Collective Reflection

Mirrors, frequently encountered in contemporary artworks, are much more than reflective surfaces; they embrace metaphors, representing awareness and self-identity in poetic expressions. In her practice, Shirin Abedinirad addresses issues such as identity, perception of reality, mysticism, and gender inequality through the optical illusions created in Collective Reflection. She uses mirrors of different geometric shapes and sizes placed in natural locations around the world.

Contrary to their seemingly simple form, mirrors are reflective surfaces that not only provide pure reflections but also reveal everything surrounding us, tightly embracing both our selves and surroundings, showing reality in different forms to the subject looking into it. The mirror image, which frequently appears in the compositions of René Magritte and Salvador Dalí, is reinterpreted in Abedinirad’s works in a similar manner, generating illusions both in thought and spatial depth. Just like the fractal geometric form “Pyramid,” every installation, carefully calculated and conceived, creates a cubist image-deconstruction. The viewer’s interaction with their reflection in the mirrors refers to the formation of the ego, a concept introduced by the famous theorist Jacques Lacan, known as the “Mirror Stage” in psychoanalysis. According to Lacan, the discovery of one’s self-identity is possible when a baby, for example, sees their own reflection in the mirror at around eight months old. Abedinirad’s fragmented imagery, created with elements from nature and the reflections of the viewers, makes us question the formation of the ego and our potential to reach pure self beyond it.

Mirrors, carefully attached to powerful structural carriers that overlap on the delicate texture of historical spaces, come forth as concrete forms of the poetic expression of Rumi, one of the key philosophers of the mysticism that the artist has been interested in for many years. According to Rumi, the way to reach the sky is only through the heart. This is true… The exhibition, which invites the viewers to embark on a journey towards their pure self through collective reflections, can only be possible through the heart.

The Iranian-born artist metaphorically holds a mirror to the realities of societal inequality imposed on women in patriarchal societies, attributed to their identity and the forced responsibilities. In response to the thought that women should bow their heads, coded in the collective memory from the myths and traditions of her homeland, Abedinirad uses the circular mirror “Evocation,” which reflects a view of the sky, placed on the floor of the church above. By placing the sky beneath the viewers' feet, the artist sends messages of unity, solidarity, and productivity, including International Working Women's Day.

On the trace of the 11 steps leading to the "Heaven" on Earth...

The piece of paper you are holding goes beyond being a conceptual roadmap that decodes the artworks you will experience under the title of Collective Reflection. It also sheds light on the resolution of a mystery. During the curatorial process, various random situations encountered inside the Girls' Monastery are reflected in the “Heaven On Earth” installation, placed on the elegant bell tower's steps. This installation provides optical illusions from different perspectives, allowing us to witness entirely different landscapes while delivering mystical messages. In numerology, the number 11 symbolizes spiritual awakening and is associated with the roots of the Mina's Children charity, in memory of the eleven productive women who have passed away. The eleven steps, intermingling with clouds and light in the sky, represent a reflection of heaven on earth in the historical Girls' Monastery. Of course, only those who believe with the heart can touch the sky.

Curator: Ayça Okay