Join the feminist network to hear from the artists behind ‘visible invisible’ on the power of art as a tool for activism.
This is the final event for the ‘visible, invisible’ exhibition series, and we will reflect on the impact of art on social change, with a specific focus on the Woman, Life, Freedom revolution. There will be time to explore the exhibition, have a chat to the artists and feminist network, and of course snacks to share!
Exhibition background
All over the world people, especially women and gender diverse people are experiencing violations of their human rights, and all over the world people are standing up to protect them. We must hear their voices, and we must pay attention.
This exhibition and campaign seeks to challenge the concept of giving a voice to the voiceless and instead recognising everyone has a voice but not necessarily a platform. Through this exhibition we hope to play a part in making the ‘invisible’ visible.
Mitra Mmalekzadeh is a Melbourne-based Visual artist who has exhibited her artworks including photographs and installations in the last 20 years. While her core belief is freedom of choice, she looks for beauty in all its forms. In this exhibition, she explores both concepts and showcases the suffering sustained by people as a result of the lack of that freedom.
Parisima Kouklan, a fashion designer turned multi-disciplinary artist, explores painting, sculpture, photography, and more. Her project “Wrise,” inspired by Iran’s recent uprising, features a powerful soundtrack blending Zack Hemsey’s “The Way” with Iranian Taar improvisation. This unique fusion offers a poignant commentary on the challenges of Iranian women.
Payam Khajeh, an Iranian Australian artist in Melbourne, acclaimed by institutions like the Contemporary Art Society of Victoria and Adelaide, holds a Master of Visual Arts from the University of South Australia. Over two decades, he has excelled in diverse mediums. His paintings and sculptures seamlessly blend tradition and innovation, pushing artistic boundaries.
