The work in این نیز بگذرد (This Too Shall Pass) could be described as a constructive failure of an attempt to address the desperate situation of migrants in Europe today, while also trying to untangle the problems of representation within photography. The work comes from a frustration with the inability to ever fully understand or communicate the history of another individual. It’s built on that inability, however that doesn’t exclude the possibility of identification or empathy but rather puts it to the test – in this case to expand the perception of what might at first appear to be a meaningless image.
این نیز بگذرد (This Too Shall Pass) consists of three works revolving around a screenshot from the online roleplaying game World of Warcraft where Yashar Maghsoudi, 13, plays as the Blood Elf Paladin ”Nighetboy”, from Bandar-e Anzali in Iran. By forming a group with other players and traveling for hours across all the virtual borders in world of the game, Yashar had finally been able to make it into the heart of the capital city of the opposing nation. While one of the most difficult achievements in the game, Yashar couldn’t realize the full significance of this until two years later. Persecuted by the religious police in Iran and forced to escape the country, he was able to sell his virtual character in order to pay for his real escape, and most likely save his life. So by participating in a virtual conflict, managing to make it across the borders of a fictional world, it became possible for Yashar, when faced by a real threat, to cross the very real borders of Iran and Europe, and finally make it to Sweden.
In combination with the image, an audio recording explores Yashars story about how the virtual world became a way for him to escape the real oppression in Iran, both figuratively and literally. The audio continues into present day where Yashar’s asylum application has been rejected six times, leaving him in a legal limbo where he’s neither granted asylum nor can be deported. Together with the audio a table consisting of texts, notes and Polaroids investigates the working process and the problems of representation within photography, and asks the question if it’s ever possible to tell another person’s story – which in this case is both political and deeply personal.