People who see no hope for a decent living in their own country often leave in search of a better life elsewhere. In the contemporary world, shaped by border laws, this is called migration. When this involves leaving a developing or war-torn country for another developing and sanctioned country, additional challenges and secondary problems arise. The experiences of refugees and immigrants in Iran need to be understood against the backdrop of the many political, social, economic, and cultural difficulties that the country faces.
Afghanistan, Iran’s eastern neighbour, has witnessed some of the largest waves of emigration since the 1970s. As a result, most refugees and immigrants in Iran are Afghans. Iran’s proximity, its seemingly open-door policies, shared language, cultural ties, and religious affinities have made it a preferred destination for Afghan migrants who do not have a fixed destination in mind. However, while entering Iran might be relatively straightforward, remaining there is not. Afghan refugees encounter a sometimes insurmountable labyrinth of legal barriers regarding their residence status while also facing social rejection. On top of this, Iran is grappling with its own complex social and economic crises, which often severely impact refugees and migrants. It’s also important to acknowledge that Iran has served as a transit country and gateway to Europe for many Afghans.
In relation to the art scene in Iran, a number of questions emerge: What is the relationship between Afghan refugee artists, who have consistently been viewed as a minority and subjected to discrimination, and the Iranian art scene? How can art provide emancipation, or at least offer a glimmer of hope, for the exhausted people crossing borders? How might art empower not only artists but also those living in altered circumstances? Can artistic expression heal the wounds of displacement? For artists who have long borne the burden of being othered, can this existential situation become fertile ground for creativity? Is it possible — or even necessary — for immigrant and refugee artists to free themselves from the process of being othered?1
mohit.art NOTES #17 challenges the constructs born of borders and distance, expanding art into a space of empathy and restoration. Here, art functions as an open field and an expansive language — one that not only embraces multiplicity and difference, but nurtures compassion and collective healing. It validates pain, reclaims silenced narratives, and offers a refuge in the midst of violence and oppression.
As a guest editor of this issue, I explore the practices of a few Afghan artists from among the dozens who, over the past years, have spent part of their lives in Iran. At the time of writing, the selected artists still live and work there. What distinguishes them is a shared perspective on making art in exile, which aligns with the theme of this issue. Their connection isn’t defined solely by their origins, but by how migration and being othered have shaped their identity and become the driving force behind their work. For every artist featured here, the creative process offers solace for the wounds inflicted by displacement, homelessness, and an endless sense of living suspended between nations. In their art, they search for ways to express the pain of longing for a homeland to which they belong yet remain exiled from. As a result, their work is inherently political, even if not overtly so. Artistic creation becomes a tool through which each artist interrogates both the trauma of Afghanistan’s situation and broader global crises, seeking ways to ease the weight of existence.
Pursuing art through formal education in art schools or universities, or through professional practice within the Iranian art scene, is anything but easy for Afghan immigrant and refugee artists. They face a complex web of intersecting social, economic, and legal obstacles. For most, life in Iran remains precarious, as government policies do not guarantee the continuation of their stay. This instability is significant, since integration into the host country’s art scene is vital for establishing and sustaining an artistic career. Many Afghan artists have therefore chosen to leave Iran for a third country when possible. This way, the Iranian art scene functions rarely as a host destination but more as a stepping stone, a corridor leading from Afghanistan to another, mostly occidental country. The word “diaspora” doesn’t seem to fully capture the complexity of this situation, so I’ve intentionally avoided using it here.
If we agree that all the activities of communities that have been marginalized — be it for gender, ethnicity, religion, or nationality — are worthy of being documented and analysed, then the presence of Afghan artists in Iran, even if only temporary, should be examined and incorporated into the contemporary art histories of both Iran and Afghanistan.
This issue features four visual artists: Latifa Zafar Attaii in the artistic presentation “Threads of Resistance,” Morsal Halimi in “The Poetics of Fragility,” Ali Rahimi in “Portraiture of Absence,” and Mahdi Rasouli in “The Multiple Layers of Dislocation.” By focusing on a single body of work by each artist, I was able to explore their practices, creative journeys, and ideas about art. Short videos of each artist also allow you to hear their voices and present an account of each of their journeys.
We also included the conversation I led with visual artist and curator Maryam Kouhestani, as well as documentary filmmaker Hasan Noori, “Navigating Transcultural Pitfalls.” Here, we discuss the resistance of Afghan artists during the years of war, Taliban rule, and migration in Iran from two distinct perspectives, while also reflecting on the role of art in fostering healing and resilience. The conversation highlights the significance and dynamics of artistic exchange between the art scenes and artists on both sides of the Iran–Afghanistan border.
Finally, we present the project and initiative Everyday Golshahr, featuring the account “Uniting Through Photography” by curator Reza Heidari Shahbidak. Beyond documenting the social conditions of one of Iran’s most prominent migrant communities in Golshahr, near Mashad, the project encouraged broad participation through documentary and artistic photography. It provokes reflection on the creative process itself, particularly through its use of alternative tools and exhibition spaces.
Part of mohit.art NOTES #17 was conceptualized and written during the twelve-day war between Iran and Israel and across months of anxiety surrounding the escalating deportation of Afghan refugees and immigrants from Iran. Every time I reviewed these texts, I sensed an increasing weight of responsibility. Each reading felt as if a new wound was being inflicted on my body. Traces of these recent events, and the compulsory farewells to my close Afghan friends, are present not only in my memories but woven throughout these contributions.
Translated by Golnar Narimani
1 Originally coined by Gayatri Chakravorty Spivak in 1985, “othering” refers to “a process by which the empire can define itself against those it colonizes, excludes and marginalizes. . . . [It] is in the business of creating the enemy . . . in order that the empire might define itself by its geographical and racial others.” Bill Ashcroft et al., Post-Colonial Studies: The Key Concepts (Routledge, 1998), 171–73. [Added by translator]
Akram Ahmadi Tavana, “Editorial,” in mohit.art NOTES #17 (autumn 2025); published on www.mohit.art, October 14, 2025.
