Chalisée Naamani: Octogone Exhibition at Kunsthalle Wien Exploring Fashion as a Political Medium

Kunsthalle Wien presents the first solo exhibition outside France by French-Iranian artist Chalisée Naamani. Titled 'Octogone', the exhibition features new commissions and recent works, exploring fashion as a political medium through 'image-garments' that engage with protest movements, iconographies, and cultural meanings.

Kunsthalle Wien is hosting 'Octogone', the inaugural solo exhibition outside France for the French-Iranian artist Chalisée Naamani (b. 1995). The exhibition showcases new commissions alongside recent sculpture, print, and textile works. Naamani refers to her sculptures as 'image-garments,' created by layering images, fabrics, and texts from various sources. While these objects may resemble clothing, they are not meant to be worn, instead positioning fashion as inherently political and revealing how form, function, and aesthetics are tied to power and cultural significance. Naamani's works draw inspiration from diverse sources, including ornamental traditions, Persian and Christian iconographies, popular culture, personal photographs, and archival material. Several sculptures formally and symbolically engage with the visual language of international protest movements, envisioning garments as vehicles for emancipation. Examples include '_From Iran_' (2025), referencing the 'Woman, Life, Freedom' protests, and '_Cape et gilet jaune_' (2020), which cites the 'Gilets Jaunes' movement. The newly commissioned '_No Kings, Only Queens_' (2026) addresses trans rights struggles in the USA, while '_Liberty Leading the People_' (2026) evokes revolutionary aspirations. The exhibition critically examines the dissemination and translation of images and symbols associated with these movements, particularly their circulation via social media and cultural globalization. The exhibition's title and design reference the _Zurkhaneh_, a traditional Iranian training space for _Varzesh-e Pahlavani_, a martial art with revolutionary potential. Naamani connects this historical aspect of Iranian culture with her family history, notably her grandfather's practice of the sport. The scenography, resembling a changing room, further integrates this personal and cultural narrative. The practice of _Varzesh-e Pahlavani_, historically male-dominated, has recently been reclaimed by women in Iran within emancipatory movements, adding another layer to Naamani's exploration.

General admission information is not detailed on this page, but it is associated with Kunsthalle Wien at Museumsquartier. Visitors are directed to various events related to the exhibition such as opening talks, curator tours, and guided tours. Specific ticketing policies are not explicitly stated for this exhibition itself, suggesting it may be included with general museum admission or handled through event bookings for specific activities.