Gelare Khoshgozaran describes herself as an “undisciplinary artist and writer.” Across her work, she harnesses the capaciousness and flexibility of the essay form to articulate the possibilities inherent in exile. Her 2022 essay “The Too Many and No Homes of Exile,” for example, articulates the “limbo” of a life marked by latency and anticipation. While it draws on the artist’s personal memories, its emphasis—as in much of her work—is on forming associations and fostering solidarity across contexts of displacement. “You look at the map of Los Angeles,” she writes of the city in which she now lives, “and identify a map of exile.” Her first solo exhibition in Europe, curated by Eliel Jones at Delfina Foundation’s cavernous central London space, features three moving-image works that reflect the lyricism and political intentionality of her written work. Born in Tehran in 1986, during the Iran-Iraq War, Khoshgozaran is particularly invested in making way for alternative, affirmative practices of living. She channels this wide-ranging understanding of exile into a methodology—and something approaching a narrative—in The Retreat (2023), the exhibition’s longest, loosest work. Described in the press materials as “visual expansion” of Khoshgozaran’s 2022 essay, the film stems from an “exile retreat” organized by …