Un/related Memories [soon]
Ashes and Snow [2023]
Eyes Dazzle As They Search for The Truth [2022]
Life, Death, and Other Similar Things [2019]

Amin Yousefi born in 1996 in Abadan, Iran, is a London-based writer, researcher, and image-based artist. He holds a Master’s degree in Documentary Photography from the University of Westminster. A native of Abadan in the province of Khuzestan, Iran's most oil-rich region, and the scene of a bloody war with neighbouring Iraq, Yousefi's work examines the event of photography through the socio-political aspect of the medium. His primary concern lies in the implications of the archive, exploring violence in the Middle East enacted and how the act of photography can conceptually mirror the structures of these relationships.
Yousefi's work has been featured in several exhibitions and awards, including being named a 2024 Foam Talent Award winner. His project "Eyes Dazzle as They Search for the Truth" was selected as a finalist for the 2022 Carte Blanche Awards at Paris Photo and was later exhibited with Ag Galerie at the 2023 Unseen Art Fair in Amsterdam. His work has also been showcased at the 2024 Belfast Photo Festival, the 2024 Athens Photo Festival, and the 2024 Kranj Photo Festival. Additionally, Yousefi participated in the 2024 Circulation(s) festival at Centquatre-Paris and the 2024 Back to the Future exhibition at Peckham 24.


Email
Instagram
Eyes Dazzle as they Search for The Truth [2022]
How could the sound of a 35mm camera shutter attract the attention of a protestor in a crowd? As if the photographer used a megaphone to say, “One, Two, Three, Cheese...“ and some participants gazed out of the atmosphere to stare at the camera. I want to find my suspects like a detective among the revolutionaries of Iran in 1978-1979. The Iranian revolution stands as a paramount milestone in the Middle East over the past five decades, exerting multifaceted ramifications that have reverberated throughout the region. This project highlights individuals who looked out from among the masses at a crucial moment in history and stared into the lens of a camera. The photographer is usually the one who is in control of the image being captured. The photographer chooses the mise-en-scène by choosing their position. The anticipated relationship has been reversed in these photographs, as the photographer was influenced by the crowds and the eyes that turned towards the camera. As if the subject and object had exchanged places. This reversal of roles had a significant impact, as the people themselves took on the task of capturing the image with their gaze rather than the camera turning towards them. Photographing through a magnifying loupe provided an allegory for extracting photographs of the revolution and bringing them to the present moment. The magnifying loupe acted as a bridge that connected me to the revolutionaries. It seems that their gaze has been waiting for my eyes for decades, filtering through a multitude of lenses and eyes before reaching me. They wanted to be recorded in history by a camera, and I tried to honor their desire for immortality.