This series began in 2012 with Hands, continued in 2013 with Bodies, and expanded between 2014 and 2019 through Theatre (Performing Arts). The work has further evolved into explorations of Architecture and urbanism after moving to Luxembourg in 2019. They explore the intricate layers of human existence, where the biological, psychological, cultural, and social dimensions interweave seamlessly. Each photograph and video serves as a lens into these interconnected systems, illustrating the continuous interactions that shape our lived realities. They reveal how these layers are not isolated but rather permeable, and evolutive, continuously influencing and reshaping one another through ongoing feedback loops. Boundaries shift, systems converge, and the Eternelles Instantanéités emerge—a perpetually unfolding presence where all elements exist in flux, yet remain deeply interconnected and constantly in dialogue.
[Enrico Lunghi - Curator]
The work of Alborz Teymoorzadeh exists at the intersection of the individual and the collective, at the meeting points between inner life and life in society. Imbued with a Persian culture spanning several millennia, he has, since his youth, developed a boundless artistic practice in pursuit of ethics, compassionate wisdom, and universal love.
Through his personal existence, he traces a path open to the unknown, where art serves as a space to encounter the Other and to share experiences and knowledge. In his approach, drawing, painting, photography, video, as well as theatre, architecture, music, and activism are not only means of understanding but also tools for cultivating common ground and sharpening the perception of the complexity of life and the world.
The photographic series Hands, Bodies, Theatre, and Architecture borrows from Italian Futurism the technique of multiplying and juxtaposing temporal sequences to evoke simultaneous, distinct, and ever-changing perceptions of the same body, object, or situation. Strikingly beautiful, these images reveal both the ephemeral nature of existence and the elusive eternity of lived sensations, gracefully merging classical aesthetic canons with contemporary visual experimentation.
The video Les Parques seems to suspend the breath of life on a tuft of hair, recalling the work of the three ancient goddesses who wove human destinies: from a single cut—subtly translated through the breathtaking rhythm of the images and the exquisite relevance of the music—depends the inexorable acceleration of time or the immanence of the present.
Against a backdrop of religious music, two male hands wash the dishes. Then, as a woman’s voice narrates the benefits of classical music, the individual folds laundry before tending to houseplants. Still accompanied by the radio broadcast, he then prepares a coffee and calmly smokes a cigarette by the window before chopping vegetables to make a meal.
In L’Homme de Ménage, Alborz Teymoorzadeh gently portrays the quiet permanence of daily domestic tasks, subtly reversing traditional roles inherited from ancestral cultures while discreetly highlighting the involuntary condition of exiles, confined to an indefinite state of waiting.