Statement:

Neda Saeedi’s sculptures and installations articulate our present time precisely and emotionally.

Cultural landscapes as forms of sedimented violence are thoughtfully deformed by Saeedi and come close to us: Splendid church windows position themselves to become an oppressive altar of exploitative Europe.///

Fragile glass arrangements distemper the walls to blazing screens with the aid of overhead projectors. It’s burning …

In a time of monument debates, inadequate ways of coping with the past and current fascisms, the Monument of Oblivion organizes the debris to a cycle—the debris of the present or the debris of the past?

It stutters, it throbs—how long can the vessels hold it back? In contrast, the hall of the TAXISPALAIS is transformed into a well-kept garden.

Dead nature is held in check by imperial and colonial means. For in fire yet we trust, Neda Saeedi’s first institutional solo exhibition in Europe, the artist has created thought-provoking new works: Is there hope? There isn’t. Planning to give up? Not an option.