Projects 04 – Dayhim Art Society/SEP 4 , 2025/Dayhim Innovation and Acceleration Factory

Whistling Vessels: An Exploration of Sound and Form
Amir Ebrahimzadeh’s latest works, titled Whistling Vessels, examine the relationship between resonance, silence, and structure. Situated at the intersection of sound art and acoustic sculpture, these pieces transform auditory experience from passive perception into active engagement. This exhibition provides an opportunity to reflect on the role of sound as a spatial entity rather than merely an auditory phenomenon. Whistling Vessels invites viewers to reconsider the material presence and latent sonic capacities of objects by creating a sense of sonic anticipation.

Art and Walls: An Experience of Encounter and Participation
Sahar Afrooz’s interactive performance Erase My Pain unfolds within a space designed with sensitivity to the concepts of pain and participation. This work is not merely a presentation but an encounter – between audience and signs, between writing and the wall, between the possibility of erasing pain and its presence in collective memory. Through controlled lighting, music, and precise spatial arrangement, the performance crafts an experience that does not conclude upon exiting the venue but lingers in the viewer’s memory, extending into post-event reflection.

Trilogy of Identity, History, and Nature
Gita Meh presents three series that weave a multi-layered narrative of identity, history, and nature. Each series explores concepts of balance, language, and civilization, mapping the intersection between past, present, and future.

In the first series, nature is not merely the backdrop for creation but the subject itself. Stones, arranged without artificial adhesion – balanced solely by gravity and intuitive craftsmanship -symbolize stillness and meditation. Meh’s portrait drawings upon these stones unveil hidden identities, transforming them into silent yet profound personalities.

The second series examines the role of women in Iranian history and culture. Meh’s metal sculptures, inscribed with cuneiform script, reconfigure the female body not only as a biological entity but as a cultural text. By integrating light and shadow, these works generate a layered experience that echoes the role of women and mothers in shaping civilization.

In the third series, human history and geography are fused through digital illustration and painting to portray civilization, power, and migration. Drawing from ancient symbols to modern forms, Meh’s works narrate the concept of homeland as a fluid entity – one of continual search for meaning, memory, and place. This exhibition contemplates the tension between tradition and modernity, the historical role of women, and the mysteries embedded in nature.

The Underworld / Sound as Structure
In The Underwor(l)d, Mehdi Behbudi crafts a sonic experience where sound is not merely an auditory element but a spatial and mathematical structure. Based on numerical algorithms and cyclic sound patterns, this installation shapes a perception of time that loops back to its starting point every 86 days. In this arrangement, the audience is not just passive listeners but active participants in a sonic-spatial process that transforms sound from an intangible entity into a tangible phenomenon.

Simple Reception / An Experience of Sound and Presence
In Simple Reception, Mehdi Behbudi constructs a sound installation that transcends mere auditory perception, prompting reflection on the nature of sound, objects, and the viewer’s role. Featuring 12 tables, each adorned with 29 glasses and sound-producing vessels, this space oscillates between order and disorder, where objects function not only as visual elements but also as concealed carriers of sound.

Construct
The Wenodes collective presents Construct, a multi-artist exhibition featuring works ranging from interactive installations to dynamic data-driven visualizations. This collection seeks to transform the experience of existing within data and code into a unique narrative of reality – one that is not external but internalized and shaped through individual interaction with the digital world. Here, media-based art is not merely a tool but a new language for contemplating fundamental questions about existence.

Echoes of Decay, A Call to Action
Fire, once a symbol of survival, now engulfs homes and forests. In the interactive work Mira by Mohsen Olia and Zahra Reza-Soltani, destruction becomes a mirror – a reflection of our role in environmental devastation. This piece shifts viewers from passive observers to active participants; each flame, each motion, is a testament to what has been lost and what remains open to change. In Mira, the audience is part of the narrative – a direct confrontation with decay, responsibility, and the urgency of awakening before the last breath of our planet fades. Let us remember before it is too late: Earth is our home, and no home is beautiful in flames.

Cycle of Embodiment
In his work, Morteza Mahdizadeh asserts that digital media surpasses mere display and evolves into a corporeal entity where images take on physical form and reconfigure the body. Within this cycle, the boundaries between action and reaction, agency and command, continuously shift; human and technology coexist in a hybrid existence, both controlling and being controlled. What emerges is not the reproduction of reality but the potential for consciousness to develop in a new relationship with materiality, image, and subjectivity.

The Unsaid Things of the Gods
The Unsaid Things of the Gods seeks to restore a severed connection – between signs and viewers, matter and meaning, vision and perception. In this space, motifs are crafted not for ornamentation but for discovery, reaching beyond mere historical inquiry to unlock an ancient sensibility within the present moment. Every surface is an invitation for exploration; every form is a fragment of a language that predates words; every silence is an opportunity to hear what has been lost in the noise of daily existence. This collective graffiti work features contributions from artists BamBam, Betelone, Xamoosh, Shekar, Ghaar, Run, Min, and Nirone.

Whoxhe’s Last Supper
The Last Supper is a farewell. Da Vinci transformed The Last Supper into one of the most dramatic farewell scenes in the history of art – a sudden parting between Christ and his disciples, murmuring ominously of the impending tragedy. But Kian Vatan’s Last Supper is the artist’s farewell to his creation, Whoxhe. Here, betrayer and betrayed are indistinguishable from one another. The catastrophe has long since occurred, surpassing the pre-tragic stage. This time, society has entered the household, invading its sanctity, blurring the lines between host and guest. The figures seem too burdened to stand, entangled in wooden bars and metal rods. The characters look at each other and see themselves – each individual a fogged mirror, failing to reflect the true essence of the other.
There is no need for stage lights; even in darkness, the truth is visible, marching toward us – bitter and grotesque. Kian Vatan’s Last Supper lays bare the present reality of a society where people, wounded by one another, have mutated, wearing the contradictory costumes of their identities, and boasting about it.