MARK TURNER wallows in the virtuosity of Swansea Jazz Festival openers, Simon Spillett and Pete Long
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Amak Mahmoodian’s Zanjir, Arnolfini Bristol
Past struggles of Iranian women linked with present in striking series of images
Zanjir by Amak Mahmoodian
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WILL STONE takes a ticket to indie disco heaven, but misses the rarely performed tunes
Reviews of new releases by Jens Lekman, Big Thief, and Christian McBride Big Band
TOM PIERSCIONEK recommends a remarkable series of interviews with those few and brave Israeli citizens who refuse to do military service
ZANJIR in Farsi literally means “chain.” But it can also have the sense of “paired/coupled” and that distinction is particularly significant in understanding Amak Mahmoodian’s photographic compositions.
In some, Mahmoodian’s female relatives obscure their faces with photographs that she has dug up at the Golestan archives in Tehran of kings’ wives, harem women and their relatives from the time of the Qajar dynasty which lasted from 1781 to 1925.
These are some of the earliest images of Iranian photography and, by altering the true identities of the subjects, Mahmoodian creates a kind of time machine that links the past with the present and future over considerable expanses of time and space.
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