IDFA 2024 Campaign by Balai and Fardjadniya Challenges Neutrality in Dutch Cultural Institutions
Visual artists Raul Balai and Ehsan Fardjadniya have collaborated on the campaign for the 2024 International Documentary Film Festival Amsterdam (IDFA) in the Netherlands. Their work takes a critical stance toward cultural institutions and the narratives they promote, especially regarding diversity, inclusion, and accountability. This year's campaign challenges the idea of institutional neutrality, urging audiences to reflect on the deeper complexities of social justice within cultural spaces.
Balai and Fardjadniya bring distinct yet complementary perspectives to the project. Fardjadniya, a performance and visual artist who fled Iran in 2000 due to political persecution, has focused his work on themes of migration and institutional racism, drawing from his experience as a political refugee. Balai, a second-generation immigrant, combines graffiti, painting, and graphic design to critique power structures and the construction of historical narratives. Their shared commitment to addressing the socio-political dimensions of identity, history, and belonging underpins their artistic collaboration.
A central element of the campaign is a seemingly idyllic picnic scene, designed to evoke an idealized, glossy image of Western life. However, this setting is disrupted by explosions in the distance, suggesting underlying turmoil and conflict. Through this juxtaposition, the artists highlight the disparity between the marketed utopian vision of the West and the reality experienced by migrants and refugees, who often face exclusion, exploitation, or tokenization.
"The picnic scene represents an ideal world, but it's a constructed reality," Balai explains. "It's the same image that draws people to Europe, but migrants often find themselves used as symbols of diversity without meaningful engagement or fair treatment." The campaign suggests that institutions may leverage the work of marginalized artists to appear progressive while failing to support substantial change.
The audio and visual elements incorporated into the campaign serve to underscore these themes. The sound of explosions, which reverberates throughout the idyllic scene, draws attention to conflicts such as those in Gaza, Sudan, and the Congo, underscoring the interconnectedness of global struggles. Balai points out, "We cannot ignore the consequences of our complicity, whether it’s through funding or indifference."
One of the most potent symbols used in the campaign is a plate adorned with slices of watermelon, a motif associated with resistance and solidarity in Palestinian art. This image, along with others created using generative AI, reflects the idea of consumption—not only in the literal sense but also in how people, ideas, and social causes are commodified within a capitalist framework. "It's not just about eating," Balai explains, "but how we engage with brands, people, and ideas in a world where everything is for sale."
Balai and Fardjadniya’s decision to work with IDFA may appear paradoxical given their critical view of cultural institutions. However, the artists emphasize that the festival's openness to critique demonstrates a degree of courage. By participating, they aim to push IDFA to take a more active stance on pressing social issues, rather than remaining neutral. "It’s important that the festival doesn't just let its programming speak for itself," says Balai. "We need cultural institutions to engage directly with the issues they claim to support."
The IDFA 2024 campaign goes beyond mere promotional material, functioning as a visual manifesto that confronts superficial portrayals of diversity and inclusion. The artists seek to spark a conversation about the role of cultural institutions in perpetuating or challenging societal norms. "We don’t want to over-explain the symbolism in the campaign," Fardjadniya notes. "The goal is for viewers to leave with questions and let the imagery linger in their minds."
Through this campaign, Balai and Fardjadniya invite audiences to reconsider established narratives and confront the complexities of power, accountability, and social justice. Their work raises critical questions about whether cultural institutions are genuinely committed to fostering an inclusive future or merely paying lip service to these ideals.