The jam-packed juxtapositions of diverse styles of architecture—all compressed into dense overlapping vertical spaces—these horrific man-made beauties, have turned big cities into immense visual abstractions. Apart from such an abstraction which is noticeable at first glance, in Mahsa Bigloo’s video art the soaring glass-walled environments recalling Hopper or Hitchcock’s Rear Window we face framed lives as a documentary report about how people live in Tehran in 2013. Many residents seem numbly isolated in sterile, generic boxes of rooms suspended in the sky away from any kind of grounded reality. These people—although in times behind curtains—seem to care little for privacy, living more like robots or some advanced machinery in the neutral atmosphere of a building unconsciously acting n a film: private life in Tehran.
