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Nazgol Ansarinia, Membrane, 2014

Installation view at Conservatorio do Musica Benedeto Marcello di Venezia, 2019

Most of the works presented in Venice cannot be attributed to a particular aspect of Iranian culture; they reflect a contemporary language that belongs to a global art context. This does not, however, exclude a preoccupied locale, as with Nazgol Ansarinia's works addressing urban fabric and transformation. Membrane is erected like the skin of a wall, in a comment on the indiscriminate destruction of houses in Tehran's rapidly developing urban areas, while the series Pillars runs like a bifurcated river of marble-like columns across the central hall, a reference to gentification and a rapidly changing society of extravagance.

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