HOUSE TOUR #18, November 2025

Art Viewing

Shadows within Memory: “Lies That Bled Blue” by Soufia Erfanian

With the eighteenth edition of our HAUSFÜHRUNGEN we offer another in depth look into our current exhibition, which presents wonderful and diverse artistic positions. The series “Lies That Bled Blue” by Soufia Erfanian takes viewers into memories of her childhood. The coloring appears unreal as if seen through a dream frequency. The figures adopt the blue grey tone of their undefined surroundings. In a scene that seems familiar, the protagonists appear isolated from one another despite their physical closeness and the feeling of distance becomes tangible through the cool colors. A human figure looking away extends a hand toward a little girl. The costume like clothing, the painted eyes and the close fitting hair of the figure evoke a mime who cannot speak, who is masked, who dresses up and hides the true self. This enactment of a role points to Soufia Erfanian’s background. Growing up in Iran under strict Islamic regulations, her childhood was shaped by loss, separation and silence.

The little girl’s hand is clenched into a fist as if she can hardly endure the situation any longer. While her eyes focus on the hand extended to her, her feet point in the opposite direction as though she does not want to remain where she is. The longing for connection becomes visible through the hands highlighted in color. The hand reaching out to the girl shows the same vibrant coloring as the girl herself. Behind her, in the shadows, stands another figure with horns on the forehead embracing itself tightly. This pose may suggest protection, shame or a narcissistic gesture. The two large figures could symbolize the interpretation of right and wrong that is prescribed in Iran, reflecting functional conformity and the supposedly sinful self when this expected role is not fulfilled.

At the feet of the figure on the left, flickering flames appear to rise and recall depictions of the Djinn. The Djinn holds an important place in the Qur’an and is, alongside humans and angels, a creation of God formed from smokeless fire. In folk belief the Djinn can possess people and drive them into madness. This idea adds another layer of symbolic meaning to the work and speaks to themes of being mad, being beside oneself, losing control and the connection to guilt and sin as well as the deep fear of punishment for wrongdoing. Despite the loneliness, anger and fear expressed in the work, the connection to oneself and to others does not seem entirely lost. A dynamic interplay between self assertion and the need for closeness resonates throughout this series.

Installation views of Soufia Erfanian at Haus. Kunst. Mitte., Exhibition EXIL: KUNST OHNE GRENZEN, © Michael Lüder