In Drifting in Between, Bazmandegan explores the intersection of space, memory, and the material world to examine the complexities of exile and displacement. Through installation, sculpture, and painting, he evokes the profound sense of loss, absence, and trauma that often accompanies the body and mind of an exile. By delving into personal, political, and historical narratives, Bazmandegan reflects on the idea of a body without a home in the landscape of exile.
Central to Bazmandegan’s practice is the relationship between history, violence, and the systems of power that force individuals into exile. He closely examines how Western ideologies and imperial interests have shaped the lives of many in the Middle East, including his own. Drawing from his personal question— “What would my life look like if my democratic government had not been overthrown?” —refers to the 1953 coup in Iran, co-orchestrated by the CIA. Through this lens, Bazmandegan investigates both historical and ongoing violence in the region.
Living as a Middle Eastern refugee in a post 9/11 socio-political reality, he has found himself in a constant state of having to negotiate his position and place within Western society. He is interested in exploring the ways in which individuals navigate these contradictory forces and develop strategies for resilience.
A significant element of his recent work is his exploration of Abstract Expressionism, a movement supported by the CIA during the same period as the Iran coup. While the CIA promoted Abstract Expressionism as a symbol of American democracy and cultural freedom, it was simultaneously undermining democratic governments abroad, including in Iran. Bazmandegan sees this paradox as emblematic of the broader dynamics of global power structures, and his work interrogates the complicity of art, propaganda and politics in systems of domination.
Drifting in Between forms a landscape that is both interior and exterior, personal and political, accessible and inaccessible. It becomes a space to explore the causes and ramifications of exile—Bazmandegan’s own and that of many others. In this landscape, history, memory, grief, and violence converge.
