Donja Nasseri
Selected by Phototriennale Hamburg for FUTURES Photography Platform 2024/ 2025
Museum of Contemporary Art Zagreb "Ties That Bind" Organized by Organ Vida
26/09 -03/11/2024 with Ihar Hancharuk, Sasha Chaika, Angyvir Padilla, Jan Durina, Dev Dhunsi, Luna Mahoux, Sheung Yiu
Mummy Eye, Ceramics, Water Coloured photo collages
Aura Kunstraum, Düsseldorf
"into the good night"
April 12 – May 5, 2024 with Paula Förster, Harry Thring, Sofia Magdits Espinoza
Kunstmuseum Bochum: Principles Of Rotation for "die Verhältnisse zum Tanzen bringen"
27/04 -08/09/2024 with Archil Chikhladze, Emre Abut und Rebecca Racine Ramershoven, assume vivid astro focus (avaf), Bekir Karadeniz, Cem Kaya, Cute Community Radio, Dina Danish, Donja Nasseri, Francisco Ariztia, Hartmut Beifuss, Havîn Al-Sîndy, Horst. D. Gölzenleuchter, Ihsan Ece, Kalos&Klio, kino.for you, Marina Naprushkina, Marinella Senatore, Markus Zimmermann, Mehmet Uyanık, Mehmet Ünal, Pável Aguilar, Petja Dimitrova, Pınar Öğrenci, Saša Tatić, Selma Gültoprak, Theresah Ankomah, Tunay Önder, Vlassis Caniaris, Yto Barrada und Žarko Radić
Short Excerpt
The term „principle of rotation“ in this paper can be interpreted in various ways:
it originates as a principle or rather as a guideline for the temporary limitation of
stays, which was intended by the recruitment agreements in West Germany in the
1950s and 60s. e labor migrants / guest workers were supposed to return to their
home countries and stay for a limited period, so that they could be replaced by new
labor migrants, in order to prevent permanent settlement in Germany. People were
meant to be rotated and kept in constant movement to ensure that they would not,
under any circumstances, establish a new home or feel comfortable.
The fears that Germany has conveyed (and exercised) over the years against people
from various countries are racist. It is not an offer to invite people for work in their
country, only to subjugate them and place them in a subordinate human hierarchy.
it originates as a principle or rather as a guideline for the temporary limitation of
stays, which was intended by the recruitment agreements in West Germany in the
1950s and 60s. e labor migrants / guest workers were supposed to return to their
home countries and stay for a limited period, so that they could be replaced by new
labor migrants, in order to prevent permanent settlement in Germany. People were
meant to be rotated and kept in constant movement to ensure that they would not,
under any circumstances, establish a new home or feel comfortable.
The fears that Germany has conveyed (and exercised) over the years against people
from various countries are racist. It is not an offer to invite people for work in their
country, only to subjugate them and place them in a subordinate human hierarchy.
Text by Yasmine Nachabe Taan
Excerpt
"Hatshepsut appeals to Nasseri, as her appearance deviates from the normative way of representing women in non-western cultures and prompts us to question: How far does the history of feminism in non-western cultures go? Nasseri, in her photomontages, attempts to trace a genealogy of a model of feminism for non-western cultures. Her artwork, in a way, defies the political assumption that there must be a universal basis for feminism.
One must be careful with western approaches that construct the ‘third world’ or an ‘Orient’ in which gender oppression is subtly explained as symptomatic of an essential, non-western barbarism, as explained by Judith Butler in Gender Trouble: Feminism and the Subversion of Identity (1999).
Nasseri’s work restores a feminist genealogy of the category of women, heroines that do not fall under western culture category. Instead, it stands as a critique to western forms of feminism for its efforts to colonise and appropriate non-western cultures to support highly western notions of oppressions. Nasseri, in her effort to construct a non-western feminist icon, destabilises the very distinction between the natural and the artificial, the hero and the heroine, depth and surface, inner and outer through which discourse about gender almost always operates.
In her work, she explores the contingencies of Hatshepsut’s androgynous identities by creating a photomontage portrait of Hatshepsut in which her face is split in two. She places this portrait as a centre piece in the middle of the exhibition space. This photomontage seems to represent the radical split of the gendered subject that poses a set of problems by exploring gender as the cultural interpretation of sex – a cultural inscription of meaning on a pregiven sex. This portrait, in Nasseri’s lens, refuses to conform to the heterosexual matrix of conceptualising gender and power. It reifies these ostensible categories of ontology."
Foam Amsterdam 2022
Foam new Talent deutsche Börse Photography Foundation, Frankfurt
17. February- 14. May 2023
Art Academy Düsseldorf- "Liberated Pregnancy (...Tears of a Crocodile) "
Liberated Pregnancy (...Tears of a Crocodile) Vinyl Record 2022
NRW Forum, Düsseldorf "Reformulierung"
18/08 -01/10/2023 with Markus Karstieß, Peter Piller
Akademie Galerie, Düsseldorf, "The Falling Wardrobe" , 2023
11/11 -09/02/2024 with Christy Westhovens and Theresa Weber
Daegu Contemporary Museum, South-Korea, "Locust`s Tale"
September 15 – Oktober 15, 2023, Collaboration with Jana Buch
The installation shows a table shaped like a locust upon which there are
five plates with texts representing five guests who share a metaphoric
dinner.
five plates with texts representing five guests who share a metaphoric
dinner.
Their encounter is entirely fictional despite the guests themselves
being real, historical figures: the poet Maya Angelou shares a glass of
whisky with the singer Sam Cooke while the Egyptian Pharaoh Akhnaton
drinks from a vessel shaped like his own body for example.
being real, historical figures: the poet Maya Angelou shares a glass of
whisky with the singer Sam Cooke while the Egyptian Pharaoh Akhnaton
drinks from a vessel shaped like his own body for example.
As I often use Egyptian symbols and meanings, here the locust is
historically considered a plague, however in Egyptian mythology it also
symbolizes the soul-figure “Ba” jumping into heaven carrying the soul of
the recently deceased. All figures experienced some form of racism and oppression.
historically considered a plague, however in Egyptian mythology it also
symbolizes the soul-figure “Ba” jumping into heaven carrying the soul of
the recently deceased. All figures experienced some form of racism and oppression.
Philara Collection, Düsseldorf, "Attemps to be Many"
" A great Deal of Controversion"
Oktober 10 – Januar 23, 2022, with Nara Bak, Jana Buch, Arisa Purkpong, Anys Reimann, Theresa Weber
Galerie Kadel Willborn, Düsseldorf "I am yesterday. I know tomorrow."2021
From the Series „Woman, who would be King“
From the Series „Woman, who would be King“
Kunsthalle Recklinghausen, "Young West" 2021/22
from "Woman, who would be King"
Kunstverein Recklinghausen, Sunbathing (...a bird is kissing the sky)
2/12/2023- 4/02/2024
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