Iranian Artist Azadeh Akhlaghi on Reconstructing History Amid War
Iranian photographer and filmmaker Azadeh Akhlaghi has gained international recognition for her unique artistic practice of reconstructing pivotal political assassinations and deaths in Iran's modern history that were never captured by cameras. In an exclusive interview with journalist Sneha Bhura, Akhlaghi discusses her work, the current war in Iran, and the profound uncertainties facing her homeland.
Reconstructing Unphotographed History
Akhlaghi's artistic practice focuses specifically on suspicious deaths or assassinations that occurred when photographic documentation was unavailable. She meticulously investigates these events through documents and eyewitness accounts to create visual reconstructions. One of her most notable works recreates the shooting of philosophy student Neda Agha-Soltan, who became an icon for protestors during Iran's 2009 election protests.
"My artistic practice focuses on suspicious deaths or assassinations that took place when the camera was not available to capture the event," Akhlaghi explains. "To reconstruct those moments, I conduct thorough investigations, studying documents and eyewitness accounts."
The Khamenei Assassination Question
When asked about Supreme Leader Ayatollah Ali Khamenei's reported assassination, Akhlaghi notes the ambiguity surrounding the event. Satellite imagery shows complete destruction of the building where he was reportedly killed, but no images of his body have surfaced publicly. Some reports suggest a video exists that was shown to former US President Donald Trump and Israeli Prime Minister Benjamin Netanyahu, but this has not been made available to the Iranian public.
"Many Iranians consider Khamenei to have been responsible for decades of imprisonment, violence, and suppression over the past 37 years," Akhlaghi states. "In my opinion, he should have been captured and brought to court in Iran to answer for that history."
She adds that if the alleged video remains unpublished, she might consider reconstructing his death as a historical turning point. This situation highlights how, despite living in an age of cameras and social media, crucial evidence can still be censored or withheld from public view.
External Intervention and Internal Change
Regarding US assumptions about engineering regime change through airstrikes, Akhlaghi emphasizes Iran's long history of internal struggles for freedom and political reform. From the Constitutional Revolution of 1906 to contemporary movements, Iranians themselves have consistently driven attempts to reshape their political system.
"Change in Iran has always emerged from internal social movements, intellectual debates, and political struggles," she asserts. "The experiences of neighbouring countries such as Iraq, Afghanistan and Syria have shown how external military action can lead to long periods of instability or even civil war."
Akhlaghi believes meaningful and lasting political change in Iran can only come from within Iranian society itself, through the continued efforts and sacrifices of its people.
Life in Iran During Bombardment
Now living in New York, Akhlaghi describes the communication blackout with her family and friends in Iran since the war began. The internet has been largely cut off, with only a small number accessing it through expensive VPNs on the black market. Both international and state-controlled media fail to provide a clear picture of actual conditions inside the country.
"I managed to speak briefly with a few friends," she shares. "They told me that people have become used to sleeping with their shoes on, under door frames, and away from windows. There are no air raid shelters or sirens, so people have nowhere to take refuge when the strikes begin."
One friend continues jogging daily in a local park because staying indoors has become unbearable. Many suffer from sleep disorders, and Akhlaghi worries particularly about her father, brothers, and friends. Her 14-year-old cousin must undergo chemotherapy this week despite hospitals being targeted during attacks.
The timing coincides with Nowruz, the Iranian New Year marking spring's beginning. Akhlaghi cannot imagine her people celebrating under such horrific bombardment, noting that more than three million have lost their homes in just two weeks.
Uncertain Future for Iran
When asked about Iran's future after the war, Akhlaghi expresses profound uncertainty. "I truly have no idea what will happen," she admits. "Iran has been trapped in a vicious cycle for more than a century. Each time people overthrow a dictator, another system of repression replaces the previous one."
Her greatest fear, which appears in nightmares, is the possibility of civil war. Another danger is the survival of the same authoritarian system that violently suppressed protests just two months ago, imprisoning tens of thousands. This could erase social achievements and movements built over decades.
Iranians have already suffered under sanctions for years, and prolonged conflict could push the country into deeper humanitarian and economic crisis. Having extensively studied Iran's modern history, Akhlaghi feels current days are among the most terrifying and uncertain.
Ethics of Historical Reconstruction
Regarding the ethics of re-enacting traumatic history and placing herself in those scenes, Akhlaghi explains her approach. "By re-enacting traumatic historical moments, I try to visualise the past for my audience so they can have a clearer understanding of it," she says.
However, she acknowledges the impossibility of completely objective historical reconstruction. Despite thorough research with documents and eyewitness accounts, she recognizes she can never discover the whole truth. History contains layers of uncertainty and ambiguity, which inspired the title of her previous project 'By an Eye-Witness'—reflecting her personal encounter with history.
Azadeh Akhlaghi, who previously worked as assistant director to acclaimed filmmaker Abbas Kiarostami, continues her artistic exploration of Iran's complex history while grappling with the devastating realities of the present conflict.
