09/20/2026
Iran, 1999: When my Art Stood Against Torture and Ex*****on
My second solo exhibition was in 1999, when I was around 19 years old. The title was Incubus of Jen, and I used Johanna. It was an installation and conceptual art project—one of the earliest examples of conceptual art in Iranian art history. At the time, even many art professors in Iran did not understand what conceptual art meant.
Three years later, the Iran Contemporary Art Museum organized its first group exhibition of contemporary art. I was invited, but I chose instead to work as an art advisor for another artist, and that story will be published later. I did not accept the invitation from the Iranian art museum because of my political position: I rejected the Islamic regime.
I never saw another artist in the Middle East with the same balls I had at that age. Today, as an Iranian-American artist in New York City, I look at the old parasites around the world who still couldn't have done what I did when I was 19.
The artistic statement of my exhibition was based on Jung's concept of archetypes, combined with my political statement that Iran was hell. I always tried to reveal the face of the demons I believed were ruling that society. For me, the work became a kind of demonology—a visual language for exposing fear, repression, and power.
At that time, many of the most famous Iranian artists were, in my view, too close to the Islamic regime. The regime did everything it could to erase me from the Iranian art scene. Years later, they took me as a political prisoner to Evin Prison in Iran, and in many ways they succeeded in erasing my name from that society. One of the most powerful figures under whose rule I was tortured is now dead. In my own artistic language, he became the ultimate “Ayatollah Demon”—the embodiment of the system I had been trying to expose since I was 19.
But those bastards couldn't erase me.
I'm still here.