Bāygān: House of Photographs and Words
Photo
Newsha Tavakolian
Video Still from For the Sake of Calmness
2020

Text

Ghazaleh Rezaei

The wet soles of two bodies in the center of the photograph face us, while their bodies are engulfed in darkness. I first saw this photograph in De Grote Kerk church in Breda, in the area of the tomb monument of Engelbert II of Nassau, Lord of Breda, and his wife. The reclining statues of both lay beneath a stone carried on the shoulders of four men from its four corners. Opposite this memorial, a large-scale photograph of the soles of Niousha Tavakolian was displayed. I recall sitting cross-legged, looking at the wet soles within the photograph beyond the tomb monument, while simultaneously seeing the stone feet of the statues. The shine on the soles in the picture came from the light reflecting off their wetness, while the shine on the statues’ feet came from light hitting the polished stone. Do these two figures lying within the frame know of each other’s presence? Their bodies are so close that they might feel each other’s moisture or sweat. Are they even awake, or like Lord Breda and his wife, are they peacefully still and lifeless? Perhaps because my first encounter with this image was in a church, each time I see this picture, it evokes in my mind Andrea del Mantagna’s Lamentation over the Dead Christ. There, the lifeless body of Christ lies beneath a white shroud with arms raised; here, two figures—perhaps a man and a woman, or a child and a parent, or something else—lie on a bed with a gray sheet. In the painting, the deliberate violation of one-point perspective directs the viewer’s gaze to Christ’s lifeless face; here, we see only part of their calves and deep darkness. There is no Mary or John lamenting over the dead body as in the painting. Yet in my imagination, it seems Mary and John have been so overcome by grief that it has drained their strength and taken their senses. I mentioned Mary and John—what if, upon seeing these two feet in the photograph, we recall the filthy feet shown in Caravaggio’s paintings? Speaking of those dirty feet, I want to imagine these belong to two of Christ’s twelve apostles, whose feet the Spirit of God humbly washed the evening before the betrayal. Is this water capable of cleansing the impurity of Judas’s feet?