Thursday, 5 February 2026

Iranian Artists Keep the Spirit of “Woman, Life, Freedom” Alive

Over three years after the suspicious death of Jina Mahsa Amini sparked a nationwide protest movement in Iran, artists continue to fuel creative resistance.

A digital illustration by Forouzan Safari echoes the defiant spirit of Iran’s “Woman, Life, Freedom” uprising in September 2022. Courtesy Roshi Rouzbehani and In These Times.

Alessandra BajecIn These Times 

The 2022 ​“Woman, Life, Freedom” protests erupted in Iran following the shocking death of 22-year-old Jina Mahsa Amini, in police custody. Like many Iranians in the diaspora, illustrator Roshi Rouzbehani was filled with grief, rage and a profound duty to speak out. She felt compelled to create art that echoed what so many were experiencing, and to share the images online to help bring global attention to her people’s struggle.

“Art became both a personal coping mechanism and a form of activism for me,” Rouzbehani tells In These Times. Now based in the UK, she left Iran in 2011 to seek safety from political pressures.

In the year of the women-led uprising, the Iranian regime’s security forces killed hundreds of protesters and threatened the lives of numerous journalists, and detained, tortured and persecuted thousands more. Artists, musicians and cultural workers in Iran — particularly those involved in protest art and human rights activism — continue to face escalating repression, including arbitrary arrests, jail sentences, concert bans and strict censorship.

“Raised fists, flowing scarves and bold female figures,” Rouzbehani says. ​“All these elements reflect the movement’s core spirit: autonomy, resistance and hope.”

‘Octogone’

 Interview. Chalisée Naamani

Protest, fashion history, training equipment, resistance, children’s toys, the search for identity, and the cultural circulation of images. Chalisée Naamani’s ‘Octogone’ is currently on view at Kunsthalle Wien until 6 April 2026; the exhibition moves fluidly between personal and collective histories; clothing, images, and gestures become carriers of ideology, belonging, and power.

Chalisée Naamani, Who claims love? (Detail), 2025, Exhibition view Palais de Tokyo, 2025. Courtesy Ciaccia Levi, Paris/Mailand and Les Nouveaux Riches. © Bildrecht, Wien 2026. Photo: Aurélien Mole.

Interview by Kristina Deska Nikolić (KDN), Les Nouveaux Riches

The exhibition space of the Kunsthalle Wien feels as if it is framing your works. The built–in structure of the changing room, and lockers with mirrors became stations for your work to lean and hang. How you embraced the space and how the idea and the Zurkhaneh (House of Strength) is visible in the exhibition design.

The exhibition ‘Octogone’ first took place in 2025 at Palais de Tokyo, also titled ‘Octogone’. The exhibition traveled to Vienna and is now on view with new works I did specifically for the show here in Austria. When I was invited to do a show in Palais de Tokyo, the space that was given to me had an octagonal shape, which immediately reminded me of my grandfather, who was a wrestler and a boxing fighter.