1. Ebne Sina Gallery (Solo Exhibition) – Iran – 2015
2. Koodaki (Childhood) Exhibition – Iran – 2015
I remember my parents’ shoes always were laughing. Just the moment I flew in my shoes … When I was a child, my father’s old clothes were still good and my mother always not hungry. Her morsels were on my plate but she had not eaten before. I remember my parent’s shoes always had a pure smile to make the dreams of my shoes come true.
3. The 7th Fajr International Visual Arts – Iran – 2016 & Izmir Rotary Kulubu – Turkey – 2016
Pain Killer
4. Shekastani (The Breakable) – Niavaran Art Gallery – Iran – 2016
I know women from the land of walnut who sell bags full of walnuts with their broken hours just for small price. They are broken and break because of nothing.
5. Nafas Festival – Iranian Artists Forum – Iran – 2016
Cell Proliferation
6. Mattress Festival – Italy – 2020
7. Dystopia – 11th Ceramics Biennial – Iran – 2020
8. VAYU Residency – Kashan – Iran – 2021
https://vayuresidency.org/
https://www.instagram.com/vayuresidency/
9. Eggo Solo – Tehran – Iran – 2022
https://www.valiartgallery.com/fa/aboutus
https://www.instagram.com/vali.gallery/
10. The Last Position – Tehran – Iran – 2022
https://www.instagram.com/tv/Cd3OuRyFHCk/?igshid=NTc4MTIwNjQ2YQ==
11. The Fishes Do Not Stay In Tight – Tehran – Iran – 2023
12. Attachment – Shiraz – Iran – 2023
13. Individual Subscription – Tehran – Iran – 2023
14. Sougvareh– Tehran – Iran – 2023
The concept of anonymity and namelessness in graves and clothing that are called forth from nowhere to the world of Zahra takes us to the depth of a wounded wound, which mothers experience in burying the pieces of their body. The artist brings forth a colorful range of suffering through forty pieces of fragmented body. These bones are not meant to be bound with soil, but rather they are meant to stir a disturbing question, like a wounded wound sitting in filth; where are these pieces of body? The use of feminine materials and the three-dimensionality of the forty two-dimensional pieces alongside the performative aspect of Zahra’s work seemingly creates an extension of mourning. It delves inward and takes root in the depths, bringing forth a fountain and cry in the form of a new artistic work. Zahra remains silent and, like grieving mothers, clenches her teeth on her liver, and she creates her fragmented bones like handcrafted dolls. Those bones, those small silent dolls, come together and are buried in the soil to be unearthed multiple times and expose bare bones, repeating the absence of a missing body.
