The two major events of contemporary Iran, the Islamic Revolution (1979) and the Iran-Iraq war (1980-1988) have deeply marked the history of the country, but also the history of Iranian photography (Krifa, 2001; David, Dabashi 2008). Indeed, the reportages of several photojournalists such as Kaveh Golestan, Bahman Jalali, Jassem Ghazbanpour, Kârmân Shirdel, Abbas etc., in addition to producing a poignant and indispensable testimony of these events, have contributed significantly to the formation of a generation of photographers who, even today, continue to turn to this visual memory (ex. Babak Kazemi, Saba Alizadeh, Ghazelh Rezaei). Through this paper, I propose to explore how images related to these events circulate today in contemporary photographic practices (Ghabaian, 2012; Daneshvari, 2017). What are the historical and aesthetic issues related to these phenomena of remediation and/or re-appropriation of these documentary images (Rajewsky, 2005)? What role do these phenomena play on the constitution of collective memory and its transmission between different generations? What relationship between past and present do they establish? And finally, what contemporary "archives" do these transformations allow us to imagine or create?