'I still find myself advocating for a type of practice that is inherently unresolvable.'

Ahead of his Venice Biennale presentation, Abbas Akhavan reflects on censorship, national representation and the refusal to perform identity.

- Aram Moshayedi

This conversation between curator Aram Moshayedi and artist Abbas Akhavan took place in the immediate aftermath of military strikes on Iran – an event that inevitably shapes the tenor of their exchange.

While the discussion turns to Akhavan’s upcoming projects, including his Venice Biennale presentation at the Canada Pavilion (commissioned by the National Gallery of Canada) and an upcoming survey at the Walker Art Center in Minneapolis, it also reflects on the uneasy expectations placed on artists in moments of political crisis. Moving between questions of diasporic distance, cultural representation and the limits of artistic agency, Akhavan speaks candidly about the pressures to perform identity – and the possibility that withholding, rather than declaration, can itself be a position.

ARAM MOSHAYEDI I’m having a hard time wrapping my head around how to begin in light of the last few days in Iran. How to address the situation there obviously weighs upon me, but I also feel as outsiders we don’t have much authority on the subject. The tenor of this conversation would be so different if we'd spoken last week. While the focus is still you and your work, I want to ask before we begin: how do we deal with this military attack on Iran from your perspective as an Iranian Canadian artist?

ABBAS AKHAVAN I currently live in Berlin. As I was walking home to get to this call, I was amazed at how everyone is going about their day as if nothing grave has happened. They’re just living their lives. And I thought: Oh yes, so am I. It’s as if it’s just another day, when obviously it isn’t. As of now, there hasn’t been time to reflect on what any of this means. Having said that, I feel like we’re still in the extended version of the ‘shock and awe’ strategy the US military used in Iraq in 2003. It is horrendous.