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11/9/2014

Nina Ansari

Uqbar - projectspace, Berlin

Many of Nina Ansari's works are based on her own biographical background. Born in 1981 in Tehran, as a four-year-old she experienced the war between Iran and Iraq, and finally the migration to Germany. In her drawings, photographs and installations, she explores the fragility of identity and memory as well as the constructions of reality allegations and closed realities. The exhibition at uqbar, which consists of various works, revolves around images of war. The black and white drawings of the series Munition (2014) are shadowy and vague. At first glance they look like landscapes and cloud formations. However, the templates to the drawings were pictures of theaters of war from the First World War. With time the viewer recognizes aircrafts, explosions or faces in the drawings. Some drawings are erased in places and refer to the flaws and gaps in the memory, but also in the official history. But how can the memory about the events be preserved? How do new events palimpsest-like build new layers on the various historical layers? What remains? On the other hand, it is the vaguesness, the void that repesents that what can not be expressed and shown. Nina Ansari opens up an associative space to the viewer, that allows everyone to see something different in the respective scenes, and with a little patience, the viewer can can immerse in the depth of the images. The series of drawings is complemented by a fragment of a love letter, written by a soldier to his beloved from the front lines. For the first time Ansari also shows the work Lady Digitalpanic (2014), a sculpture composed of analog camera lenses and a Super 8 camera, that resembles a machine gun. The analogy between the camera lens and a gun not only rasies questions about the production of images of war, but also refers to the new level of surveillance and documentation - both in war and crisis zones as well as in civil life. In the photo series Masulhe / Rebel in Paradise (2011), the artist stages herself in front of the camera. Dressed in traditional costume, she kneels on the ground and is thereby supported by the right hand on a gun. Her gaze is directed straight into the lens. In the next picture she aims her gun at the viewer thus raising question about the gaze and attributions of the West on Iranian women, but also about her own identity construction. Opening 12th September.

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