Language and login selector start
Language and login selector end

Solo show: Anahita Razmi - Automatic Assembly Actions (over)

14 January 2013 until 10 March 2013
  Anahita Razmi - Automatic Assembly Actions\ Carbon 12

Carbon 12
Al Quoz 1, Alserkal Avenue, unit 37
United Arab Emirates (city map)

Send E-mail
tel +971 4 340 60 16

Anahita Razmi's first solo exhibition at Carbon 12

Carbon 12 proudly presents Anahita Razmiís solo exhibition ĎAutomatic Assembly Actionsí, opening on January 14th, 2013. Many worlds collide in Razmiís work: cultural spheres, semantic frameworks, art history, politics, and some of them together. Through appropriation of heritage, symbols, and even other artists ideas, contexts are redefined and concepts juxtaposed. Razmi attacks these systems directly, honestly and relentlessly. Free from conceptual restraints; any surplus is discarded until only the message itself remains.

Introspection and agitation are the two columns of Razmiís work that are in constant oscillation: creating a tension, where reconciliation is often only possible on a metaphorical meta-level. Boundaries are ignored and borders are crossed: the personal and the political are not to be distinguished, while the modes of production speak for themselves. The title ĎAutomatic Assembly Actionsí is a direct reflection of Razmiís approach. Pictures and artifacts from very different cultural, artistic and social contexts are remixed, almost automatically, to form new layers of meaning and to further deconstruct their inherent mediated presumptions.

The very precise conceptual frameworks lead to stringent choices of media: the video installation ĎArsenalí for example can be read as a critical investigation of todayís image machinery: mundane actions collide with Hollywoodesque sound- tracks, creating tension and revealing mechanisms. Works like ĎHELLTERFUCKINGSKELTERí, on the other hand, are deeply related to their original material context, raising very basic questions about culture and transcending the personal towards the universal in their appropriative manner.

In a world constantly shifting between post-globalized and hyper-cultural paradigms, Razmiís idea of passive automatism versus action as active intervention, does not create a one-way paradox, but rather ignites discursive friction: test drillings at the cutting edge. The borders between the art world and the real world are declared null and void, but the distinction between art and society is re-appropriated for its own sake. Anahita Razmiís ĎAutomatic Assembly Actionsí paces out new domains and shakes foundations alike: because the map is not the territory.

Text by Albert Allgaier

  • ArtFacts.Net - your experienced service provider

    Since its start in 2001, ArtFacts.Net™ developed a sophisticated artist database through its collaboration with international art fairs, galleries, museums and artists.