Mohammad Ghazali makes sure to vary, literary, his points of view. In the first series, he takes the places of the statues of politicians, artists and scientists scattered throughout Tehran, climbing onto the shoulders of his illustrious metal compatriots, and shows us what they see. The passers-by pay little attention to their surroundings, hands in their pockets and their eyes on the ground. They serve as a reflection of the viewer’s attitude. Seeing from only one angle, we risk not seeing anything at all.
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