The perfect crime

Photographic series exploring the normalization of violence in contemporary society. Comprises nine large photographs (4 ft x 6ft), two of which were composites combining two or three other images. This project includes a body of six works: five images from Beyond The Limits (most combining 2-4 photos) and one large

composite image, Silent Majority (combining seven photos). These were first shown as a completed series at Museum of

Folkwang, Essen, (December 2003), accompanied by Tabrizian’s photographic book featuring essays by Stuart Hall, Homi

Bhabha (Steidl, 2004).

Inspired by Baudrillard and focusing on corporate culture, the project explores the crisis of contemporary culture through

reframing the genre of street photography within a critical perspective. It depicts Baudrillard’s world of simulation and fractal

culture, with people compelled into extremes of indifference and conformity. Set in a dystopic future, ‘Beyond the Limits’

constructs fragments of everyday lives in which something has gone ‘wrong’, referencing Baudrillard’s notion of implosion, the

point where things turn in upon themselves to produce their opposite effect. ‘Silent Majority’ portrays today’s Canary Wharf, the

corporate utopia where nobody can slow down or question where they’re heading.

Work on the ‘Beyond the Limits’ photographic project began in 2000: three images were finished and exhibited in the public

domain before 01.01.01 (see portfolio for the three images in Futures Vol 32, No 5, 2000). These images are excluded from this

submission. Selected images were published in numerous photography journals, including Next Level, no 5 (2004:108-112);

Tank (November 2001); also cited in books including ‘Different’ eds. Stuart Hall and Mark Sealy (Phaidon, 2001). Extensive

reviews include German and Spanish journals, newspapers, radio. The Essen show led to Tabrizian’s later invitation as keynote

speaker at ‘Digital Image Processing’ conference, Museum of Folkwang, (12.11.04). Two pieces were purchased by Museum of

Folkwang; another by Sparkasse collection, (Germany).

Partially sponsored by Metro Imaging (c£12,000 post production). Tabrizian collaborated with Andy Golding, who supervised

lighting.