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.
Fathers #18 and Fathers #27 is part of a series of photographs and videos made in recent years in Gaza...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
“When you position your hand on someone’s shoulder, your shoulders become straight and horizontal...
“Other photographers used to send me negatives of cross-eyed people, asking me to retouch them...
“These are negatives that were scratched because of a jealous husband from the Baqari family, who never let his wife out by herself...
“In the 1980s I started using coloured paper backdrops, one of which was yellow...
“The two men were relatives and both were in the Lebanese Army.” Hashem El Madani...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
“While taking the picture it was challenging to make the boys sit properly without moving...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...