In contemporary art, we often encounter time-based and site-specific projects that are inherently temporal, and their raw materials possess these temporal qualities. The challenge arises in how artists can sustain their projects after their initial presentation. Should projects rooted in a specific time and space, and inherently temporary, be documented? This question leads us into the realm of conservation and preservation, which often manifests as ‘representation’ when it comes to documentation and presentation.

I initiated the Return project in 2016 as part of Paadmaan projects to explore these questions. The nature of contemporary art prompts artists with similar approaches to engage in diverse and complex experiences. These complexities create a nuanced relationship with documentation itself. Rather than pursuing research that yields static outcomes, I opted to investigate documenting contemporary art through conversations with Iranian artists, analyzing their methodologies and approaches toward documentation issues.

Documenting a project allows its archival use for various purposes such as introducing it to audiences who missed its initial presentation, and for research, among others. Research-based and archival exhibitions are crucial in revisiting these documents. Consequently, the book Return is accompanied by an exhibition to translate the concepts discussed in these conversations into practice. One focus is on the role of these documents in new contexts within exhibitions. Exploring artists’ websites and other digital media where they present data about their projects offers an accessible means to learn about their work.

Therefore, in the Return exhibition as a curatorial endeavor, the emphasis goes beyond merely introducing projects; it also considers the emotional journey each project has undergone in its displacement.

Foad Alijani