This year′s legal challenge has nothing to do with the memorial, though; it′s related to your art.
Forouhar: Yes, I′m facing trial for two new charges: the intelligence ministry has instigated proceedings against me during the past year. It′s about a series of works in which I use traditional fabrics, known as Ashura banners. I appliqued these religious banners onto beanbags. The form of the sculptures is derived from hippie-type beanbags; the "Countdown" series from 2008 is a visual analogy for comfort and complacency, if you like.
But the sculptures have never been queried, even though I showed them in 2008 in Berlin′s Haus der Kulturen der Welt, then later in the Belvedere in Vienna and other art spaces, most recently at Kunsthalle Lingen. Nothing ever happened. It was only when a woman took photos of herself on one of the beanbags and then put her selfies on Instagram and Facebook – without my knowledge – that the malicious campaign began, which the intelligence ministry took as an opportunity to take me to court.
Are people allowed to sit on your sculptures?
Forouhar: My art is certainly concerned with the sense of touch – I work with balls, balloons, patterned fabrics. I′m interested in turning everyday life upside down, breaking it down through a different kind of perception. But I didn′t make "Countdown" as usable objects or items of furniture and I′m not responsible for what other people or collectors do with my art. On my last trip to Iran, I had to visit the public prosecutor′s office because of the photos, but I′d hoped the situation had abated.
Now I′m due in court on 25 November on charges of "insulting the sacred" and "propaganda against the system" – which is a rather intangible accusation; any criticism can be interpreted as propaganda.
And what′s the penalty for propaganda?
Forouhar: Both my charges can lead to prison sentences. The minimum sentence for propaganda against the system is a year′s imprisonment, but it can easily add up to more. Of course, I hope the trial will go my way and there is, of course, the option of appealing the verdict. Yesterday, my lawyer and I examined the prosecution′s files – their audacity leaves me speechless.
So now you′re dealing with the same authorities responsible for your parents′ murder?
Forouhar: That′s the perverse reality. That I′ll be on trial myself three days after the anniversary I wanted to commemorate. I don′t know if I can continue my journey as planned; I ought to be going from here to Athens, where I′ve been invited to work on a commissioned piece.
Why do you insist on returning to Iran? You′ve been living and working in Germany since the early 1990s.
Forouhar: It′s the country where I grew up. I associate most of my childhood memories and a great deal of formative experiences with Iran. My work as an artist is intensely related to memory. And I also feel a connection with the dogged perseverance of those many Iranians working towards a better and more democratic system. I′m part of that movement, which wants to claim back its rights with tenacity and determination. I′m also very invested in keeping the memory of my parents′ murder alive; their house is a place of remembrance that I want to maintain. I am not about to let the system take that away from me, having already taken my parents.
Interview conducted by Catrin Lorch
© Sueddeutsche Zeitung 2017
Translated from the German by Katy Derbyshire