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	<title>Neda Saeedi</title>
	<link>https://www.nedasaeedi.com</link>
	<description>Neda Saeedi</description>
	<pubDate>Wed, 19 Aug 2026 12:30:41 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://www.nedasaeedi.com/Home</link>

		<pubDate>Wed, 14 Apr 2021 20:37:42 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

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		<description>NEDA 
SAEEDI</description>
		
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		<title>Vanished Topography </title>
				
		<link>https://www.nedasaeedi.com/Vanished-Topography</link>

		<pubDate>Wed, 19 Aug 2026 12:30:41 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

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		<description>Vanished Topography&#38;nbsp;2026
Stainedglass, Steel&#38;nbsp;
Set in the voids that have remained open since the destruction of St Nikolai’s Church in the Firestorm of 1943, Neda Saeedi’s stained glass installation addresses the tangible apocalypse of the site. Those historical windows once told biblical stories, including scenes from the Apocalypse, known also as a Book of Revelation, understood not only as an end-time vision, but as a search for truth and revelation.

The new scattered forms are inspired by archival research into the bodies of water that surrounded the church, the canals that were filled with rubble after the IIWW and gradually disappeared from view. Traced from old maps, the curves and trajectories of these water ways form the structure of Saeedi’s compositions, made from collected glass shards. 

Glass is produced through fire. Sand transformed by heat into something that holds and transmits light. Installed in the emptied windows, the shards function less as memorials and more as lenses, bringing into visibility what has been buried beneath destruction, beneath rebuilding, beneath forgetting. The work acts as a lens through which disappearance becomes visible.
from exhibition text by&#38;nbsp;Joanna Warsza 
photos©&#38;nbsp;Daria Kulnina
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		<title>Abyssal Zone</title>
				
		<link>https://www.nedasaeedi.com/Abyssal-Zone</link>

		<pubDate>Wed, 19 Aug 2026 11:52:11 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

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		<description>Abyssal Zone
2026
Glass and rebarsIn Abyssal Zone by Neda Saeedi (b. 1987, Tehran), glass volumes, suspended within an iron skeletal frame, hold fragmented bodily gestures: a hand, a bowed head, a partial embrace. The sculptural installation, commissioned for the Kyiv Biennial at KW, echoes the statue Mutter Heimat, a part of Berlin's Soviet War Memorial at Treptower Park. Representing the homeland, sacrifice, loss, victory, and national defense, this allegorical monument presents the sorrowful figure of a mother hunched in grief. In the exhibition space, the monument dissolves into segments, as if memory itself could not sustain a whole image. The transparency of the glass refuses monumentality; it leaks, reflects, and fractures its surroundings.


Saeedi's forms do not monumentalize loss but reveal its construction, how narratives are assembled like scaffolding, filling voids with partial truths. The work suggests that monuments are less anchors than placeholders, occupying gaps in collective memory, especially along for-mer Soviet borders like Berlin, where histories are most forcefully drawn and redrawn.


This logic extends to the condition of displacement. To arrive in a new land is often to compress language, gesture and history into something legible, translatable, a reduced version of the self. As that identity expands again over time, its fractures become visible and continuity reveals itself as approximation. Saeedi's sculpture inhabits this moment of re-expansion: The glass fragments do not resolve into wholeness, but insist on their seams and discontinuities. The work becomes not only a reflection on monuments filling narrative voids, but on the self as a similarly assembled, compressed, and imperfectly unfolded structure.From exhibition Text by Sofie Krogh Christensenphotos© Frank Sperling, KW

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		<title>Monument of Oblivion: River of Lethe</title>
				
		<link>https://www.nedasaeedi.com/Monument-of-Oblivion-River-of-Lethe</link>

		<pubDate>Mon, 18 Aug 2025 13:23:44 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

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		<description>Monument of Oblivion: River of Lethe
2025Sound sculpture,Art in public space&#38;nbsp;
Klosterruine Berlin


I thought I understood this tension the first time I faced Mutter Heimat at Treptower Park. Her empty hands, her bowed head, a staged lesson in shame. The Red Army soldier at the memorial’s apex cradles a child, a forced symbol of futures reclaimed. But the child never grows. The soldier never ages. The mother never unclenches her fists. The memorial’s choreography loops endlessly, a closed circuit of guilt and absolution. Yet its foundation is violence: the land cleared, the narratives erased, the victor’s story cast in immutable material.


Klosterruine refuses such neat arcs. Monument of Oblivion materializes this refusal: blue construction chutes coil into an ouroboros, swallowing their own rubble. The debris falls and falls, never landing, a soundscape of perpetual collapse, each fragment a whisper of what was broken to build, and broken again to unbuild. It mimics history’s absurd rhythm, how we dismantle empires only to build new ones, how we mourn wars while waging them. The installation’s title invokes Lethe, the river of forgetting, yet its form is a torrent without end. No drink from these waters grants oblivion; the cycle spins on.


The Pietà in Neue Wache understands this. Kollwitz’s bronze mother grieves without script. Rain streaks her face; light etches fresh anguish into her features. She is not a lesson but a mirror. Her sorrow is not a monument but a current, one that rewrites its own banks with each visitor. And yet, even her grief is framed by violence: the hollowed-out space of the guardhouse, the weight of history pressing down.


Here lies the failure of stones and steel: Mutter Heimat and the Pietà, for all their power, cannot halt time. Wars relapse. Grief outlives its memorials. We build monuments to end cycles, yet they become cycles themselves. The ouroboros of Treptower Park, the rubble-loop of Klosterruine, the mothers who have wept in stone and bronze for centuries.from exhibition text&#38;nbsp;https://klosterruine.berlin/de/program/monument-of-oblivion-river-of-lethePhotos © Wataru Murakami&#38;nbsp;


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		<title>It is not painterly, to let the sun drown in the sea </title>
				
		<link>https://www.nedasaeedi.com/It-is-not-painterly-to-let-the-sun-drown-in-the-sea</link>

		<pubDate>Mon, 18 Aug 2025 11:27:11 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

		<guid isPermaLink="true">https://www.nedasaeedi.com/It-is-not-painterly-to-let-the-sun-drown-in-the-sea</guid>

		<description>IT IS NOT PAINTERLY, TO LET THE SUN DROWN IN SEA
2025Multimedia installation: three-dimensional light painting, glass sculptures, altered overhead projectors, photographs&#38;nbsp;Neda Saeedi's exhibition at Bavan Gallery presents an installation of photographs, glass sculptures and collaged glass fragments. Projected light transforms the gallery wall into a living canvas - abstract sunrises and sunsets that fracture and reform with each viewer's passing, their colors fading like dying light.

In another space, the installation "War Horses which run swiftly" unfolds (a parallel version currently showing in Berlin).

The Berlin exhibition reveals a haunting carousel: wooden shipping crates stand where horses should be, fragmented mother-and-child sculptures take riders' places - each rotation a silent memorial to history's forgotten war dead. This mechanical requiem turns slowly, its gears grinding out another generation of shattered figures.

In Tehran, the same story is told in glass. More fragile. More luminous. Mutilated forms lie cradled in packing crates, adrift in seas of colored light. Above them, projected skies ripple as visitors pass through - sometimes casting shadows across imagined landscapes, sometimes pausing, haloed in transient light.

Through all these artificial dawns and dusks, only the broken bodies remain: slender fragments of memory marking wars without end, and sorrows that renew themselves with every coming day.


of a exhibition review by Helia Heiat

The title of the exhibition has been borrowed from a Poem under the same name by Farkhondeh Shahroudi from 2022


Photos © Omid Shalmani/Bavan Gallery
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	<item>
		<title>War horses which run swiftly </title>
				
		<link>https://www.nedasaeedi.com/War-horses-which-run-swiftly</link>

		<pubDate>Mon, 30 Jun 2025 11:05:53 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

		<guid isPermaLink="true">https://www.nedasaeedi.com/War-horses-which-run-swiftly</guid>

		<description>The war Horses which run swiftly&#38;nbsp;
2025
kinetic installation, vaiable dimensionAs if in slow motion, plain wooden crates roll endlessly in circles, rotating on their own axis like a carousel. In her new installation titled The War Horses Which Run Swiftly (2025) at the KINDL, Neda Saeedi replaces the galloping horses of a traditional fairground ride with crates containing sculptural fragments.


When looking at the sculptures, a trained eye may detect among them references to the Pietà motif - a symbol of loss, mourning, and care. Saeedi's Pietà variations speak of pain and solace, human fragility, and the recurring nature of suffering.


At the same time, she shifts the religious motif into a new context: the carousel is typically associated with amusement and joy. The first carousels were developed in the 17th century, inspired by "Ringstechen", a medieval equestrian game used for training warriors on horseback. The warhorses referenced in the work' title evoke a sense of looming apocalypse. Saeedi creates a persistent, rhythmic cycle of mourn-ing, memory, and empathy. The installation raises a central question: How does our perception of suffering change when it repeats before us, again and again?from the exhibition text by Sadaf vasaei
Photos © Fabian Brennecke and Jense Ziehe
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	<item>
		<title>Sinking Suns</title>
				
		<link>https://www.nedasaeedi.com/Sinking-Suns</link>

		<pubDate>Sat, 12 Oct 2024 11:45:24 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

		<guid isPermaLink="true">https://www.nedasaeedi.com/Sinking-Suns</guid>

		<description>Sinking Suns
2024&#38;nbsp;
Room installation (three-dimensional light painting), glass sculptures, altered overhead projectors, dimensions variable

“Red is rare in the landscape. It gains its strength through its absence. For just a moment, during an ecstatic sunset, the magnificent sun globe sinks below the horizon ... then it is gone. Remember, magnificent sunsets are the result of violence and catastrophe, Krakatau and Popocatepetl.”
 
Derek Jarman
This work, is a sea of moods. And although the sources of this emotional scenery are visible in their fragility, we can hardly escape or resist their strength, we liter-ally immerse ourselves in them. Being able to analyze things does not necessarily mean having them under control. What happens when all the suns set at the same time?
from the exhibition text by Nina Tabassomi


Photos © Günter Kresser/Taxis Palaise ,and 75th Berlinale forum expanded&#38;nbsp;Thanks for the long conversations with Setareh Shahbazi during the common project After Cinema: Sunsets Are Not Overrated, documenta 15, 2022


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	<item>
		<title>Monument of Oblivion</title>
				
		<link>https://www.nedasaeedi.com/Monument-of-Oblivion</link>

		<pubDate>Sat, 12 Oct 2024 13:49:55 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

		<guid isPermaLink="true">https://www.nedasaeedi.com/Monument-of-Oblivion</guid>

		<description>Monument of Oblivion
2024Debris chute, dimensions variable, 8-channel sound, 10 min. (loop)
Sound design: Azin Feizabadi
Commissioned by TAXISPALAISTo whom have monuments been erected and to whom not? How should we deal with monuments to violent rulers and what do we do about the ones that are missing? What has been forgotten and what is dealt with in which way? Coping with the past in order to be fit for the future? The future for whom? And what is happening in the present? The Monument of Oblivion lets the debris rattle, sigh and go round in circles. A paradox that has turned into sculpture and sound. The Latin word “monumentum” derives from the verb “monere,” which is also at the root of “monster.” What do we want to be reminded of and warned against, what do we want to show? What fascinates us, what is extraordinary in whose sense, and who would rather forget what? A reminder of forgetting: It’s getting louder, the chute vibrates—how long can it hold the debris back? 
from exhibition text by Nina Tabassomi

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	<item>
		<title>Whispers across horizons</title>
				
		<link>https://www.nedasaeedi.com/Whispers-across-horizons</link>

		<pubDate>Sun, 01 Sep 2024 16:48:46 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

		<guid isPermaLink="true">https://www.nedasaeedi.com/Whispers-across-horizons</guid>

		<description>Whispers across horizons2024Site specific stainless steel-mirrorwork-wall sculpturePrivate collection
photos© Andrea Della Giovampaola&#38;nbsp;



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	<item>
		<title>In the depth of the night, Sky sees the sun</title>
				
		<link>https://www.nedasaeedi.com/In-the-depth-of-the-night-Sky-sees-the-sun</link>

		<pubDate>Sun, 27 Aug 2023 09:21:29 +0000</pubDate>

		<dc:creator>Neda Saeedi</dc:creator>

		<guid isPermaLink="true">https://www.nedasaeedi.com/In-the-depth-of-the-night-Sky-sees-the-sun</guid>

		<description>In the depth of the night, Sky sees the sun2023
Neda Saeedi creates sculpture-based environments that trace ancestral knowledge, myths, and historical genealogies that stem from her visions of Mesopotamia and her immigrant cultural worker experience in Europe. As they collapse different times, forms, and narratives into each other, they question how architecture re-crafts the human body and its relation with the world through the artist's idiosyncratic understanding of handicraft and sustainability. Inside her spaces, which feel both familiar and unexpected, she makes her audiences aware of a transgenerational poetics that can be ancient and futuristic at once. For her commission for the 4th Autostrada Biennale, she imagines an eye of the city gazing from the past into the future-inside the circular pedestal of the destroyed Partisan monument--symbolizing the everlasting story of migration and settlement. The glass work is inspired by lighthouse Fresnel lenses and the word Kosovo itself, which means "field of blackbirds." Blackbirds only migrate in times of difficulty; they always come back to where they consider home. Six blackbirds circulating inside the eye highlight different the ethnicities of Kosovo in constant movement and return. Their everlasting movement hints at the many stories which wait to be told in this ancient part of the world.

Övül O. Durmuşoğlu 

photos©Tuğhan Anıt, Autostrada Biennale 





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