Ladan Farzin

Ladan trained in photography before turning her lens toward a quiet subject: scarcity — imported goods that had simply stopped arriving on Iranian shelves. Working from her studio abroad, she builds each still life by hand, sourcing the last available tins, packets, and bottles of a product line and arranging them under flat, even light the way a 17th-century Dutch painter might arrange fruit. The compositions read first as ordinary kitchen tables, then, on a second look, as inventories of what has quietly disappeared. She shoots on medium-format film and prints large so the labels — expiry dates, foreign scripts, familiar logos — stay legible. Her work has shown in group exhibitions on sanctions and material culture, and she keeps expanding the series as new goods fall off the list. Every print reaches ATG directly from her studio outside Iran.

Ladan Farzin arranges still lifes from goods that became hard or impossible to import — a photographic inventory of absence disguised as a kitchen table.

Stockholm

She wants viewers to notice absence before they notice art — the missing object matters more than the frame around it.