In his series Revolution after Revolution, Mohsen Zare visually and textually evokes the tumult of the Iranian Revolution by cutting the letters of political slogans into photographs of street protests that took place during the revolution. In this work, a photograph that captures a car full of chador-clad women waving handkerchiefs is pierced with the phrase "[Even] women have joined us, whilst indifferent [men] are still idle." Zare further conjures the period through the print’s form, which mimics the stencils used in graffiti, a popular vehicle for political descent during the revolution. Zare’s interest in the slogans, however, is not purely nostalgic. Shortly after the revolution, the newly formed government of the Islamic Republic suppressed all forms of the opposition, erasing the visibility of the slogans in the process. Zare notes, however, that the phrases and the ideas behind them remained in people’s minds, and his series draws attention to unsettled issues from the revolution that linger in the present day. Their endurance is reaffirmed in the stencil-like function of the prints. The paint that drips from the letters implies the stencil-prints have been used to emblazon their message, reactivating their revolutionary potential. Zare’s series captures the historical power of words to propel a revolution and, perhaps, to realize a revolution after the Revolution. Born in Shiraz in 1980, Mohsen Zare trained as a graphic designer before pursuing a career as an artist. His recent work focuses on historical documents and their vulnerability to manipulation, as showcased by the series Revolution after Revolution. Zare is shortlisted for the 2015 Magic of Persia Contemporary Art Prize.