The Memory’s State of Exception
وضعیت استثنایی حافظه
On the 29th of October 2011, I embarked on a flight from Stockholm to Tehran with Iran Air. At that time, Iranian aircrafts were forbidden to refuel in most EU countries as a consequence of the sanctions imposed by the EU and the US against Iran’s uranium program. Therefore the aircraft had to make a stopover outside of the EU to refuel. As of now, it is impossible for me to retrieve the information about the location of the said stopover airport, despite my attempts in contacting different airports, Iran Air and researching statistics of places where Iran Air stopped for refuelling on that flight route in 2011. It is as if the landing never occurred. The Memory’s State of Exception.
  This film is an attempt to answer these denials of access to information. I have constructed a composition with different images and sounds. And I use fiction as a strategy to reach reality - to reach this initially non reachable information. This film aims to use fiction as resistance.
Since the sanctions themselves are used as tools for setting frameworks for transactions, I have wanted to investigate inclusion and exclusion. When is a narrative given and composed? How much does the language of an image or a said word shift depending on our possibility and impossibility of reading or understanding a language? Could maybe this film be found in translation and let the narrative dissolve and take us to unfamiliar places?
  In this film I use images from Albert Lamorisse's film باد صبا (Lover’s Wind) that was commissioned by the Shah and filmed in 1970. The initial material did not fulfil the Shah’s desired image of Iran. He meant that it lacked the industrialised and modernised Iran, such as the newly opened Hilton Hotel in Tehran and the Karaj Dam, a dam partly functioning as a power plant supplying Tehran with electricity. The dam was also illustrated on paper money in Rial used before the revolution in 1979. The helicopter, that the film team used for filming the Karaj Dam, got stuck in the wires around the dam and crashed with the whole film team onboard, that all perished. The material was therefore edited by Lamorisse’s wife Claude Jeanne Duparc.
In Albert Lamorisse film باد صبا (Lover’s Wind) the story is told by different mythological winds. In, The Memory’s State of Exception, I have written something I would call a conversation between the wind and I. Words and images from the wind’s point of view and my point of view, where I add a weave upon the images given from the wind. This weave being the interference created by the digital camera capturing images from باد صبا (Lover’s Wind) displayed on an analog TV. Other materials that I also display in this film are images from places such as R1, the first nuclear reactor in Sweden, and material in connection to Iran Air. These gestures symbolize me trying to respond to the tales of the wind or as comments on the film itself. An attempt in dissolving this place, whichever place that it might be.

Many thanks to the following persons who made this work possible:
Francine Agbodjalou, Diana Agunbiade-Kolawole, Petra Bauer, Lena Helac, Vladyslav Kamenskyy, Björn Larsson, Poya Livälven, Jin Mustafa, Tove Möller, Kerstin Nordlöf, Joel Mauricio Isabel Ortiz, Trita Parsi, Axel Petersén, Cristian Quinteros Soto, Elnaz Sanati, Lina Selander, Erik Thörnqvist and Theresa Traore Dahlberg.