Top 10 (+1)

Photobooks of 2024

Selected by Tim Clark and Thomas King

As the year draws to a close, an annual tribute to some of the exceptional photobook releases from 2024 – selected by Editor in Chief, Tim Clark, with words from Editorial Assistant, Thomas King.


Tim Clark and Thomas King | Top 10 photobooks of 2024 | 05 Dec 2024 | In association with MPB

1. Adam Broomberg & Rafael Gonzalez, Anchor in the Landscape
MACK

Studied witnesses to the State of Israel’s attempt to erase a people and their history, Adam Broomberg and Rafael Gonzalez present a quiet yet forceful declaration of Palestinian resilience in Anchor in the Landscape. This striking series of 8×10 black-and-white photographs of olive trees, accompanied by a text from legal scholar and ethnographer Dr. Irus Braverman, made a bold statement at the 60th La Biennale di Venezia earlier this year. Each page of the book pairs a photograph with its precise geographical coordinates, where the olive tree – facing destruction and theft by settlers – anchors livelihoods, culture, and presence in a relentlessly seized and ravaged landscape. The result is a haunting yet beautiful rekindling of connection to Palestinian land in the occupied territories.

2. Karolina Spolniewski, Hotel of Eternal Light
BLOW UP Press

Winner of the 2022 BUP Book Award, Spolniewski’s seven-year multimedia project-turned-book – replete with holographic foil cover – details the psychological and physical scars of detention, drawing on Hannah Arendt’s writings on totalitarianism and isolation. At its heart is Hohenschönhausen, the notorious Stasi prison in East Berlin, dubbed the “Hotel of Eternal Light,” where unrelenting artificial lighting twisted inmates’ sense of time. Documentary photography, scans of physical traces, inmates’ belongings, portraits, X-rays, archival imagery, and fragments of memories from conversations with former prisoners are combined through the book’s design approach to enhance meaning, one that also speaks through the inmates: one page repeats ‘everlasting interrogations,’ while another chillingly declares, ‘Every three minutes you get… blinded by the lights.’

3. Agnieszka Sosnowska, För
Trespasser

Agnieszka Sosnowska’s debut monograph, För (meaning journey in Icelandic), takes readers on a raw, poetic journey through the artist’s life on a beautiful stretch of unmistable wilderness. Originally from Poland, she immigrated to the United States as a child, then as a young adult spontaneously visited Iceland, met her partner and built a life there. Where nature is both a solace and an ever-present force, Sosnowska’s photography – especially self-portraiture – charts the ongoing journey of self-discovery and belonging. Against the pulse of land and community, her images invite a deeper reading, culminating in a confident yet vulnerable self-portrait of the artist. But to what end? Sosnowska doesn’t just capture her subjects and surroundings; as SFMOMA’s Assistant Curator of Photography Shana Lopes recently writes in her review, Sosnowska invites us to reconsider how labour, heartbreak, death, landscape, and the quotidian shape our idea of home.

4. Carmen Winant, The Last Safe Abortion
Self Publish, Be Happy

Since the re-election of the man who played a key role in overturning Roe v. Wade, Carmen Winant’s sobering photo album-style work – winner of the Author Book Award at the 2024 Les Rencontres d’Arles Book Awards – feels more urgent than ever. Published by SPBH Editions and MACK and designed with a bold spiral binding, Winant’s contemplative exploration of care resists the relentless efforts of anti-abortion movements and the far right to control women’s bodies. Featuring images of health clinics, Planned Parenthood locations, and abortion clinic staff whose tireless commitment sustains this fight, the book spans 50 years – from 1973, when abortion rights were federally protected, to 2022, following their dissolution. Winant reframes the struggle for care and autonomy as a testament to courage, resistance, and hope – urgently needed qualities. Read Gem Fletcher’s review here.

5. Carla Williams, Tender
TBW Books

It’s often a posthumous exercise to uncover a hidden trove of photographs, but for Carla Williams, her artistic debut has thankfully arrived during her lifetime—adding a new chapter to her distinguished career as a photo historian. At 18, while studying photography at Princeton, Williams began creating black-and-white and colour portraits using Polaroid 35mm and 4×5 Type 55 film formats. Now published by TBW Books, Tender spans photographs taken between 1984 and 1999. The collection collapses time through a body of unapologetically vivid work – playful, provocative, and present. The intimate self-portraits reveal the evolution of her gaze, reclaiming, redefining, and becoming, charting her coming-of-age as an artist and a queer Black woman. Winner of the Paris Photo–Aperture Foundation First Photobook Prize and celebrated with a solo exhibition at Higher Pictures, Carla Williams: Circa 1985 marks the first time much of this work has been published or exhibited.

6. Magdalena Wywrot, Pestka
Deadbeat Club

When I look back on photos of myself as a child, they’re worlds apart from the grainy, high-contrast black-and-white images Magdalena Wywrot created in her project about her daughter, Barbara. These are far less sanitised and reflect the otherness of the universe Wywrot creates in Pestka – a name that means seed, shell, or kernel and is Barbara’s nickname. Accompanied by essays from David Campany and Barbara Rosemary, the series brims with a delicate intimacy yet hums with a raw, almost mystical energy. What began as a spontaneous act of documentation has become a richly layered work of magical realism and gothic narrative. Fragmentary and cinematic, the images possess a haunting poeticism that we might find in the avant-garde sensibilities of Vera Chytilová or Dušan Makavejev – full of the playful, subversive potential that Campany mentions in his text.

7. Johny Pitts, Afropean: A Journal
Mörel Books

Johny Pitts, founder of afropean.com and author of Afropean: Notes from Black Europe (Penguin, 2020), unites his expansive work in this thoughtfully curated photobook tracing a five-month journey encompassing Paris, Berlin, Lisbon, Brussels, Amsterdam, and Stockholm. Pitts, in his search for a different side of the continent, collates an epic travelogue that blends striking photography with personal ephemera – tickets, diary notes, maps, postcards – offers a tactile, immersive book that flies in the face of rising populism and far-right politics across the continent. New essays by Pitts deepen the conversation on the Black European experience alongside a six-part podcast, a soundtrack, and three short films shot on location – a bold, multi-layered exploration of Afropean life.

8. Ute Mahler, Werner Mahler, Ludwig Schirmer, Ein Dorf 1950–2022
Hartmann Books

Michael Grieve writes, ‘time, of course, is the great force here,’ in Ein Dorf 1950–2022; that force brings ‘an arbitrary photographic topography brought to reason.’ The village of Berka, Germany, has been captured over seven decades by three remarkable photographers united by a family story – coincidental or not – that ties together personal history with the sweeping political shifts from state socialism to the reunification of a divided country. Alongside essays by Jenny Erpenbeck, Steffen Mau, and Gary Van Zante, the 220 black-and-white images glimpse the subtle yet seismic moments that have redefined the village, its people, and its evolving identity. Here is a rivetting perspective, as sociological as it is a documentary, on a place that has witnessed history, and its political reality unfolding in real-time. Since we published our review, Ute Mahler and Werner Mahler have deservedly been awarded the Order of Merit of the Federal Public of Germany (2024) for services to photography.

9. Olivia Arthur, Murmurings of the Skin
VOID

After gracing festivals, museums, and galleries worldwide, Murmurings of the Skin now emerges as a striking publication from the mighty VOID. Nealy eight years ago, Olivia Arthur began her work on physicality, capturing the energy flowing through bodies and the sensation of skin on skin. Sparked by her experience of pregnancy, the work blossomed into a vivid exploration of youth, sexuality, and touch – charged moments of intimacy. In the stillness of pandemic isolation, these themes gained new urgency. The result is a tactile, sensitive work that remedies the struggle of feeling at home in our skin.

10. Máté Bartha, Anima Mundi
The Eriskay Connection

“Our world right now operates in code. So, if we’re talking about code, isn’t everything about how the universe functions?” There’s no denying that Máté Bartha’s latest work, Anima Mundi, leans into the obscure. If we begin with the title’s translation, Anima Mundi means “world spirit,” a concept rooted in Platonic thought, reflecting an ancient idea of a universal organising principle that connects all beings. Divided into chapters exploring urban phenomena ranging from the microcosmic to the cosmic, Anima Mundi composes intricate patterns, layered grid structures, and cryptic visual codes. Its poetic and philosophical approach to the desperate act of seeking structure and meaning invites us to return to the question: how do we make sense of the universe and its code? How do we find sense in arbitrariness?

+1 Flashpoint! Protest Photography in Print, 1950-Present
10×10 Photobooks

What is the relationship between visual culture and protest? Flashpoint!, both a powerful survey of activism and visual tour de force, is a meticulously curated, global collection of protest photography, zines, posters, pamphlets, and independent publications from the 1950s to the present. The latest offering from 10×10 Photobooks is born from the 2017 project AWAKE: Protest, Liberty, and Resistance collection, which organised protest photobooks by themes through an open call. Flashpoint! builds on this with seven expansive chapters, each containing multiple sub-themes. Across 500 pages, 750+ images, and a series of thought-provoking essays, the endlessly evocative collection reflects Arthur Fournier’s ‘aesthetic of urgency,’ contrasting the polished, institutional protest imagery with the raw, time-sensitive visuals of grassroots movements.♦

 

 

 

 


Thomas King is Editorial Assistant at 1000 Words and a student on BA (Hons) Culture, Criticism, Curation at Central Saint Martins, University of the Arts London.

Tim Clark is Editor in Chief at 1000 Words and Artistic Director for Fotografia Europea in Reggio Emilia, Italy, together with Walter Guadagnini and Luce Lebart. He also teaches at The Institute of Photography, Falmouth University.

Images:

1-Cover of Adam Broomberg & Rafael Gonzalez, Anchor in the Landscape (MACK, 2024). Courtesy MACK

2-Adam Broomberg & Rafael Gonzalez, Anchor in the Landscape (MACK, 2024). Courtesy MACK

3-Karolina Spolniewski, Hotel of Eternal Light (BLOW UP Press, 2024). Courtesy BLOW UP Press

4-Agnieszka Sosnowska, För (Trespasser, 2024). Courtesy Trespasser

5-Carmen Winant, The Last Safe Abortion (Self Publish, Be Happy, 2024). Courtesy Self Publish, Be Happy

6-Carla Williams, Tender (TBW Books, 2024). Courtesy TBW Books

7-Magdalena Wywrot, Pestka (Deadbeat Club, 2024). Courtesy Deadbeat Club

8-Johny Pitts, Afropean: A Journal (Mörel Books, 2024). Courtesy Mörel Books

9-Werner Mahler, Ein Dorf, 1977-78 in Ute Mahler, Werner Mahler, Ludwig Schirmer, Ein Dorf 1950–2022 (Hartmann Books, 2024). Courtesy Hartmann Books

10-Olivia Arthur, Murmurings of the Skin (VOID, 2024). Courtesy VOID

11-Máté Bartha, Anima Mundi (The Eriskay Collection, 2024). Courtesy The Eriskay Collection

12-Flashpoint! Protest Photography in Print, 1950-Present, edited by Russet Lederman and Olga Yatskevich (10×10 Photobooks, 2024). Courtesy 10×10 Photobooks


1000 Words favourites

• Renée Mussai on exhibitions as sites of dialogue, critique, and activism.

• Roxana Marcoci navigates curatorial practice in the digital age.

• Tanvi Mishra reviews Felipe Romero Beltrán’s Dialect.

• Discover London’s top five photography galleries.

• Tim Clark in conversation with Hayward Gallery’s Ralph Rugoff on Hiroshi Sugimoto.

• Academic rigour and essayistic freedom as told by Taous R. Dahmani.

Ashley Markle

The Lion and The Lamb

Essay by Gem Fletcher

In The Lion and the Lamb, Ashley Markle reframes wrestling as a nuanced art form where the search for safe havens, male community and psychological safety reveals the subtle evolution of ‘bro culture’ in competitive sports. By capturing the young men in Columbia University’s wrestling ring, Markle aligns herself with a lineage of artists who, as Gem Fletcher writes, challenge the perception of masculinity as fixed and immutable.


Gem Fletcher | Essay | 09 Oct 2024

In The Lion and The Lamb, New York photographer Ashley Markle posits how the arena of sports, particularly the locker room, once heralded as the pinnacle of toxic masculinity, is reconfiguring itself as a site of homosociality. The work follows Columbia University’s wrestling team and charts a brotherhood where masculinity is not a monolith but a complex array of nuanced traits. Strength and competition exist alongside intimacy and innocence as she presents a group of young men seeking kinship through sport.

While the work doesn’t dismiss the male instinct to battle, there’s an ordinariness to what Markle captures. Her wrestlers rarely perform for the camera or attempt to uphold the archetype of athleticism – power, dominance, ruthlessly competitive, etc. – instead, their demeanour is open and relatable, a sharp contrast to the prevailing discourse around toxic masculinity and young men.

At odds with the typical heroic visual lexicon of athletes, Markle’s storytelling thrives on her impulse to centre relational incongruities. She doesn’t chase a decisive moment. Instead, the success of her explorations rests on a continuum of frames juxtaposed to disrupt and reflect our preconceptions back to us while simultaneously reaching for the ineffable.

Markle admits she was “nervous” when making the project, unsure how the team would receive her artistic intentions. “Wrestlers are really in tune with their emotions,” Markle said about her experience with the team over the last two years. “It’s such a mental sport, and this group truly supports each other.”

Markle is not the only female photographer who has been apprehensive about entering the domain of the young male athlete. “These are the people us Queers feared in high school,” Catherine Opie has remarked about the young male athletes she photographed for High School Football (2007-09). In Opie’s portraits, we see young men like Devin, Robby, and Rusty who cannot quite embody the athletic prowess of their heroes emblazoned on the pages of GQ and ESPN magazines. Instead, their protective armature is ill-fitting, and their crotch grabs are too self-aware. In Markle’s images, the wrestlers seemingly resist performing, unlike Opie’s football players, who unsteadily attempt to live up to the archetype of athleticism, but their naivety prevails.

At the same time as Opie was exploring the landscape of football, Collier Schorr also began photographing high school wrestlers in New Jersey captivated by the friction between the sport’s macho aggression and its graceful choreography. While Opie’s work is steeped in context and reflected a sense of fragility as the young men traverse the precarious moment between youth and adulthood, Schorr’s wrestlers are untethered from their environment, drawing our attention to the potential of the corporeal both as totems of strength and seduction. There is a distinct awe of the masculine physique as warm-ups and grapples become homoerotic gestures. If Opie’s mission was to better understand young men in the early 2000s, Schorr’s impulse was imagining what it might be like to be one.

During this period, ‘bro culture’ marked a critical moment in shaping the imaginations of young men in the West. Sex comedies like American Pie, reckless prank shows such as Jackass, and the aggressive chaos stoked by nu-metal bands like Slipknot and Limp Bizkit dominated popular culture. At the same time, Mark Zuckerberg made Facemash, a precursor to Facebook, where he invited male students at Harvard to rate the attractiveness of their female classmates. The decade was defined by the popularity of transgressive rule-breaking by young men, bolstered by a pack mentality where chugging beer, casual misogyny, destruction and dominance ruled. Bro Culture was so pervasive – self-branded as counter-culture, a subversive attempt to go against the status quo – it went under interrogation, seen as a cultural moment rather than endemic of toxic masculinity.

In retrospect, bro culture now feels like the tame precursor to today’s “manosphere,” the internet ecosystem that combines self-improvement advice for young men with casual and sometimes violent misogyny. Rooted in incel communities and led by alpha male influencers [Andrew Tate, Kanye West, Joe Rogen and so on], this rising ideology centres on male supremacy and aggressive anti-feminist rhetoric that attracts young males in search of meaning, community and power. Embodying Michael Kimmel’s idea of aggrieved entitlement – a term he coined to describe how, over the last thirty years, the world has decentred young white men ­ – the manosphere was born online with offline consequences. Responding to the rise of equal rights, incels uphold a form of masculinity that is contingent on the oppression of others.

While at one end of the spectrum, the appetite for extremism continues to rise amongst young men, there is another cohort in search of safe havens, something made apparent to Markle while making The Lion and The Lamb. “I tried to photograph the boys outside the wrestling rooms, but I quickly realised it was key,” she comments. “These rooms were incubators for the boys to form bonds and communicate freely. As soon as they stepped out of them, they entered the real world full of judgments and narrow views of masculinity.” Markle’s project points to the significance of place in the context of masculinity while also describing the subtle evolution of competitive sports, once deemed responsible for upholding toxic traits, has now shifted in some cases to embody genuine male community and psychological safety.

It’s hard to resist Markle’s low-key optimism right now. Through her super-saturated and keenly observant pictures, she sits within a lineage of artists intent on debunking the idea that masculinity is fixed and immutable. Like Opie and Schorr before her, Markle illuminates the precociousness of her wrestlers’ inner lives as they attempt to navigate the dominant social structures that hold ideas about masculinity in place. ♦

All images courtesy of the artist. © Ashley Markle


Gem Fletcher is a writer, consultant and podcaster. Her work has been published in 
FoamApertureDazedCreative Review and The British Journal of Photography. She also hosts The Messy Truth podcast, a series of candid conversations that unpack the future of visual culture and what it means to be a photographer today.


1000 Words favourites

• Renée Mussai on exhibitions as sites of dialogue, critique, and activism.

• Roxana Marcoci navigates curatorial practice in the digital age.

• Tanvi Mishra reviews Felipe Romero Beltrán’s Dialect.

• Discover London’s top five photography galleries.

• Tim Clark in conversation with Hayward Gallery’s Ralph Rugoff on Hiroshi Sugimoto.

• Academic rigour and essayistic freedom as told by Taous R. Dahmani.

Carmen Winant

The Last Safe Abortion

Book review by Gem Fletcher

Carmen Winant works to counter the ways anti-abortion movements and the far right have made punishing attempts to control and dominate women’s bodies and reproductive rights. The Last Safe Abortion, published by SPBH Editions and MACK, focuses on the near 50-year period in which abortion was legal in the US (1973–2022), and presents a selection of photographs that employ Winant’s signature strategies of proximity and volume with radical effect, Gem Fletcher writes.


Gem Fletcher | Book review | 6 June 2024

On 30 April 1965, Lennart Nilsson’s portrait of an 18-week-old human foetus appeared on the cover of Life Magazine in a story called “Drama of Life Before Birth”. Over 18 pages, the Swedish photographer, often credited as the first person to photograph embryos, presented a sequence of foetuses at various stages of development, floating in a constellation of amniotic fluid. The actual drama of this ‘unprecedented feat’ in photography was that Nilsson’s images were operating under the pretence that the foetuses were alive when, in fact, they were not. His foetal pictures, posed and backlit, were only made possible because the pregnancies had been terminated to save women’s lives. 

This irony is lost on the anti-abortion movement who, since the 1980s, has weaponised Nilsson’s photographs in our cultural imagination – not as feats of science as he intended, but as visual propaganda – pushing a fiction that embryos are autonomous entities, independent from the birthing bodies that made them. What is missing from both Nilsson’s images – the mothers likely never gave their permission for their lost children to be imaged or reproduced – and the visual tactics of the far right is care. In their punishing attempts to control and dominate, there is no care for ethics, no care for the truth, and most pertinently, no care for women.

It’s this visually inculcated misinformation campaign that Carmen Winant sought to interrogate in her new title, The Last Safe Abortion, published by SPBH Editions and MACK. Focusing on the near 50-year period in which abortion was legal in the US (1973–2022), the book presents care as an agent of change, told through the advocacy and community building of abortion providers across the American Midwest. Building upon similar strategies in her previous books, My Birth (2018), Notes on Fundamental Joy (2019) and A Brand New End: Survival and Its Pictures (2022), Winant intends to fill a void in our visual lexicon whilst inviting the viewer to think about how pictures can function, not as documents, but as tools for social change.

Winant is an artist who has had a stake in the fight for reproductive justice long before the overturning of Roe. As a teenager, she volunteered as a clinic escort, started a pro-choice club in high school and was an active agent in advocacy work in Philadelphia. Returning to the subject in her practice, the challenge was if and how she could transmute these political commitments into art-making. What did the intersection of photography and abortion care look like? And what potential could looking yield?

The project started slowly in Cleveland after Winant made the two-hour drive from her home in Ohio to Pre-Term, one of the longest abortion care providers in the state. Upon arrival, she discovered the clinic’s archive of photographs, slides and negatives living in banker boxes, piled high in cupboards and stacked on shelves. The images – many of which had gone undisturbed for decades – show clinic staff sterilising medical equipment, answering phones, re-enacting procedures and attending fundraising events. These women harnessed image-making as an educational tool to demystify reproductive health and put patients at ease with no step deemed too small or unworthy to photograph. After Pre-Term, the work began to expand as Winant interacted with dozens of personal, organisational and institutional archives across the Midwest, many of which she visited multiple times, building relationships with staff and tracing their histories. Between 2019 and 2023, she scanned and collected thousands of 4×6 images, each playing an incremental role in the struggle. In addition, for the first time in decades, Winant made pictures herself, determined that the inventory of care she was collating reflected the contemporary moment, as clinics fight to survive and serve their communities post-Roe. 

As an object, The Last Safe Abortion feels more akin to a family album than a typical photobook: spiral bound, softback and accessible. Images are mounted on bright coloured hues mimicking the vibrancy of community notice boards and the librarian’s preferred process of archival scanning. Whilst the material quality of the book is simple and pared back, proximity and volume – Winant’s signature strategies – are employed with radical effect. Over an abundant 170 pages, we experience an uninterrupted flow of this visual material, only sporadically breaking pace to present multiple frames of the same moment to slow the viewer down and encourage them to linger. The result is a disarming and profound encounter with care and solidarity en masse – a powerful antidote to the endless violence that dominates our visual lexicon. 

What does care look like? It’s a difficult question to answer because we feel it more than we see it, and care work is quiet and incremental. In the context of the abortion care work, care happens behind closed doors, in waiting rooms, on the phone, around the bed in the operating theatre and in the recovery room. It is remarkably undramatic and visually mundane, yet both life-changing and life-saving. This dissonance gives the project its potency, not just within its context of the women who have dedicated their lives to the work of reproductive justice but as a critical probing of photography and its values.

Unlike photography’s tradition of one revered author, the visuality of this work is the sum of many people, including but not limited to Francine, Chrisse, Sri, Colleen, Deb, Beth, Gayle, Tammi, Barb, Jackie, Carol, Theresa, Harriet, Marge, Jennifer, Karen, Adele, Sunita, Terel, Gina, and Brenda, Gwenne, Dorothy, Cynthia Doleres and Jean. Their unseen labour, made visible by Winant, builds upon a legacy of feminist movement strategy, disseminating information and care for women by women, made possible by a deep commitment to intergenerational interdependence. 

The role of artmaking as a political tool is something Winant makes clear she is still grappling with in her essay at the book’s close.  She writes: ‘It occurred to me that building relationships was the point of the work rather than its subject. What if my work was reciprocal rather than extractive?’ Like the body of work at large, these ruminations sound simple yet offer urgent perspectives about how pictures are made, who gets to make them and how we assign cultural value to photography. The Last Safe Abortion leaves you wondering what would the world look and feel like if the images of violence and trauma being circulated at great velocity were replaced with models of care, collaboration and tenderness? ♦

All images courtesy the artist, SPBH Editions and MACK. © Carmen Winant

The Last Safe Abortion is published by SPBH Editions and MACK.


Gem Fletcher
is a writer, consultant and podcaster. Her work has been published in Foam, Aperture, Dazed, Creative Review and The British Journal of Photography. She also hosts The Messy Truth podcast, a series of candid conversations that unpack the future of visual culture and what it means to be a photographer today.


1000 Words favourites

• Renée Mussai on exhibitions as sites of dialogue, critique, and activism.

• Roxana Marcoci navigates curatorial practice in the digital age.

• Tanvi Mishra reviews Felipe Romero Beltrán’s Dialect.

• Discover London’s top five photography galleries.

• Tim Clark in conversation with Hayward Gallery’s Ralph Rugoff on Hiroshi Sugimoto.

• Academic rigour and essayistic freedom as told by Taous R. Dahmani.

Sheida Soleimani

Birds of Passage

Exhibition review by Gem Fletcher

Gem Fletcher visits the latest exhibition at Denny Gallery, New York, Sheida Soleimani: Birds of Passage, an ongoing collaborative project which sees the artist work with her parents Mâmân and Bâbâ – two Iranian pro-democracy activists and refugees – to translate their traumatic experiences of political exile leaving Iran in the 1980s via densely layered images that half-document, half-mythologise family lore.


Gem Fletcher | Exhibition review | 5 Oct 2023

Spring 2023: I am at Edel Assanti, London, where a hand-drawn map, embedded with photographs, covers every inch of the gallery’s walls as part of Sheida Soleimani’s ambitious series Ghostwriter. The interplay between image and sketch, combined with the map’s lack of perspective, creates a subtle sensation that the ground is moving beneath my feet. The feeling is overwhelming, unexpected and seemingly involuntary as the map pulls me in. It recalls the city-bending scene in Inception (2010) when Ariadne (played by Elliot Page) rebuilds the landscape of a Parisian street with her imagination without being bound by the laws of physics. Whilst Solemaini’s map in Ghostwriter is more rudimentary – the frenetic and urgent blue mark-making feels more akin to something you might scribble privately on the back of a napkin for a friend – it is nevertheless effective in creating a disorientating spatial sensation that defies gravity.

Experiential storytelling is the driving force of Ghostwriter. In the ongoing collaborative project, Soleimani works with her parents Mâmân and Bâbâ – two Iranian pro-democracy activists and refugees – to translate their traumatic experiences of political exile leaving Iran in the 1980s. The duo opposed both the Shah government and the Ayatollahs’ totalitarian regime. Bâbâ went into hiding as Iran began to tighten its response to political dissent before eventually fleeing on horseback. At the same time, Mâmân endured solitary confinement and worse before finally reconnecting with him in the US.

The map at Edel Assanti, drawn by Bâbâ, traces his escape route through Iran, coming over the Zagros mountains into Turkey. Situated within it are Soleimani’s photographic assemblages – densely layered images half-documenting, half-mythologising family lore—which act like map keys unlocking specific scenes and information about their stories. For Soleimani, the gallery is a portal, a theatre of ideas to engage with the complexity of surviving political exile.

Autumn 2023: I am at Denny Gallery, New York, standing in Soleimani’s latest iteration of Ghostwriter, Birds of Passage. On this occasion, the map doesn’t pull you in but instead drops you, like Google Street View, into Mâmân’s detailed sketch of Namazi Hospital in Shiraz, Iran. The location is significant. It’s not only the site in which the couple first met in 1975 and their place of work (Bâbâ was training to be a doctor and Mâmân a nurse), but was also a site of resistance during the revolution. As surveillance increased for activists, Mâmân and Bâbâ began holding dissenter meetings in the operating theatre to avoid detection.

Birds of Passage is the third installation in the Ghostwriter continuum. Each chapter jumps through time, weaving together emotional truths with larger socio-political issues in a labyrinthine journey. The first chapter, On the Wall, presented in Providence College Galleries in 2022, was set on a map of the courtyard of Mâmân’s childhood home, where Bâbâ went into hiding for many years. In contrast to the second chapter at Edel Asanti, which offered a macro view of her parents’ lives predominantly focused on Bâbâ’s escape, Soleimani utilises the smaller square footage at Denny Gallery to present a concise micro-chapter on her mother’s psychological experience at the hospital and later in solitary confinement before her escape in 1976.

Like all the images in Ghostwriter, the complex stagecraft in Birds of Passage is informed by Dada collage, magical realist texts, political puppetry, propaganda poster design and feminist craft practices. Soleimani chops, collages and sculpts images to set the scene in her theatrical three-dimensional tableau. Objects, drawings, prints and fabric, sourced and crafted by the trio, are vessels for the story, set against a flaunting of fantastical shapes, colours and textures that create unique visual codes, networking the different chapters together.

One of the most significant codes in the series is taken from an ancient Persian game of Snakes and Ladders. The grid – which sometimes appears only subtly as a motif in the background and other times dominates the entire narrative of the image – alludes to the games immigrants are forced to play to survive as well as the elements of chance, risk and reward involved in the process of her parents’ journey. Soleimani plays with these contractions to build atmosphere and tension, shifting between beauty and peril, the alluring and the unnerving, holding us in limbo.

Ghostwriter is the first time Soleimani has turned the camera inwards. For the last decade, the artist’s practice has centred on geopolitics in the SWANA region, focusing on human rights violations and how governments fail to provide for their people. Now, we see the artist explore these themes through a personal lens in an attempt to retrieve, index and preserve her family’s story whilst examining the consequences of political systems reducing citizens to “abstractions”.

Time is not always linear in Ghostwriter as the artist grapples with how these stories have been told throughout her life. Since Soleimani was an infant, her parents, who didn’t believe in therapy, used storytelling to manage their PTSD and metabolise their traumatic displacement. At first, their experiences were shaped into a kind of autofiction – retold through protagonists like Mr Jones and his dog Bill over tea, on long car journeys and at bedtime – but as Soleimani and her sister got older, the stories became less censored and more matter-of-fact. “My parents didn’t want me to grow up and think of the world as an idyllic place,” she says. “They wanted me to know the truth.”

A commitment to ‘deep listening’, coined by the late American avant-garde composer and scholar Pauline Oliveros, shapes Soleimani’s life and practice. Oliveros distinguished hearing and listening – the latter a corporal experience that involves an acute awareness of the external and internal, spoken and unspoken, whilst paying attention to the multiple realities at play. Deep Listening embodies the trio’s co-creation process in Ghostwriter. Together, they patchwork different perspectives, memories and emotions from their collective past, dismissing the notion of singular truth and instead holding space for how trauma and the passing of time allow for new modes of (mis)interpretation.

Despite the shielded identity of her protagonists to limit the threat of ongoing persecution, there is a relational quality born from this work and how Soleimani unfolds the intimate geography of their lives. We become invested in them and their story. In theory, Ghostwriter’s biggest threat is becoming sentimental, a saccharine ode to the artist’s radical parents. However, Soleimani’s bold and imaginative narration goes beyond negotiating her family history and offers a conduit for a new way of seeing and feeling.

After experiencing Birds of Passage, I realised the difficulty of isolating these exhibitions. Whilst they are successful as their own entities, the work’s real draw is born from the visitor’s engagement with the work through its constant iteration. She may not admit it, but Soleimani rewards our loyalty. Her provocation to us as viewers is to code-break. Pay attention. Notice every detail and how they build, shift or morph over time. To remain committed to deep listening. ♦

Images courtesy the artist, Edel Assanti, London, and Denny Gallery, New York © Sheida Soleimani

Installation views of Birds of Passage, at Denny Gallery, New York, from 5 September – 7 October 2023.


Gem Fletcher is a writer and host of The Messy Truth podcast, a series of candid conversations that unpack the future of visual culture and what it means to be a photographer today. Her writing has been published in Foam, Aperture, British Journal of Photography, Creative Review, It’s Nice That and AnOther.

Images:

1-What a Revolutionary Must Know, 2022 © Sheida Soleimani

2-Noon-o-namak (bread and salt), 2021 © Sheida Soleimani

3-Crying Quince, Laughing Apple, 2022 © Sheida Soleimani

4-Khoy, 2021 © Sheida Soleimani

5-Agitator, 2023 © Sheida Soleimani

6-Panjereh, 2022 © Sheida Soleimani

7-Remorse, 2023 © Sheida Soleimani

8-Behind the Door, 2022 © Sheida Soleimani

9-Safar, 2022 © Sheida Soleimani

10-Field Hospital, 2022 © Sheida Soleimani

11>13-Installation views of Birds of Passage, at Denny Gallery, New York.