Plug In ICA is very excited to present of سندباد and sandbox, a solo exhibition by Los Angeles based artist Gelare Khoshgozaran. This is Khoshgozaran’s first solo exhibition in Canada./// of سندباد and sandbox is composed of two works: “Medina Wasl: Connecting Town,” a thirty-minute film shot in 16 mm transferred onto video; and “U.S. Customs Demands to Know” consisting of twenty LED-lit packages in various sizes. The exhibition brings into view the complex and layered narratives that emerge when an embodied sense of knowing is prioritised. Khoshgozaran is committed to deep research, foregrounding her desire for inquiry and the interconnected ways in which landscapes, memories and dreams manifest into the language of moving-images. In “Medina Wasl: Connecting Town,” Khoshgozaran examines the history of the landscape of the California desert, how it is mired in appropriations of Middle Eastern cultures that began in the early 1900s, and since then has become the site for military training camps. An archipelago of simulated Middle Eastern villages have propped up all over the US since 9/11, simulating the experience of war taking place in the Middle East. The film draws relationships between distant landscapes and presents a perspective on American consumption that is not free of its racialized violence. The title “U.S. Customs Demands to Know” is a direct quote from a policy legislated after 9/11 that allowed US authorities to search any package without consent. The boxes once contained archival and research material that were sent from Iran to Los Angeles. Laid out across the gallery floor, they condition a sense of dream-like movement toward an otherworldly place. There is something tangible in both pieces that not only acknowledges the violence ingrained in these national security structures, but that moves beyond their world view and opens the possibility for us to also witness another story being told. Khoshgozaran’s practice is rooted in rigorous historical research, time spent in creating a space for archival manifestation that stems from the perspective of a witness. By building relationships with intertextual material, she makes time in the studio to read, make, listen, write. Her specific modes of engagement take time. She constructs methodologies out of the process that is unfolding, and challenges conventional modes of production. Her process is rigorous and conceptual; but most significantly it is embodied, and constructs a space for entangled dreams and memories to live in images that condition the formation of another world.