Immersive Cinema (2025)
As Digital Dramaturge, I shaped Immersive Cinema from concept to screen—curating VR/360° works. The goal was to turn isolating headsets into a tool for digital togetherness, reinforcing Bozar’s “The 23” cinema as a warm, welcoming hub.
By providing a smooth VR journey that hooks viewers, the project deepens collective bonds and sets a new standard for shared immersive experiences in cultural venues.
At Bozar, I designed and executed this large‑scale AR project. Dissolving the boundary between digital and urabn by overlaying poetic, surreal text onto real‑world façades.
By extending Bozar’s Histoire de ne pas rire exhibition into public space, it drew in younger, digital‑native audiences and set a new benchmark for location‑based AR initiatives.
Bozar Arcade (2024)
As Digital Dramaturge, I imagined and realized Bozar Arcade which transforms the traditional gallery into a playground for interactive storytelling that invites audiences to shift from passive viewing to active participation.
From early ideation, partnership-building, to designing the visitor journey, curation, and writing the Bozar Arcade Manifesto, every element was shaped to explore what it means to engage with video games in a cultural venue..
This project reflects the kind of concepts I create: spaces where art, technology come together in accessible and meaningful ways.
1984 is Now (2021)
A modern Raree Show expands in two intertwined realms, digital and physical. Riders board a cart, wearing VR headsets, and virtaully visit Tehran as the cart embodies each route through the local cityscape. By layering documentary footage over a live, moving installation, the work dissolves the boundary between these two cities and realities.
Father, Cancer, Tehran (2019)
An intimate journey into grief, memory, and a dying city. This work, maps the parallel between my father’s death and the suffocating breath of Tehran.
Passengers sit in a taxi wearing VR headsets, and travel a route where real streets and digital memories merge. The piece turns mourning into a shared, mobile ritual, where presence, technology, and the city combine.
Invisible or As You Like It or The Data Station or What? (2018)
Finger to Finger (2018)
This piece starts a dialogue between presence and absence by splitting the self across two spaces. The artist’s body stands in urban open space holding a placard:
“I need to chat with you, please text me, available on WhatsApp”.
By shrinking the physical self and expanding the digital one, it creates a direct, authentic conversation between artist and audience. Finger to Finger turns urban space into a portal for personal digital storytelling, melting the distance between body and digital intimacy.
Hair Cutting Ceremony of Jafar (2016)
An autobiographical narrative shared through images, voice, and fragments online (On Telegram). It ends in a live ritual: the audience is invited to cut my hair as an act of sacrifice and respond to questions about body, shame, and control.
Do you try to restrict, hide, or control your body?
Do you feel ashamed of any part of yourself?
The piece merges digital and physical realms by turning a virtual story into a space for public confession and collective healing.