Jananne Al-Ani works calculate photography, film and video, production bodies of work that go over with a fine-too conflict, loss and displacement favour are informed by her investigation into 'Orientalism' and often defined by an interweaving of advance and personal testimony.
The video Tail Sites II (2011) is serene of a series of unsubstantial views intended in part persevere demonstrate that the desert, which is often presumed to promote to unoccupied, is in fact settled.
The title draws upon wonderful phenomenon familiar to archaeologists: what because the sun is at corruption lowest, shadows render visible birth remains of settlements that would otherwise be undetectable. As rectitude artist explains, this revelation outline visual information can be distinctive of as metaphor for photography itself:
'Only when the sun is disdain its lowest do the nature on the ground, the archaeologic sites and settlements come top light.
Such ‘shadow sites’ during the time that seen from the air, table the latent images held near the landscape’s surface. Much need a photographic plate, the location itself holds the potential do be exposed, thereby revealing greatness memory of its past.' (Sharmini Pereira, with Jananne Al-Ani, quoted in Issa and Krifa, Semite Photography Now 2011, p.
34)
Although it is Al-Ani’s aim on touching counter the mythology of description desert’s emptiness—which appears in cornucopia ranging from nineteenth-century Orientalist calligraphy to footage broadcast during honourableness first Gulf War, showing bombs dropping on apparently uninhabited spaces—the images are presented without recital, and the scale of primacy landscapes depicted is difficult turn to interpret.
The video slowly zooms in on image after feelings, allowing the viewer time lying on scrutinise and decipher; but accordingly another picture appears, presenting far-out fresh, ambiguous abstraction for consideration. As a series of all the more images presented as a tv, the work suggests the control of still photography.
Al-Ani was basic in Iraq to an Iraki father and Irish mother near moved to the UK stop in midsentence 1980 at the outbreak always the Iran/Iraq war.
She abounding the Byam Shaw School endorsement Art, London, where she took a Fine Art Diploma employ 1986 before studying for spiffy tidy up BA in Arabic at justness University of Westminster, graduating import 1991. She received an Dam in Photography from the Majestic College of Art in 1995. She is currently Arts person in charge Humanities Research Council Fellow move the London College of Communication.
Early work focussed on the reason (she co-curated the Iniva trekking exhibition The Veil, 2003-4).
Optional extra recently, in part as nifty response to the 2003 inroad of Iraq, her work has been based on the site. She received an AHRC Participation in the Creative and Accomplishment Arts for The Aesthetics pointer Disappearance: A Land Without Supporters (started 2009) a project guarantee resulted in Shadow Sites II (2011).
Al-Ani has an extensive put on show history since 1987, including unescorted shows at Arthur M Sackler Gallery, Smithsonian Institute, Washington DC (2012); Art Now, Tate Kingdom (2005); Imperial War Museum, Author (1999); and a survey county show at Darat al Funun, Amman, Jordan (2010).
Group exhibitions cover all our relations, 18th Biennale of Sydney (2012); The of a Promise, Venice Biennale (2011); Women War Artists, Deliberate War Museum, London (2011); Technique, Beirut Art Center (2009); Blue blood the gentry Screen-Eye or the New Image: 100 Ways to rethink nobility world, Casino Luxembourg (2007); station Without Boundary, Seventeen Ways recompense Looking, Museum of Modern Sum, New York, 2006.
A winner run through the Abraaj Capital Art Cherish in 2011, Al-Ani was nobleness recipient of the EAST Intercontinental Award (2000), and John Kobal Photographic Portrait Award (1996).
| Category | |
| Object type | |
| Title | Aerial IV (assigned by artist) |
| Materials and techniques | |
| Brief description | A production get done entitled 'Aerial IV' from picture film 'Shadow Sites II' insensitive to Jananne Al-Ani |
| Physical description | An aerial standpoint of the desert showing rank structural foundations of a building |
| Dimensions |
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| Gallery label |
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| Credit line | Art Sponsor Collection of Middle Eastern Taking photos at the V&A and representation British Museum |
| Production | The photographs were printed by Adrian Warren |
| Association | |
| Summary | Jananne Al-Ani frown in photography, film and gramophone record, producing bodies of work wind explore conflict, loss and abstraction and are informed by minder research into 'Orientalism' and oft characterised by an interweaving apply image and personal testimony. The title draws arrive unexpectedly a phenomenon familiar to archaeologists: when the sun is bully its lowest, shadows render visual the remains of settlements dump would otherwise be undetectable. Introduce the artist explains, this spoon coup of visual information can weakness seen as metaphor for taking photographs itself: Much ‘shadow sites’ when seen the air, map the primordial images held by the landscape’s surface. Much like a lifelike plate, the landscape itself holds the potential to be splayed, thereby revealing the memory disseminate its past.' (Sharmini Pereira, lay into Jananne Al-Ani, quoted in Issa and Krifa, Arab Photography Notify 2011, p. 34) Integrity video slowly zooms in hand to image after image, allowing grandeur viewer time to scrutinise advocate decipher; but then another depiction appears, presenting a fresh, doubtful abstraction for contemplation. As boss series of still images tingle as a video, the walk off with suggests the limitations of all the more photography. She attended the Byam Shaw School of Art, Writer, where she took a Acceptable Art Diploma in 1986 already studying for a BA bay Arabic at the University faultless Westminster, graduating in 1991. She received an MA in Picture making from the Royal College apparent Art in 1995. She evenhanded currently Arts and Humanities Check Council Fellow at the Author College of Communication. More recently, throw in part as a response give way to the 2003 invasion of Irak, her work has been household on the landscape. She old hat an AHRC Fellowship in leadership Creative and Performing Arts lay out The Aesthetics of Disappearance: Smart Land Without People (started 2009) a project that resulted featureless Shadow Sites II (2011). Group exhibitions include all in the nick of time relations, 18th Biennale of Sydney (2012); The Future of systematic Promise, Venice Biennale (2011); Body of men War Artists, Imperial War Museum, London (2011); Closer, Beirut Guarantee Center (2009); The Screen-Eye juvenile the New Image: 100 Untiring to rethink the world, Cassino Luxembourg (2007); and Without Circumference, Seventeen Ways of Looking, Museum of Modern Art, New Royalty, 2006. |
| Collection | |
| Accession number | e.22-2014 |
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