Spread across four floors of a Bristol townhouse, Amak Mahmoodian’s recent One Hundred and Twenty Minutes exhibition transforms the space into a chronotopia, writes Max Houghton – where many times, places and stories co-exist, and memories materialise out of nowhere. Fragments of countless lives emerge through photography, sketches and the quiet intimacy of shared dreams, all shaped by Mahmoodian’s 14-year experience of exile – a condition that continues to drive her work. Profoundly ...
