic | Alex Etchart | Alexa Bradley | Alexandre Paulikevitch | Amanda | Amanda Hodgeson | Amanda Van Deven | Ambika Tandon | Amina Bomzan | Amit Timilsina | Amreen | Amuda Mishra | A M Umesha Madumali Chandrika | Ana Francis Lopez | Anahita Sarabhai | Andrea Barragán Gómez | Angelina Cofer | Angelique Abboud | Anindya Hajra | Anisha Chandra | Anisia Byukusenge | Ankit Gupta | Anne Gathumbi Masheti | Anuradha Chatterji | Anustha Mainali | Aparna Uppaluri | Apekshya Niraula | Archismita | Arkana Khatoon | Arthur Mubiru |Arti Zodpe |Aruna Dholakiya | Aruna Rao | Arundhati Roy | Arushi Gupta| Ashley Edokpayi | Ashrafun Nahar | Asli Coban | Ayse Yesim Erkan Yetiser | Ayuma Shikuku | Azadeh Akhlaghi | Baaraan Ijlal | Babalwa Mtshawu | Balakirushnaraja Ashwiny | Bandana Sharma | Barbara Lotti | Barbara Tumwebaze | Barnali Chakrobarty | Barsha G C | Batte Shamilah | Berfu Seker | Betty Cheptoek | Bharat | Bharti Patel | Bhawana Rai | Bhawana Sitaula | Bhumika Shreshtha | Bijaya Dhakal | Biplabi Sreshtha | Bishakha Datta | Boglárka Fedorkó | Borislav Gerasimov | Brenda Akankwasa| Brenda Wambui | Bui Thi Minh Ngoc | C Van Der Vlies | Caroline Tagny | Cecilia Sotres Castillo | Charitra Kumari K C | Charlotte Rose | Christelyn Sibugon | Christian Cherene | Christina Zampas | Cindy Clark | Comfort Mussa | Cornelieke Keizer | Crystal Rodriguez | Cynthia El Khoury | Cynthia Rothschild | Cynthia Steele | Damla Eroglu | Danielle Hooijmans | Danielle Nolen | Daniel McBride | Darcelle Lewis | Dareen Tatour | Dayanara Marte | Daysi Flores | Deepa Dahal | Deepak | Delphine Uwambayingabire | Devashri Mukherjee | Deya Bhattacharya | Diakhoumba Gassama | Diana Samarasan | Diksha Dubey | Dikshya Khadgi | Dipika Srivastava | Dipta Bhog | Disha Sethi | Dorothy Nakato Mubezi | Dulal Das | Durga Sapkota | Ebony Johnson | Edward Muir | Elaf Nasreldin | Elaine Bortolanza | Elie Chryssakis | Elizabeth Miller | Elizabeth Njeri | Elsa Oliveira | Emine Gulsah Seral | Emma Mogaka Kerubo | Emmanuel Ndabombi | Erica Lim | Erick Monterrosas | Erika Cortes | Essy Adhiambo | Estafania Vela | Ezster Kismodi | Farida Begum | Fatima Farhana | Florence Otieno | Fortunë Haziri | Gabrielle Le Roux | Ganga Thapa | Garima Shrivastava | Gayathri Thayappa | Geetanjali Misra | Gem Lualhati Daguman | Gema Hierro | Genesis Luigi | George Mwai | Georges Azzi | Georgina Anabella Orellano | Ghausia Rashid Salam | Gillio Baxter | Ginney Liu | Gita Das | Gladys Faith Njeri | Gomawati Pun| Gopi Shankar | Gopika Bashi | Grace Banu | Gretchen Killpack Burger | Grindl Dockery | Gunjan Dixit | Gurmid Singh | Gyanu B K | Haitske van Asten | Hajjara Batte | Hameeda Khatoon | Happy Mwende Kinyili | Harsh Chauhan | Haydee Sarahi Gonzalez Rodas | Heidi Paredes Hawar | Helda Khasmy | Houyem Mchirgui | Huligemma Iranna | Ian Mangenga | Imameleng | Imtiyaj Riyaj Hakim | Indhra Bhaskaranthambi | Indu Harikumar | Irene Kuzemko | Iris Derbsch | Ishani Cordeiro | Isha Vajpeyi | Ivana Radačić | Jac Sm Kee | Jaime Todd-Gher | James Savariyar | Jan Moolman | Jane Ndenga | Janet Harris | Janet Price | Janet Wong May Chin | Jasmeen Patheja | Jasmine George | Javid Syed | Jaya Sharma | Jayanthi Kuru-Utumpala | Jebli Shrestha | Jedidah Maina | Jeeja Ghosh | Jemie Shrestha | Joanne Sandler | John Chaudhary | John Greyson | Joy Chia | Judy Diers | Jules Kim | Julia To | Julie Khan | Julius Kaggwa | Jyothi H | Jyoti Bajpai | Jyotika Jain | Jyotsna Maskay| K Satyawati | Kabita Rai | Kai Reddy | Kalpana Khare | Kamlesh Barmeda | Kanchan Pamnani | Kao Sochevika | Karla Amelia | Karuna Thapa | Katarzyna Żeglicka | Kate McGrew | Kathleen Klock | Katrin Wilde | Katrina Karkazis | Kaushik Gupta | Kawira Mwirichia | Kaythi Win | Khali Twaha Chemonges | Kholi Buthelezi | Khut Navy | Kristina Kaghdo | Krystyna Kacpura | Kuldeep | Kusum| Kusum K C | Kusumu | Lalita Limbu | Lara Aharonian | Laura Carvajal | Laura Kanushu | Lavanya Mehra | Laxman | Leen Hashem | Leidy Natalia Moreno Rodriguez | Liesel Bakker | Lolita Chavez | Lucia Dominique Pascale Solages | Lucinda van den Heever | Lukas | Luna Coming Irazabal Da Luz | Lydia Alpizar | Lynnda Kiess | Macklean Kyomya | Madhu Mehra | Madhu Jagdeeshan | Madhumita Das | Mafijul Rahaman | Magdalena Firlag | Mahendran Niroshinidevi | Maie Panaga | Maitri Morarji | Malashree Tharubai together to Gadhavi | Mallika Taneja | Malyn Ando | Mamata Shrestha | Mamta Singh | Manel Jeblaoui | Manisha Dhakal | Manjima | Margarita Salas | Maria Diaz Ezquerro | Maria Nantale | Maria Ni Fhlatharta | Maria Riot | Maria Soledad Liparelli | Maria Toorpakai Wazir | Mariam Topchishvili | Marisol GarciaSegura | Mariya Taher reimagine | Marta Rawłuszko | Mary Jane Real | Maryam Mayanja | Marygorety Akinyi | Massan D’Almeida | Mausami Baxla | Mayuri Karna | Mbombe Kagasi | Meena Seshu | Meena Sharma | Meenu Pandey | Melissa Wainaina | Meriç Doğan | Michelle feminist Lama | Mihaela Dragan | Mihai Dragolea | Milagros Olivera Noriega | Mille Dollar | Mindy Roseman | Minerva Valenzuela | Monica Raye Simpson | Mónica Selene Gozález | Mourine Aichinj | Mubashira Zaidi | Muhammed Bhuiyan | Muktasree Chakma | Muratalieva Ukei Kalmuratovna | Nadia van der Linde | Nampijja Shamim futures | Nana Abuel Soud | Nana Akosua Hanson | Nancy Nothando Chabuda | Nandini| Nandini K Oza | Nandini Mazumdar | Nandita Roy | Nasala Chitrakar | Natalie Aldern | Nawrin Nujhat | Neal Brown | Neonats Rai | Nida Mushtaq | Nidal Ayoub | Nidal Azhary | Nidhi Goyal | Nikzad Zanganeh | Niluka Gunawardena | Nishant Shah | Nishla Shayka | Nitika Pant | Nityanand Bhatt | Nohely Guzmán Narváez | Norma Roxana Diaz Laurente | Nthabiseng Mokoena | Nupur Basu | Nurhayatee Yusoh | Pabitra Majhi | Panchmani Vincent | Paromita Vohra | Payoshni Mitra | Peninnah Mwangi | Phoebe De Padua | Pim Savetmalanond | Pinki Pramanik | Pooja Rajiv | Poonam Kumari | Poornima Rajendra Mandape | Poornima Sukumar | Putheavy OL | Potluri Devi | Pradhanya Yonzon | Prakash Raj VM | Praneeta Kapur | Prashansa Karki | Prashansha KC | Prekchhya Shrestha | Priya Nanda | Purity Kagwiria | Purushotham | Pushpa Joshi | Pushpa Sharma | Pushpam Ghimire | Putul Halder | R Ramakka | Rabeya Sultana | Rachel Bali | Radhika Pariyar | Raghavendra Meera | Rahul Prajapati | Raina Roy | Rama Vedula | Ram Sasmal | Ramyata Limbu| Rani Kumari | Ranjana Dhami | Rashi Wadhera | Rashna Mahzabin | Reena Akshay Chaudhari | Rekha Chauhan | Rekha Yadav | Renuka Sanjay Kale | Reshma Valliappan | Reshmaben Vohra | Rhea Chawla | Rhoda Garland | Richa Kaul Padte | Ritambhara Mehta | Rituparna Borah | Roselyn Odoyo | Roua Al Seghaier | Ruby Johnson | Rudo Chigudu | Rukhsana Kapil | Ruokuobeituo Bibi Soho | Ruokuozotuo Kuku Soho | Rupsa Mallik | S James Victor | S M Kusuma Jayalath | S Thivya Rakini | Saartje Baes | Sabeena Gadihoke | Sabina Rashid | Sabita Lamichhane | Sadhna Prasad Sahar Yahiaoui | Sajju Maharjan | Saleha Rauf | Sally AlHaq | Sally Leiyan | Samana Lawati | Sameena Parveen | Samir Shah | Sancheeta Ghosh | Sandra Macias del Villar | Sandy Cioffi | Sangeeta Saini | Sanjana Gaind | Sanjay Rana | Sanjida Arora | Sankari G | Sapna Kedia | Sara Hossain | Saraban Tahura Zaman | Sarah Baes | Sarah Green | Sarah Suhail | Sarah van Brussel | Sashwati Banerjee | Sattara Hattirat | Scheherazade Tillet | Semiha Ari | Senda Ben Jabara | Shabnam | Shadab | Shadi Amin | Shahana Siddiqui | Shahanoor Chowdhury | Shahina Yasmin | Shalini Singh | Shamala Chandrasekaran | Shamim Salim | Shanthi Muniswamy | Shanti Soundarajan | Shanti Tiwari | Sharanya Sekaram | Sheena Magenya | Shermal Wijewardena | Shikha Kiran Yadav | Shirmin Akther Dolon | Shivan Alungati Palin | Shohini Ghosh | Shoko Ishikawa | Shova Dangol | Shovna Pokhare | Shraddha Mahilkar | Shreya Ila Anasuya | Shuba Kayastha | Shuchi Tripathi | Sigere Kasasi | Siobhan Knox Reeves | Smarajit Jana | Smita Vanniyar | Smriti Lama | Snezhana Zubenko | Sofia Alessio-Robles Orozco | Sohila Mohamed Mahmoud Hassan | Sophoan Chan | Solange Bonello | Solome Nakaweesi Kimbugwe | Sreshta | Srilatha Batliwala | Srinidhi Raghavan | Srishti Jayana | Stuti Tripathi | Subha Wijesiriwardena | Subina Pariyar | Suchismita Mondal | Suchitra Dalvie | Sudarsana Kundu | Sudeep Chaudhari | Suila Safara Binte Hannan | Sukanya Guha Roy | Sumeera Shreshtha | Sumikshya Khadka | Sumudu Chamara | Sunita Kujur | Sunita Murmu | Suniti Neogy | Suprekshya Joshi | Susana Fried | Sushila Bhatta | Sushma Luthra | Susmita Lama | Swarnlata Mahilkar | Swatee | Syeda Samara Mortada | Tahira Kaleem | Tania Turner Sen | Tara Burns | Tasaffy Hossain | Tatevik Aghabekyan | Tenzin Dolker | Terry McGovern | Thea Khoury | Thenu Ranketh | Theresa McGovern | Tom Waugh | Tia Sasmita Sari | Tina-Marie Assi | Tishuana Edwards | Tshegofatso Senne | Tugce Canbolat | Ukei Mura | Uma Budhathoki | Uma Paliwal | Upasana Shrestha | Urmila Salunkhe | Uwingabe Hassna Murenzi | Vaishali Sinha | Vandana Mahajan | Vani Viswanathan | Vanita Shrikant Mane | Vannsopharith Leng | Varsha Sarkar | Vasuki Jeyasankar | Venuri Perera | Vera Rodriguez | Victoria Tesoriero | Vuyiswa Sizzumo | Xiomara Carballo | Yajaswi Rai | Yashas Chandra| Yukta Bajrachary | Zainab Ibrahim | Zarghoona Wadood | Zelal Bedriye Aymen | Zoe Gudovic 10 APRIL 2019 curated spaces 5 Questioning Dis/ability The following excerpt from Imagery, Visibility The curated space and Disability, a blog by Lizzie Kiama, Founding provides a live Director, This-Ability provides an insightful and immersive analysis of the way disabled bodies are experience using categorized. She argues that this should not art, performance, just be critiqued but serves as a means to redo storytelling and films socially constructed ideas of beauty. on issues of disability and sexuality and odies are where we put our for anything. The media, for exam- the representation theories of social justice into ple, responsible for pushing mes- practice. It therefore follows sages that shape the consciousness of women with B that the categories in which bodies of societies, will always choose to disabilities. The core are placed, willingly or unwillingly, play it safe by only aligning its vision guiding the need to be subject to careful cri- messages to viewer expectations design of the space tique. In a society driven by narrow, rather than challenging the norm visual representations of standards that equates disabled women with has been to challenge of beauty (for example in media, … the prevailing advertising and popular culture), Increasing the visibility of disa- and stigmatizing women with disabilities have been bled women and awareness of their largely invisible. sexuality does not equate to a call narratives that label Value is placed on bodies that for the sexualization of disabled disabled bodies as most satisfy the socially con- women. Indeed, sexualization of non-normative and structed aesthetic, and because the female body continues to be a disabled bodies are culturally con- concern for women’s groups. Main- asexual. The space will Lizzie Kiama. One of a series of images commissioned by This-Ability Consulting sidered an aberration, they fall stream and digital media carry on as part of a photography series Faces of Diversity, aimed at creating visibility also be a site for cross- short and are therefore dismissed. driving attention towards body for young women with disabilities working to advance disability rights in Kenya. movement political This dismissal escalates into out- parts rather than whole women, @ SRHM Guest Blog, July 2018 engagement and right erasure because the effect counteracting the strides women of not being considered valuable have made in encouraging respect sexualization, erasure, stigmatiza- society changed, through visibil- alliance-building. means that disabilities are not rep- for the autonomous female body. tion and exclusion must be coun- ity and by challenging norms that resented, included or considered Without falling into the trap of tered, and the consciousness of equate disability with asexuality.

SEX AND DISABILITY DaDaFest: Encountering THE FACTS

There are still lots of myths about sex and disability lurking sexuality through around – and we’re out to change that! So, we’re throwing light on some common misconceptions about disability and sex. (From Australia’s House with No Steps) disability and deaf arts fact 1 People with disabilities can be sexual and enjoy sex! fact 2 People with disabilities don’t only have sex with The following is an extract from an article titled Artivism and the Last one another. Avant Garde: A Route to Sexuality, Embodiment and Disability Justice fact 3 Sex is not just all about each other’s ‘privates.’ published in the journal Arrow for Change by Janet Price, a disabled fact 4 People with a physical disability don’t just ‘lie there.’ feminist and academic. fact 5 People with disabilities can and do use sex workers. fact 6 People with disabilities can identify as LGBTQI too. tarted in Liverpool over 30 we yearn for, to the years ago, DaDaFest (the Dis- potential moments of S ability and Deaf Arts Festival) intimacy in our lives. acts as a channel for developing Claire’s dance part- and sharing the ideas of disability ners are the crutches artists, art that serves as a force to she uses to move claim justice and rights for disabled around in the world, people. DaDaFest advocates for her supports, always disabled artists to develop profes- by her side, indispen- sional and artistic skills, and cuts sable, solid – but not through the discrimination they renowned for speak- face within both the art world and ing. Yet with Claire, amongst the broader public. they become garru- Producing a wide range of visual lous, voluble, sharing and performance arts and working Claire’s desires as an through local and global connec- extension of her body. tions, one of DaDaFest’s aims is In the short Ménage to challenge assumptions about à Trois, when Claire disability… the work DaDaFest pro- says “We click!” we duces is often edgy, challenging see the connections heteronormative disability stereo- weaving through her types, questioning fixed ideas of crutches to the invis- the ‘body beautiful,’ and under- ible figure of Claire’s, mining stigma and about perhaps of our own, intersections, and in turn respond beliefs of disabled people’s non- desire… to these through creating and sexual lives. As individuals reach out and use sharing art, they discover ways The dance work of Claire Cun- art to make relationships across to build alliances of people cam- ningham [one of the UK’s most differences, build connections that paigning for disability rights and acclaimed disabled artists who is allow them to understand more justice. And together these groups Photo of Leroy Moore by Richard Downing, text by Patty Berne and associated with DaDaFest] takes of the injustice others face within connect to create a more just and Sins Invalid, layout by Micah Bazant us back to dreams, the things disability, sexuality, and its related equitable world. 6 campaigns 10 APRIL 2019 377section the long fight adding their voices to Naz. court justified this on the ground that the rights of the LGBT com- The coalition, called Voices that “(W)hile reading down Section munity are “not ‘so-called’ but are Against 377, was a group of 12 organi- 377 IPC, the Division Bench of the real rights founded on sound con- zations (CREA, Tarshi, Sama, Prism, High Court overlooked that a minis- stitutional doctrine. They inhere in th September 2018 will go to live a life unshackled from the Haq, Breakthrough, Anjuman, cule fraction of the country’s pop- the right to life. They dwell in pri- down in history as the day shadow of being ‘unapprehended Jagori, Nirantar, Nigah, Partners for ulation constitute , gays, vacy and dignity. They constitute 6 the Supreme Court of India felons.’” Law in Development & Saheli) and bisexuals or …” the essence of liberty and freedom. upheld equality, non-discrimina- The journey to decriminalization five individuals (Pramada Menon, Despite the decision, the fight is an essential tion and dignity of persons, and began in 2001 and was anything but Sumit Baudh, Ponni Arasu, Lesley did not stop. People were shocked component of identity. Equal pro- decriminalized the archaic Section easy. The cornerstone of the petition Esteves & Gautam Bhan). and let down by the decision. But tection demands protection of the 377 of the Penal Code. Section 377, was the cross-movement collabora- Voices against 377 launched people within the community sup- identity of every individual without which was introduced into Indian tion and consultation with multi- large-scale education campaigns ported each other and decided to discrimination.” criminal laws in 1860, criminalized ple rights groups including child raising awareness on the issue fight harder. Activism did not stop. It was the collaborative effort of adult same sex consensual sexual rights, LGBT rights and women’s among the general public, the Groups and organizations contin- the community and its allies relationships. rights. Importantly, the petition did media, the health professions and ued to work with various stake- and the decade-long consistent “History,” the Court observed, not pray for striking down section students. Activities included dem- holders. Courts might not have struggle with a dose of the chang- “owes an apology to the members 377 but to read it down to exclude onstrations, press conferences and recognized the fundamental human ing legal narrative of the country of this community and their fami- adult consensual sex in private. The a ‘Million Voices’ campaign, which rights of LBGT people, but activists that led to the 6th September 2018 lies, for the delay in providing prayer was extremely strategic and gathered tens of thousands of signa- were determined to work from the judgment. redressal for the ignominy and thought through, ensuring that all tures against Section 377. ground up and push back. As the court said, “(W)e must, as ostracism that they have suffered rights-based organizations were on In 2009, the Delhi High Court, During this time, sexual assault a society, ask searching questions to through the centuries. The mem- board. It was, however, more than in what was a groundbreaking laws in India changed. Specific laws the forms and symbols of injustice. bers of this community were com- a legal battle. judgment, decriminalized homo- protecting children from sexual Unless we do that, we risk becom- pelled to live a life full of fear of While decriminalization was sexuality observing that “…Indian abuse were introduced. Rape laws ing the cause and not just the inheri- reprisal and persecution. This was always part of the struggle, social constitutional law does not permit were amended to include non peno- tors of an unjust society. Does the on account of the ignorance of the acceptance has always been a the statutory criminal law to be held vaginal rape. The two grounds – constitution allow a quiver of fear majority to recognize that homo- bigger and more deep-rooted chal- captive by the popular misconcep- that Section 377 protects children to become the quilt around the sexuality is a completely natural lenge. The story of India’s journey tions of who the are. It cannot from sexual abuse and that it pro- bodies of her citizens, in the inti- condition, part of a range of human to decriminalization is definitely be forgotten that discrimination is tects women from non peno-vagi- macies which define their identi- sexuality. The mis-application of not complete without acknowledg- [the] antithesis of equality and nal rape – which were being used ties? If there is only one answer to this provision denied them the fun- ing both sides of the coin. that it is the recognition of equality by conservative groups to push for this question, as I believe there is, damental right to equality guaran- To strengthen the petition, which which will foster the dignity of every retaining Section 377 in its original the tragedy and anguish which Sec- teed by Article 14. It infringed the was filed by Naz Foundation India individual.” language, were now specifically tion 377 inflicts must be remedied.” fundamental right to non-discrim- Trust in the Delhi High Court and to However, fundamental rights covered by criminal law. ination under Article 15, and the highlight violations, a coalition of weren’t upheld for long and in 2013 In addition, in 2017 the Supreme fundamental right to live a life of LGBT rights, child rights and wom- the Supreme Court, in an appeal Court in a 9 judge bench decision, dignity and privacy guaranteed by en’s rights activists came together filed by certain conservative groups, while upholding the right to privacy Article 21. LGBT persons deserve and intervened in the petition, recriminalized homosexuality. The as a fundamental right observed RELOOK

to remove the 8th amendment go forward. The government held a Together for from the Irish constitution. The referendum based on this proposal Yes campaign successfully mobilized by the assembly. People across the groups across the country and country were mobilized both offline and a Historic Referendum resulted in 14,000 submissions and online through awareness cam- being sent to the assembly. Activ- paigns and voting registration cam- n 2018, The People’s Republic legal abortion. In 2012, a woman ists’ proposal was to allow abortion paigns. In 2018, the referendum was of Ireland held a historic ref- called Savita Halappanavar died in on the following grounds – sexual passed overwhelmingly in support I erendum, whereby through a hospital in Galway because she violence, fetal non-viability, fetal of overturning the ban on abortion, a majority vote the 35-year-old was refused an abortion during a disability, and danger to health or effectively replacing the 8th amend- 8th constitutional amendment miscarriage, due to the presence of life. “Most activists in Ireland did ment. The Health (Regulation of which equated the life of a preg- a fetal heartbeat. Halappanavar’s not want grounds-based legisla- Termination of Pregnancy) Act 2018 nant woman to the fetus, making death led to widespread protests, tion. We wanted free, safe and legal was signed by the President of Ire- abortion highly restricted, was and in 2013, the Protection of Life abortion as early as necessary, and land in December 2018, and passed The Pink Chaddi Campaign overturned. During Pregnancy Act was passed, as late as possible, without restric- in both houses of parliament. It (or Pink Underwear Cam- The landmarks in the evolu- which legalized abortion for when tion,” said Maria Ni Fhlatharta, allows abortions to be carried out paign) began in 2009 in India tion to the abortion laws in Ireland doctors think a woman’s life is campaign coordinator. However, up to 12 weeks of gestation, and in in response to an incident can be traced back to 1992 where endangered by the pregnancy. In the situation for Irish women had certain circumstances, either before of mass sexual harassment a 14-year-old victim of rape was 2015, The United Nations Com- become so unviable that activists or within 28 days of birth. against women prevented from travelling to Eng- mittee on Economic, Social and realized that even the smallest wins of a pub in Mangalore, Kar- land to terminate her pregnancy. Cultural Rights recommended a were necessary, especially since nataka on Valentine’s Day. The Supreme Court overturned referendum on abortion. strategic litigation was very difficult Chaddi is a childish word the initial decision, holding that In 2016, a citizen’s assembly was in the Irish context because of the for underwear and slang for the credible threat of suicide was established in Ireland to consider 8th amendment. right-wing hardliner. The grounds for abortion in Ireland. Irish abortion laws. It was during On receiving the proposal and campaign invited people After the Supreme Court judgment, this time when one of Ireland’s after a series of discussions, the to send pink underwear to two amendments were passed that most successful campaigns began. assembly decided that abortion the leader of the right-wing effectively allowed Irish citizens The Together For Yes campaign was till up to 12 weeks without restric- group which orchestrated the to travel to another country for a a national civil society campaign tion was the most humane way to Remembering Savita Halappanavar harassment. 10 APRIL 2019 films and performances 7

Sex is a joyful event. Making Ask the Sexpert Dr Mahinder Watsa

Vaishali Sinha’s Ask the Sexpert tells the story of Dr Mahinder Watsa, a legendary 90-year-old sex advice columnist from Bombay, India. The film has garnered great reviews and standing ovations after its India premiere, and has received multiple awards, including the Critics’ Choice Award in India in 2018. Vaishali will screen the film at #recon2019. CREA's Sanjana Gaind spoke to her about the film.

REVIEW SG: What made you make this film? can be found daily in the Mumbai notoriously famous answers from SG: Why did you think it was impor- Mirror and several other cities the column. tant to make a film about this ? VS: I wanted to make a film about where that newspaper reaches. Question: “I have a goat. Her WATCH Ask The Sexpert the spaces where everyday urban Most locals wake up to that column name is Ramila. I have been think- VS: Sexuality education! I felt at #recon2019. Indians are able to discuss their with their morning cup of tea. But ing about how it would feel to make there is often a polarization of the MEET Vaishali Sinha to innermost desires, fantasies, dilem- more popularly screenshots of his love to her. Is this normal?” topic in news debates – sexuality hear more about how mas around sex and sexuality. And daily column spread quickly via Answer: “Ask Ramila.” education is either called impera- this columnist gained because I like character-driven messaging services like Whats- tive or corrupting. I wanted to use popularity even while a films I wanted to use the lens of a App as young and old share them SG: What’s cooking next? the format of vérité filmmaking to ban on comprehensive sex educator or a therapist. between each other. really understand how conversa- sex education in Dr Mahinder Watsa and his VS: I’d be happy to discuss it a bit tions about sex and sexuality with schools is adopted by column Ask the Sexpert were the SG: A memory from filming with further down the road. Alongside an educator or a therapist could approximately one-third first things that came up on my him that makes you smile? I’m also developing and gestating truly play out. Ultimately in doing of India’s states. search. His popularity was unde- a couple of new ideas... but I’m also so, I was able to explore themes niable from the get-go. His column VS: Here is an example of one of his open to new stories! such as pleasure and equality.

The Political Cabaret of 4 Queens La Banda De Las Recodas is a cabaret show under the concert format of Mexican popular music in which the Hermanas Carrilla make social and political criticism with each song. This is one of its most popular shows and has been screened at various festivals in places such as New York, Chicago, Brazil, Argentina and Denmark.

SG: How does it feel to be in Kath- SG: How did you get together to we started to incorporate feminist mandu with only three queens make this troupe? issues in our shows. That became (Cabaréxegeta, Reina Chula and our perspective over the years and Escritora)? 4Q: We studied in two different an artistic way of our creation. acting schools in Mexico City and 4Q: Well, we are really sad about we had a music teacher in common. SG: What are some of the exciting that because we are always hap- He joined our groups for a work- stories or memories from all the pier together, but Nora is making a shop and started to share his inter- shows that you have done? great project in Mexico and we are est in satire and political cabaret. reaaaaaaaally excited to be here. When we realized we had been 4Q: We will always remember when together five years, we decided to we broke a piñata with the face of SG: Why the name 4 Queens? call ourselves a company. Trump in New York or when we had a performance at the Mexico City 4Q: It’s a saying in Mexico (a popu- SG: Tell us about your company in Congress and half of the Congress lar one) to call someone you kind Mexico City and how all of you have persons were really angry. of like. Something like sweetheart. been running this for over the last 14 years? SG: What are you looking forward SG: How long have you all been to at #recon2019? together? 4Q: We have had our own theater for the last 14 years. We separately 4Q: Learn, and learn, and learn 4Q: 21 years! started studying feminism and then again! 8 in conversation with 10 APRIL 2019

By an Eye-Witness 2019-12 In 2014, Golnaz Fakhari interviewed Azadeh Akhlaghi, for Art Radar. The article Azadeh has been reproduced below. Azadeh’s photo series – Me, as the Other Prefers and By an Eye-Witness – being exhibitied at the reconference, have been curated by Sabeena Gadihoke, Associate Professor at Jamia Millia Islamia. Akhlaghi

GF: After majoring in computer presence as a representative of the – a historical absence – and, in my Azadeh Akhlaghi was born in Shiraz in 1978, grew up in science, what made you decide to next generation in the images. With opinion, the pain which resulted Mashhad and studied computer science at the Royal Melbourne become a photographer? this project, I needed to remind because of that absence is still car- Institute of Technology. She was passionate about photography AA: It was really a long-term pro- our people that a dark energy and ried by the people. since 2000. In 2005, she met the renowned Iranian director cess. I was always fascinated by the potential has always repeated itself Abbas Kiarostami and was convinced to pursue photography as world of art. When I was sixteen, during our history and that this his- GF: Why didn’t you revisit the after- a career. She worked as assistant director to Kiarostami in Iran I wanted to be a poet and, only a tory needs to be remembered. math of the 1979 revolution again between 2005 and 2008, while she made a few short films that few years after that, I started to do and especially the Iraq-Iran war? were screened at festivals in Oslo, Busan and Berkeley. Since journalism work. But even when I GF: How did you decide on the AA: The main reason was that I only 2009, her interest shifted to staged photography. Azadeh is moved to Australia to pursue my characters and the moments that wanted to go as far as the onset of a Sovereign Arts Prize Finalist in 2016, a recipient of a prize Bachelor’s degree in Computer you wanted to capture? the Islamic Revolution. I didn’t want from the UN-Habitat Photography Competition 2009, London. Science, I knew that it wasn’t AA: I spent a long time reading to work on recent history. But after what I wanted to do for a living. about each of them, I sort of lived further consideration, I thought So I started to take some elective with these characters for a long that some characters, like Shahid courses in photography. Well, ini- time in my head. The main point Bakeri and Ayatollah Taleghani tially I wanted to pursue a career was to capture moments in history and their deaths were also among in movie production, but I knew it that there were no photos of. I was the tragic deaths in Iranian history. needed money and resources that I trying to portray and stage some didn’t have. So I focused my time on very important historical events GF: The project has been deemed photography. And then I came up that no one has witnessed. Initially, ‘political’ and ‘controversial.’ What with this project and I have to tell the images I took were more than was your audience’s reaction to the you, the process of completing this seventeen, but during the progress project? project was very similar to produc- of the project, some of them were AA: I can’t really argue. Of course, ing a movie. cut out. For example, Dr Fatemi, it got a lot of attention even before Iran’s Foreign Affairs Minister from the show, but I think most of the GF: What was the main purpose of 1951 to 1953, was one of those char- reactions were positive. To tell this project and how did you come acters. He was executed, but since you the truth, I saw a lot of unex- up with the idea for it? there were some images available pected reactions during the exhibi- Me, as the Other Prefers 2007-09 AA: I was always curious about from the aftermath of his death, his tion. The gallery was full of people Iran’s complex history and I knew image was cut from the project. the whole time, to the point that that there was just this truth that some of them weren’t able to see had for some of these characters. GF: What are some of your other was hidden somewhere and we GF: Could you tell us more about the images closely. People would There were no writings or photos of projects? Could you tell us more couldn’t find it. The truth behind all the photograph of Dr Mossadegh? hug me and some of them actually these deaths and for some of them, about them? of these deaths and the reason that Does this image somehow mark the started crying during the show. An I had to rely on the memory of my AA: Me, as the Other Prefers is made these characters – my char- identity of this project? old lady came to the gallery and interviewees – individuals who another big project that I did in acters – risk their lives so that the AA: I can’t really say that, but Dr said that her son had called her were present at the time of these 2011. Reflection of Self and Suspen- next generation could live better Mossadegh is a prominent figure from Berlin and had asked her to deaths or had close relationships sion in Tehran are my other projects. and happier. It was just something and personally I feel a deep con- come and see the exhibition. with these people. Suspension in Tehran was a series that I could not understand. And nection to him. Because of that, In my opinion, it was as if people Also, sometimes, in a moment of based on the obscenity of cities, what was more interesting was that his death and its aftermath were had never got the chance to mourn shock, when something has hap- especially Tehran, and how young- some events have happened in Iran very important to me. And what these deaths and now, this project pened, the brain loses its [capac- sters are somehow suspended over and over again. It is as if some was very disappointing was that and the images in front of them ity to] function. For example, within this concept. historical events are repetitive, and historical sources about the day had given them the time and the when I witness a tragic moment, Me, as the Other Prefers was a this repetition was the main reason that he died are very limited. One instrument to release their agony something horrible, I can’t hear twenty-part self-portrait through for this project. of the things that I really struggled and pain. anything. My eyes somehow lose the eyes of ‘others’, depicting how I wanted to focus on the fact that with was that we couldn’t find out sight and I have to check with people try to be the person that all of these frames are from my own how the weather was the day he GF: What challenges did you face other people to see whether they others want them to be. This ‘being’ perspective – the artist’s view. The died. Was it sunny, rainy or cold? when you were working on the have witnessed the same thing. can be seen in the way they dress truth could not be exactly what And this was just one of the small- project? During this project, when I spoke or talk, or even what is expected is shown in these images and I est shortcomings. The focus in Dr AA: The most challenging aspect to people, I understood that many of them. I wanted to show how this could never reach the whole truth. Mossadegh’s image is the absence was the shortcomings in [available] of them had seen something that gigantic ‘other’ determines how I wanted to emphasize my own of Iranian people during that day history and the limited resources we hadn’t actually happened. we live.