 Once my works are shown, there are certain expectations and cliches which are instantly evoked. In my work I only seemingly meet this expectation, playing with them instead. I try not to offer the West End gaze a good look at the Oriental, but to turn this gaze into my central theme, namely the patterns which are used when constructing the Orient. I try to observe so to say how I am observed. I take visual elements from the Oriental cliches familiar to the West and transfer these into a new context. Elements are deconstructed, the meaning expanded beyond the familiar in order to inhibit easy and unquestioning perception. By de-placing familiar signs of ethnic and gender projections I try to visualize the instability of their meanings and create structural irritations. Thus many in-between spaces are developing which withdraw themselves from familiar ways of classification. Analyzing these spaces, displaying them and broaching the issue of how they arise is a central point of my work. In 1998, the story of my life took a new turn when my both parents who were active political dissidents became victims of a series of political murders executed by the Iranian Secret Service at their home in Tehran. My efforts in pursuing the case in Tehran had an effect on my personal and artistic sensibilities. Political correctness and democratic coexistence lost its tangible meaning in my daily life but also the forced upon ethnical identification which I always felt took a new turn with the assassination of my parents. As a result in my work I have tried to distill this conflict of transfer of meaning turning it into a source of creativity. I have tried to deal with parallel questions of identity and cognition in different cultural settings. Now I would like to show you some examples of my work in the recent years. The first work is called Blind Spot. You are seeing one of the images. It is a series of photographs. The protagonists are men who show their shaven backs back of their heads wailed by a chador. Their empty faces are distressing but the beauty of the veil with its silky material and floral pattern is attractive at the same time. I have consciously placed the work in this field of ambiguity. During the exhibition images during the second Berlin Biennale I have shown this work in form of billboards in urban space. The irritation was increased. The version with the lying figures I have shown as a freeze. The ornamental aspect of the work was reinforced and found parallels to Rorschach images. The idea of hidden and wailed gets emphasized. The next work is called Friday. This work tries to visualize the tension between eroticism and the suggestive myth of the veil object or person. The next series of photos is called Swan Rider. By the fusion of the swan with a wailed woman both heavily loaded with meanings and stories I try to surpass familiar boundaries by an ironic approach. The drawings of the series of signs pursue this irony. Here the international modern language of signs pictograms is used to show traditional rules of gender behavior in the Islamic world. The next work Funeral Service is a group of office chairs occupied a room. They are covered with ceremonial Shi'ite mourning textiles imprinted with ornaments and calligraphy. Poems in honor of the Shi'ite martyr Imam Hussein grandson of the prophet Mohammed. By covering office chairs symbols of modern bureaucracy with these traditional cloths originating in the Shi'ite culture of martyrdom and mourning an image of paradoxical simultaneous induced. The tension of the installation is a result of the contrast between religious ecstasy and the bureaucratic everyday structures. In the next work Written Room I use calligraphy again which has a sacral and ritual character in the Oriental world. In this work the Persian script is turned into an ornament. It is eligible for Western visitors but also if one has a command of Persian language. The characters proves to be nothing more than war fragments which are not subject of a linear order. For me the beauty lies in the absence of meaning memory of my mother tongue which has lost its function for me living in exile. The meaning cannot be grasped at best the lettered ping-pong balls which cover the base of the installation can be grasped in a tactual sense. The legibility is made even more difficult by the movement of the ping-pong balls which due to their form offer no stable reading access. They form new patterns over and over again are always in motion and become incoherently disjointed. Viewers entering the written rooms are surrendered by patterns forcing them to give up their distanced point of view. In the next work Documentation I'm using script in a very different way. Here I'm telling my personal story in the context of art using the public form of art to publicize the murder of my parents that was commissioned by the Secret Service of the Islamic Regime of Iran. In the form of an empathetically objective documentation I compile correspondence with the government officers, human rights organizations and political representatives, newspaper articles and photographs assembled in a mosaic reveal the image of a repressive regime that reads itself of dissidents through murder. Whoever wants to contribute to the circulation of this information can duplicate the documents on the photocopying machine provided and take them home. The research of the structures of power is also the central theme of the next work, Eslimi. The decorative surface of the ornament which seemingly harmonizes all distinctions is the central focus of my work. Eslimi is a catalog of patterns. Their design is based on traditional oriental patterns. It is represented as a pattern book in a furniture store which the viewer can flick through and select from. But looking closer, the fine patterns reveal themselves to be stylized genitals or sharp objects such as knives. Sexuality and violence mingle together. Here I use the image of a fairytale-like ornamentally beautiful orient, but taking a closer look it is precisely this cliched images that I try to undermine. I continued the series of pattern based works in the next piece. It is a transport container which is upholstered from the inside. The pink color pattern is made up of knives. There is an extreme contrast between the softness of the material and the pointed ornament. Such containers are usually used to provide short term economically efficient accommodation for instant for refugees. Those who are not permitted to gain foothold who cannot find a homeland. Padding out the container makes it seem like a padded cell traditionally used for restraining the mad. The mad as Foucault has described represent for society the other per se. The broken off dialogue with the mad corresponds to the line of distinction drawn by western societies in relation to the orient. The container becomes a space to explore mechanisms of exclusion. The viewer can enter the padded cell and in doing so they themselves become objects of observation and are compelled to reflect on their observing point of view. The last body of work I am showing is a thousand and one bay which contains wallpaper, work on view in the show, a series of flip books, animations and an installation of helium filled balloons. All these works display a decorative effect when seen from a distance. Whoever comes closer is confronted with the details of what at first sight was an apparently casual pattern. Cool scenes of torture clearly illustrated on the basis of indivisible mixture of fantasy readings and victim accounts. These are posters, the two images. The drawings are computer generated in a style of traditional Persian miniature and independent ornamental vocabulary of violence. There are constantly repeated and in this way correspond to the design principles of wallpaper patterns or balloons. The following images, this image as well, are stills of the animation installation marching bands. Here I try to create a tension between the represented and the aesthetic form of the presentation too. On one hand the shocking subject of torture on the other kaleidoscopical ornamental grouping of figures moving in a setting like dancing forms. The last stills refer to the animation just a minute. The scenes of torture fall symmetrically into an ornamental order. There is no freedom of movement provided but still the aesthetic keeps its attraction. The image collapses and the slide away but reconstructs itself again and again. A merciless reproduction. Thank you very much.