The project Two Shades of Green is part of a series of works consisting mainly of multimedia installations that Saeedi has been creating since 2015. Each of her projects and installation works tell a different story; as such, each project develops within its own story-specific context. Nonetheless, the point of departure, the urgency, and the thoughts behind each project go hand in hand with her research and personal experiences and her aesthetic and theoretical investigations. In her artistic practice, Saeedi is a storyteller. Her aim is to narrate “hi-stories” of certain places/spaces through objects, materials, and their spatial arrangements. Saeedi’s works within this long-term project ask and deal with the following core questions: How can the consequences of modernization and industrialization on the environment and society be understood and translated sculpturally and spatially? How can certain experiences be articulated through the perspective of different groups? What words/language should we use? How can “hi-story“ transform and translate into material and form? How can we narrate a story without using the same tools/methodology of the “History narrators”?
Neda Saeedi (b. 1987, Tehran, Iran) lives and works between Berlin and Tehran.
Her work has been previously exhibited at several galleries, art spaces, and museums, including Extra City, Antwerp; Luleå Biennial 2018; Ludlow 38, New York; Bonner Bundeskunsthalle; Folkwang Museum, Essen and Savvy Contemporary, Berlin.
She initially studied classical sculpture under the direction of Raffie Davtian in Tehran. She later moved to Germany and studied at the Berlin University of Arts (UdK) under the advisory of Prof. Hito Steyerl.
Saeedi is interested in the power dynamics surrounding the processes through which crystallization and hi-story of places are constructed and consumed. She investigates the historical and political resonance of materials and the physical relationships between objects and bodies, drawing from sources including the symbolism of architecture and urban planning. Therefore her concerns and methods are usually examining the documents, materials, and structures that together form the substratum over which these processes are established; she reanimates these hi-stories through the use of spatial settings and objects’ materiality, often invoking bodies, as in, human or non-human.