Klang der Stille / Zeichnung / 2018
In the exhibition, Ansari contributes two works; her photographic work shows three magni– fied blurred Polaroid imagesserving as a study of the philosophy from antiquity to modern ages. Coming from an experimental series of photographic worksthat the artist had alrea– dy realized in 2003, the re-discovery of the work is shaping the ground for its re-contextu– alisation asan object of the ‘present’ with an immediate association to the present of the artist herself.
On the back of the neck of the woman, who appears three consecutive times on the picture, one can read the phrase ‘Der Körperist zur Freiheit verurteilt‘ (EN: The body is condemned to freedom), alluding to the Sartrian theory suggesting that humansare ‘condemned to freedom’ referring to both the intellectual freedom and corporeal emancipation as a priori given states to thehuman condition. This idea of freedom comes to be undermined or put under question when one considers the position of theartwork in the exhibition, framed in the central dark gray wall, as if ‘imprisoned’. Additionally, the posture of the figure as wellas the chromatic choices of the artist implicitly leave a taste of a Self, tormented by emotional
experiences of pain, joy, loss, desire; emotions of a freedom that might have liberating or confining effects.
Facing the photo, the video titled ‘Munitio An– sari has composed a poem inEnglish (later translated in French) as an accompanying ele- ment for her ‘Munition’ series of works in 2014. The videorecorded as a video performance, only merely allows the spectator to read the poem or understand what is happening. At the closing of the video, the poem is read by a voice in English as follows:
black and white shadowy landscape cloud formation
aircraft, explosion, erased in places memory lost in official history some seeguns, some see faces enter the depths
of the First World War
a letter written by a soldier to his beloved
from the front lines
Nina Ansari, 2016
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