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      <image:title>Life, Death and Dying - Naan/bread</image:title>
      <image:caption>Naan/bread, 2016–17, LED light, bread, acrylic on wall, video, 4:45 min. Photo: Grant Hancock This work, Naan/Bread (2017), features footage taken between July 2016 and July 2017, the majority of which has been shot in Afghanistan where I was born, as well as Iran where I lived in exile for 15 years, and also Australia, my new home, and during visits to Kurdistan and the Arab Emirates. As I move from city to city, I documented myself and local people holding a piece of a local bread in front of the face. This gesture refers to the importance of Naan/bread as food, a staple of many cultures that takes many different forms around the world, sustenance for us all. In my mind, the main reason of all battles and wars is always over a piece of naan/bread. While for some people, their type of bread may be dry and cheap, saving them from hunger but for others, their type of bread, their sustenance, has been dipped in other’s blood. It also refers to the term “breadwinner” and in a country in war like Afghanistan where I come from, when the breadwinner of the family dies or is killed, the structure of the whole family will collapse and for many it never recovers. There are many breads. But we all need sustenance. In this, we are all the same.</image:caption>
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      <image:caption>In The Sound of Silence (#2), Alavi engages with the histories of Australia’s cameleers, laborers whose lives were intertwined with those of the animals they were brought on to handle, and who immigrated from South and West Asia to help colonize the continent’s arid outback. Though they played a vital role in transporting supplies and building infrastructure, and their music has resonated across the deserts for generations, these laborers continue to face discrimination. Through The Sound of Silence, Alavi honors the cameleers’ music and stories, as captured in oral histories with their descendants, and preserve their forgotten legacy. The project is a collaboration with the 2024 Biennale of Sydney. The Sound of Silence (#2), 2024 But You are My Home, 2024 VASL, 2024 (with Feroza Hakeem &amp; Raheem Jaan) All commissioned in 2024 by the Lahore Biennale Foundation</image:caption>
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      <image:caption>In collaboration with Arts House (Melbourne), 4A Centre for Contemporary Asian Art is co-commissioning an immersive exhibition by Hazara artist, Elyas Alavi.  Alavi's ALAM عَلَم unfolds through a rich tapestry of symbols, phrases, poetry, faces, body language and community codes, serving as profound reflections on queer Muslim diasporic communities.  Each alam in this exhibition resonate with references to significant events, highlighting historical and contemporary figures who bravely advocated for their sexual identity and those who tragically lost their lives.</image:caption>
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      <image:title>POETRYشعر - Make it stand out</image:title>
      <image:caption>Elyas ALAVI, Where is Homeland?, 2018, neon. Photo: Christo Crocker</image:caption>
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      <image:title>POETRYشعر - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>New Gallery - Fuckin Beautiful, 2020, 2 channels, 2:108 mins</image:title>
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      <image:caption>Image: Elyas ALAVI, Naan/Bread, video still, Middle Eastern bread, LED light, acrylic on wall. Installation view, We die so that, Nexus Arts, 2017. Photo: Grant Hancock.</image:caption>
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      <image:caption>Elyas Alavi, Daydreamer Wolf, 2018, Firstdraft, Naarm (Melbourne). Photo: Zan Wimberley.</image:caption>
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      <image:caption>Image: Elyas ALAVI, Salt &amp; Pomegranates, 2018-19, vest, salt, pomegranate, neon, light, 120 x 255 x 35cm, installation view, Daydreamer Wolf, ACE Open, 2019</image:caption>
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      <image:caption>Illustration by Elyas Alavi from the series Waking Dreams</image:caption>
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      <image:caption>Image: Elyas ALAVI, Hang series, 2015-ongoing, oil color on found newspapers, dimensions variable</image:caption>
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      <image:title>WRITING - Make it stand out</image:title>
      <image:caption>Image: Elyas Alavi, installation view, Home Thoughts from Abroad, 2017, Praxis Artspace, Tarntanya (Adelaide). Photo: Jessica Clark</image:caption>
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      <image:title>WRITING - Make it stand out</image:title>
      <image:caption>Image: Elyas Alavi, Milky Life, installation view, Home Thoughts from Abroad, 2017, Praxis Artspace, Tarntanya (Adelaide). Photo: Jessica Clark</image:caption>
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      <image:title>WRITING - Make it stand out</image:title>
      <image:caption>Image: Elyas Alavi, Milky Life, installation view, Home Thoughts from Abroad, 2017, Praxis Artspace, Tarntanya (Adelaide). Photo: Jessica Clark</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/613ee8b8cbe42f2db33f41df/1633934063843-2KX65PV0LJB86USGW1P3/JessicaClark%2829of34%29.jpg</image:loc>
      <image:title>WRITING - Make it stand out</image:title>
      <image:caption>Image: Elyas Alavi, Mother of Time, installation view, 2017, Praxis Artspace, Tarntanya (Adelaide). Photo: Jessica Clark</image:caption>
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      <image:title>WRITING - Make it stand out</image:title>
      <image:caption>Image: Home Thoughts from Abroad, installation view, 2017, Praxis Artspace, Tarntanya (Adelaide). Photo: Jessica Clark</image:caption>
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      <image:caption>Image: Elyas ALAVI, Mohammad Jaan, 2016, T-shirt, video, 5:45 min, installation view, Nexus Gallery, Lion Arts Centre, Tarntanya (Adelaide), 2017. Photo: Grant Hancock</image:caption>
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    <lastmod>2025-01-20</lastmod>
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