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The exposition Scented Rooms aims to be a form of resistance that finds itself in poetry and politics, poetic imagery, re-thinking censored archives, existential reflections on photography and cinema, and dance. At the very core of the research is an important historic icon in Iran; The country's oldest theater which was burnt down by extremists during the 1979 Islamic Revolution, closed forever and has decayed over time. The burning of this theater, along with many others, was the starting point for imposing restrictions on art and culture. The research departs contextually from the efforts of the Islamic government to control civil society. It is a reaction to a history of imposing a specific language discourse and discarding elements that represent a non-religious view, visual changes in the urban space and limiting access to specific types of information that refer to citizens’ collective memory. Giving agency to this theater, the research aims to revive the collective and public memory of a society, being the voice of those that have been silenced for a long time.
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Who stores, categorizes, and controls archives? Who makes the archives inaccessible or sometimes destroys them?
What exactly is the power institution hiding from civilians by censoring videos, sounds, and texts?
These archives, like a part of the collective memory, disappear from the scene as if they were hostages in prison or people executed for the crime of a political activity.
Just as David A. Wallace speaks about Recordkeeping for Accountability.
Replay and replay, repeat and repeat...