Underwater Eruptions | Part 34: Houses on Water
Poster Designed by Amirali Ghasemi
Artists
Curator
Underwater eruptions / فوران زیر آب
Part 4: Houses on Water / چهار : خانههای روی آب
Opening: Thursday, May 21, 2026, 5-10 pm
Friday & Saturday: May 22 & 23, 2026, 4-8 pm
The fourth & final part of Underwater Eruptions, titled Houses on Water, touches upon the subject of displacement. Following the past few months of tension & war, we look back at interruptions & disconnections recorded through lenses & audio recorders, acknowledging their limits in capturing fleeting moments & feelings while searching for a place to call home. It explores the duality between the realities of our current locations & the places where our roots lie. These poetic yet often direct approaches leave marks on memory, highlighting the fragility of the collectible amid what is felt & lived.
Film Screening
Archive of Cracks
Azade Shahmiri
Cracks are about time, space, weight, and climate. They are performative means that cause and are caused by changes, movements, and acts. They signify damage, defects, erosion, fragility. But a crack is also a sign of resistance and strength. Like our scars, cracks tell stories about wounds—like the cracks in this personal archive.
A Moment of Exposure
Mahshid Afzali & Mahoor Mirshakkak
A collaborative experimental documentary in which the camera, as an attentive observer, shows its own memories and associations related to the multimedia art installation Safe & Sound by Mahoor Mirshakkak, creating a sensual and visual connection between artifacts in the exhibition and the artist’s memories and lived moments outside of the exhibition. The film follows the process of preparing, presenting, and dismantling the exhibition while seeking its visual and sensual origins in the real world.
Slideshow
Do Not Look for a Counterpart!
Bahar Aslani
The search for visual counterparts is an attempt to render meaning visible, as if every concept must take on an observable form to be considered valid. Yet this effort reaches a point where the insufficiency of the images becomes evident: an image carries resemblance, but not the full depth of meaning. The further this search continues, the deeper the gap between thought and representation grows, and images turn into signs of absence—mirrors reflecting nothing but emptiness, where emptiness itself becomes the most truthful counterpart.
Sound Installations
Interval of Air
Farokh Falsafi
A three-channel sound installation follows sound traces as it moves across contrasting sonic terrains. Drawn from birdsong, the sound shifts in meaning as it travels, echoing through tones that feel at once distant and intimately connected.
It listens to how zones of apparent calm can reverberate elsewhere as unrest and how the quiet of one geography may be sustained by the turbulence of another. Without naming places, the work reflects on how political power circulates through the air as frequency, shaping what is heard and what is silenced.
"I was an expat myself..."
Samaneh Mohseni
The sound work was originally a sculpturally situated piece taking space in a neighborhood in Stockholm: visually, physically, and aurally, whispering a determined, introspective, and at times humorous inner monologue to passersby.
The sound plays with the familiarity of the metro to guide the audience into the state of mind of the fellow traveler, or enter the inner train of thought offered by the narrator. It invites the listeners to be and move with the sound in a tempo of being attentive and inattentive, present in the new place or lost in the place that has been.