Graveless Lovers
Bauhaus Hybrid Atelier, Werimar, Germany, 2024
Concept and design: Leila Keivan
Voice: Rand Ibrahim, Raisa Bosich, Hossein Motahar, Leila Keivan
Sound composition: Rico Graupner
Book design: Gabriella ParaGraveless Lovers; a research on dynamics of disaster, denial, trauma, and the intergenerational transmission of suffering under oppressive regimes.Case studies from the mass killing which have been denied by the oppressive regimes serve as focal points for this exploration. Each of these tragedies occurred in distinct geographical and natural settings, yet they share a common thread: the persistence of memory through nature. The practical work seeks to visuallyrepresent this idea by using alternative print methods, such ascyanotype, soil-connected printing, and chlorophyll type and soon, to create images that are embedded in natural elements. Theseprints, supported by video footage and sound installations, aim tonarrate the ongoing life, hope, and death of the victims,reinforcing the concept that nature itself is a guardian of memory.
Shores of the body
Video installation, ACC gallery, Weimar, Germany, February 2024
Concept and video: Leila Keivan
Technical and instructional support: Rand Ibrahim
Photo credit: Svea Bennett"Birds construct nests for laying eggs and nurturing chicks, not for living. They abandon nests if disturbed or if the eggs are nonviable. Surpri-singly, they don't rest in nests except during egg incubation, preferring roosting spots, often the same nightly....as leaving somewhere and retur-ning, the urge of leaving again".Returning and nesting, enjoying the orientation, remembering random habits, using the same old mug, going somewhere without knowing the ad-dress, hoping to run into someone who died two years ago... we nest too.
'Shores of the body' is a video installation made from the artist's childhood photos, projected onto the fictitious corner of the home where the artist was born, which is now defunct.
Liebevoll, L.
Germany, Weimar, August 2023 - July 2024"Liebevoll, L." is a series of handwritten postcards consisting of artist’s archival photos, originating from her homeland, Iran (1960-1980), and brought here. These postcards as forgotten memory chains, weave together imaginary dialogues between individuals of the past and those of the present. Through this project, the artist endeavors to revive the untold stories of unfamiliar lives captured within archival photographs. This initiative also urges the residents of Weimar to glimpse into the forgotten narratives of a geographical area that might remain unfamiliar to them. Commencing from August 2023 and continuing for a year, the artist plans to disseminate a series of postcards, each limited to100 copies. These postcards encapsulate her unique narratives and will be strategically placed around the city, effectively turning it into her creative canvas and territory. Despite the artist's archive residing 5600 km away, in Weimar, the local populace assumes the role of her audience, engaging with the tales she unveils.With special thank to Kreativfonds of Bauhaus University for supporting ‘’Liebevoll, L.’’
14.10.1964, Valencia
In collaboration with: Eunji Lee, Rand Ibrahim, Stefan Ralevic , Teresa Fischer
Public art garage Residency, November 2023, Barcelona,Spain"14.10.1964, Valencia" is a collaborative art project that aims to create a multi-sensory experience that bridges time and language, shedding light on emotions and stories that persist through the ages. The concept of the project emerges from the simple coincidence of finding a postcard, written on October 10, 1964, in a second-hand market in Barcelona on November 2, 2023. This postcard with the letter it carries will be the start point of the projects where the audience is asked to navigate their own imagination and understanding of time and human relations. Intrigued by the cryptic content of the postcard, which narrates a promise of a soon meeting, a group of artists pose questions around the uncertainties that surround the message’s delivery and whether the meeting ever took place. This mysterious letter from the past compels us to respond, to cherish these tiny fragments of human experience that might otherwise be lost in the annals of time.
The project starts with sharing the postcard with other artists, giving them time to examine it and investigate the data that can be gathered through it. Then the process of writing back to the person mentioned in the postcard starts; the collaborators, decide on the length or period of time they need to reply. After the writing phase is accomplished, the letters, written in the collaborator’s mother tongue will be read parallely and performed. As the vocal outcome may not be fully comprehensible, the purpose of the performance and its shape and construct is not only mere communication rather an amplification of the unheard, leaving the audience with fragments of memories that build time and space bridges.
Photo credit: PAG Residency
Photo credit: Eunji Lee
Sun of the Midnight
Sun of the Midnight
Archival Installation
Documentation: Hossein Motahar
Blumenladen, Weimar, Germany, February 2023"Sometimes I look at the clock and try to guess your time. I think you’re too afraid to tell me that you miss me, that you want to see me…”“Sun of the midnight” is an archival installation that combines mirrors, light, and photographs to explore layered relationships between past, present, and the perception of self. The work is rooted in my personal archive—a collection of photographs of strangers gathered over five years in Iran, documenting intimate moments of ordinary lives before the Islamic Revolution. Brought with me to Germany in a small suitcase, these images have become more than a repository; they hold stories of departure, displacement, and longing that remain unresolved, shaping how I perceive both my homeland and myself.The first iteration of this project began in 2022 when I questioned why I chose to carry this collection as I migrated to Germany for my studies. I started investigating the images—tracing their times, locations, and the histories behind the moments they captured. This journey became an attempt to understand not only the people in the photographs but also my connection to them, reframed by migration and distance.Central to the installation is the mirror, a metaphor for the complexities of self-perception and identity. Mirrors reflect the tension between clarity and dissonance, moments of self-recognition, and the fractures created by displacement. In this reflective space, viewers encounter their own likeness while meeting the gazes of those captured in the photographs—unseen lives that echo through the installation. Using a technique I developed to merge the archival images with mirrors, illuminated by spotlights in a dimly lit atmosphere, the installation allows individuals of the present to exchange gazes with individuals of the past. This interplay blurs the boundaries between personal and collective memory, between the familiar and the unfamiliar.*All the photos belong to the artist's personal archive, collected over the years in homeland and immigrated to Germany.
Narration of the Lost Moment
Archival Installation
Documentation: Leila Keivan, Hossein Motahar
Bauhaus Museum,Weimar, Germany, September 2022When encountering an archive, the audience is generally prohibited from making any physical contact with the objects. In many cases, there is no opportunity to have a personal moment with the archive. This installation aims to create an atmosphere in which the audience can have a non-traditional perception of the archive, engaging other senses - not just eyesight - to perceive it by touching.Be creatures without eyes, devoid of vision. You lack the knowledge of seeing, unable to squint and discern truth's essence. The sole pathway lies in touch, to slide your hesitant fingertips along the fingerprints of the past. Envision the half-hearted, melancholic souls who once embraced this very artifact. Upon the fragile ice of bygone lives, bear witness to their pain and joy, nestled within this secluded haven. These objects hold narratives yearning to be told. Read in an unknown language. Embrace an unfamiliar existence. Long for a memory that was never yours. Be the echo of a nonexistent entity.*All the photos belong to the artist's personal archive, collected over the years in homeland and immigrated to Germany.
No One Can Resist the Light
Site specific video installation
Tehran, Iran, December 2021By displaying hidden images (family albums) in public spaces in Tehran and turning them into an artistic platform, the installation prompted viewers to think about the influence of representation and the value of questioning patriarchal narratives in society. The images served to emphasize the significance of acknowledging and appreciating the multifaceted and diverse aspects of Iranian women life, which are often overlooked in mainstream media.Hidden within these towering walls, a world of different lives exists, hidden and silent. Revealing their secrets may break the enchanting spell. Behind these imposing facades, coercion and prohibition are useless, denying their existence is impossible. Like the timeless journey of light, the truth within these walls seeks an everlasting legacy. Just as stars shine in the darkest night, the reality behind these barriers cannot be denied. No darkness can withstand the allure of light, not even the darkest of nights.
Perfect Storm
Public space performance
Concept and perform: Leila Keivan
Other performers: Rand Ibrahim, Hala Masri, Katharina Hüttermann , Racheal Thorleifson
Documentation: Carlos Santos
Chemnitz, Germany, January 2022This is a never-ending trial: to find a way to feel at home. We buy small decorative objects, paint walls, hang photos... but what if you want to make an entire city feel like home? How do you overcome the unknown and make it your own?To render the unfamiliar, a companion of kin, I draped the city in a gossamer veil woven of my tears. Amidst the tempest's fury, seeking solace, I fashioned a haven from these delicate fabrics. To soothe my molten heart, I bared it to the caress of the wind. I leaped into the realm of uncertainty, embracing doubt, and stripped myself bare. The sole adornment required was a cloak for my tears, swirling in a melancholic dance with the breeze.
Out of the Fog
Site specific Video Installation
Documentation: Hossein Motahar, Racheal Thorleifson
Bauhaus Museum, Weimar, Germany, May 2022"Artworks in museums are like fish in aquariums. They may be preserved, but they are also removed from their natural environment, drained of life, and reduced to mere spectacles for passive consumption."
Situationistische Internationale, 1960sWhat if archives could grace the public realm, free from the clutches of guarded institutions? What if, instead of commercial fare, people beheld their heritage adorning facades? Or perhaps, in a tender embrace, individuals unveiled their personal narratives, unveiling cherished archives for all to witness.
Weimar on Mirror
Sketch for a site specific installation
Concept: Leila Keivan
3D: Aboulfazl Karoubi
Graphic: Reza Farzanyar
December 2021The Weimar on Mirror art project seeks to create a distinctive and subjective encounter of the old town of Weimar. The emphasizes on the sense of place rather than the location itself by constructing a miniature version of the old town map.This project offers visitors a personalized way to engage with the city, regardless of whether they are citizens or tourists.The assembled facades of the art installation serve as a canvas for visitors to project their personal photos taken in Weimar. These projected photos are allowed to be manipulated and surreal, reflecting the unique and subjective way individuals perceive a place based on their psyche. This encourages visitors to feel a sense of belonging as their subjectivity is regarded as valid and acceptable.Moreover, the act of wandering and walking without any particular destination is a vital aspect of this project. By enabling visitors to explore and wander freely through the miniature version of the old town, they can discover and experience the city from a fresh perspective. This fosters a deeper connection with the city and enables visitors to immerse themselves in Weimar's rich cultural history.
About
Leila Keivan (she/her) is an Iranian artist who lives and works in Germany. She uses "Artist's Archive" as a means to connect different times and places. Her background in carpet design (B.A.) and photography (M.A.) from Tehran Art University, along with her Master of fine art in "Public Art and New Artistic Strategies" at Bauhaus University, has led her on a journey through archival installations. She seeks out lost memories, lives, and places and explores their interconnected encounters through both factual and imaginary perspectives.
