Exhibition Dates: 8 February – 29 March, 2026
Opening Event: Sunday 8 February, 1–4pm
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Opening Hours: Thursdays: 7–9 pm; Sundays: 1–3 pm
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Ramak Bamzar’s The Body as Revolution presents a series of photographic works in which the human body emerges as witness to political rupture and survival.
This work is built on a simple, devastating fact: the scale of killing exceeds the capacity of images.
During the recent uprisings in Iran, tens of thousands of people were killed in a short period. Bodies were numbered. Some names were recorded. Many identities remain unknown. In most cases, no photographs exist.
The photographs on this wall represent only a fraction of those deaths. They are neither representative nor complete. Some numbers correspond to images; many do not. In these cases, the body exists only as a number or a name recorded elsewhere, without a visible face.
This wall is not unfinished.
It is behind.
There is no space, physically or ethically, to display the full scale of loss. Images end where the violence continues. The index book records what the wall cannot hold.
Alongside this installation, a photographic series Pro Femina Series (2023–ongoing) made during the Woman, Life, Freedom movement documents the living body before disappearance, before numbering, before erasure. Together, these works trace the body as the primary site through which revolution passes, marked, exposed, and, in many cases, removed from visibility.
Born from women’s bodies, through their visibility, their vulnerability, and their refusal, Pro Femina documents how no body remained untouched as the struggle for freedom unfolded. Women, men, children, all became part of the same rupture. In these works, the body carries loss, memory, and resistance. The body is not an image of revolution; it is its living remainder.
This work does not seek resolution. It bears witness to a catastrophe whose magnitude cannot be fully seen.
For artists and audiences within the Iranian diaspora, the responsibility to preserve memory has become urgent. When information is restricted and testimony cannot circulate freely, cultural spaces carry the burden of remembrance. Art becomes a means of safeguarding stories at risk of disappearance, preserving testimony where news cannot reach. The Body as Revolution insists on the presence of the body as the enduring remainder of history, bearing loss, memory, and the stubborn will to continue.
