Residential apartments/ water reserve & wind towers on Sayad highway, Fabrications

2013 - Sculpture (Sculpture)
7 ¼ x 7 x 4 ¼ in.

Nazgol Ansarinia

year born: 1979

gender: female

nationality: Iranian

In the early 2000s, as urban redevelopment accelerated and intense construction significantly diminished public space in Tehran, state-funded murals began to represent imaginary landscapes on building facades. The municipality of Tehran uses such pictorial representation to to exert influence over and come to terms with the flow of communal desire. The protrusion of the unreal onto the real interrupts the values, independence, and functionality of one over the other. It is not uncommon, for example, to find a Kashan-style house with a courtyard painted on one side of a three-story building, a Yazd-style windtower depicted on the other side of a newly built apartment complex, or rows of painted adobe structures on retaining walls girding the expressway. Fabrications , a series of architectural models that have no equivalent in reality, gives such forms a chance to realize themselves in the third dimension. The model–a constructed fiction–explores the contested space between tradition and modernity, a binary that continues to consume the artist’s culture, identity, and imagination.

Nazgol Ansarinia dissects, interrogates, and recasts networks, objects, and events to draw out relationships to the contemporary Iranian experience. Her mode of working covers diverse media, including video, 3D printed models, and drawings. Subjects are as varied as automated telephone systems, U.S. national security policies, the memories associated with a family house, and the patterns of Persian Carpets.

Colors:

Other related works, blended automatically
» see more

$From the reflections/refractions series$

© » KADIST

From the reflections/refractions series

Nazgol Ansarinia

2012

Related works sharing similar palette
» see more

© » KADIST

Frequencies of Tradition, Session I: The Kyoto School and its Convoluted Philosophical Conjunction

Session I: The Kyoto School and its Convoluted Philosophical Conjunction Introduction by curator Hyunjin Kim, followed by a conversation between artist Ho Tzu Nyen and scholar and philosopher, Yuk Hui...

© » ARTS EQUATOR

Theatre goes online: Call me a purist, I don’t care

Theatre goes online: Call me a purist, I don’t care | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles May 4, 2020 By Fasyali Fadzly (2,100 words, 7-minute read) No one would have guessed that the COVID-19 situation would become this bad...

© » KADIST

All Watched Over By Machines of Loving Grace

I like to think (and the sooner the better!) of a cybernetic meadow where mammals and computers live together in mutually programming harmony like pure water touching clear sky...

© » 1854 PHOTOGRAPHY

Now on show in New York City: BJP’s Female in Focus winners

Now on show in New York City: BJP's Female in Focus winners - 1854 Photography Subscribe latest Agenda Bookshelf Projects Industry Insights magazine Explore ANY ANSWERS FINE ART IN THE STUDIO PARENTHOOD ART & ACTIVISM FOR THE RECORD LANDSCAPE PICTURE THIS CREATIVE BRIEF GENDER & SEXUALITY MIXED MEDIA POWER & EMPOWERMENT DOCUMENTARY HOME & BELONGING ON LOCATION PORTRAITURE DECADE OF CHANGE HUMANITY & TECHNOLOGY OPINION THEN & NOW Explore Stories latest agenda bookshelf projects theme in focus industry insights magazine ANY ANSWERS FINE ART IN THE STUDIO PARENTHOOD ART & ACTIVISM FOR THE RECORD LANDSCAPE PICTURE THIS CREATIVE BRIEF GENDER & SEXUALITY MIXED MEDIA POWER & EMPOWERMENT DOCUMENTARY HOME & BELONGING ON LOCATION PORTRAITURE DECADE OF CHANGE HUMANITY & TECHNOLOGY OPINION THEN & NOW © Minxu Li, Female in Focus 2022 single image winner BJP’s new exhibition takes place in a converted Brooklyn townhouse, reflecting the award’s domestic focus The winners of BJP ’s Female in Focus 2022 include two series and 20 single images which demonstrate the sheer power of photography by women...