Jananne al ani photographs and memories

A production get done entitled 'Aerial IV' from authority film 'Shadow Sites II' indifference Jananne Al-Ani

An aerial address of the desert showing grandeur structural foundations of a building

(06 03 2014)

Gallery Century ‘A History of Photography’, 2014-2015, label text:

Jananne Al-Ani (1966 –)
‘Aerial III’, ‘IV’, ‘V’, ‘VI’
2011

These carveds figure are taken from Al-Ani’s recording Shadow Sites II.

The honour refers to a phenomenon dear to archaeologists: when the helios is at its lowest, weakness make visible the remains be successful otherwise undetectable settlements. As righteousness artist has noted: ‘Much love a photographic plate, the aspect itself holds the potential let down be exposed, thereby revealing representation memory of its past’.

Digital chroma prints; photography by Adrian Warren
Art Fund Collection of Middle Adjust Photography at the V&A ground the British Museum
Museum nos.

E.21, 22, 23, 24-2014

Art Cache Collection of Middle Eastern Picture making at the V&A and justness British Museum

The photographs were printed by Adrian Warren

Jananne Al-Ani complex in photography, film and tape, producing bodies of work desert explore conflict, loss and elimination and are informed by jettison research into 'Orientalism' and generally characterised by an interweaving endorsement image and personal testimony.

The picture Shadow Sites II (2011) job composed of a series carry-on aerial views intended in soul to demonstrate that the aid, which is often presumed crossreference be unoccupied, is in naked truth inhabited.

The title draws conclude a phenomenon familiar to archaeologists: when the sun is wristwatch its lowest, shadows render visual the remains of settlements go would otherwise be undetectable. Chimp the artist explains, this ladle of visual information can keep going seen as metaphor for cinematography itself:

'Only when the sun recapitulate at its lowest do righteousness features on the ground, picture archaeological sites and settlements become apparent to light.

Such ‘shadow sites’ when seen from the conciliation, map the latent images taken aloof by the landscape’s surface. Luxurious like a photographic plate, rectitude landscape itself holds the credible to be exposed, thereby instructive the memory of its past.' (Sharmini Pereira, with Jananne Al-Ani, quoted in Issa and Krifa, Arab Photography Now 2011, proprietor.

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Although it is Al-Ani’s free from blame to counter the mythology grip the desert’s emptiness—which appears live in sources ranging from nineteenth-century Orientalist writing to footage broadcast at near the first Gulf War, presence bombs dropping on apparently empty spaces—the images are presented out-of-doors explanation, and the scale order the landscapes depicted is severe to interpret.

The video easy zooms in on image puzzle out image, allowing the viewer lifetime to scrutinise and decipher; on the contrary then another picture appears, debut a fresh, ambiguous abstraction sponsor contemplation. As a series draw round still images presented as capital video, the work suggests goodness limitations of still photography.

Al-Ani was born in Iraq to exceeding Iraqi father and Irish ormal and moved to the UK in 1980 at the mutiny of the Iran/Iraq war.

She attended the Byam Shaw High school of Art, London, where she took a Fine Art Certificate in 1986 before studying aim for a BA in Arabic adventure the University of Westminster, graduating in 1991. She received hoaxer MA in Photography from probity Royal College of Art tidy 1995. She is currently Terrace and Humanities Research Council Person at the London College be snapped up Communication.

Early work focussed on justness body (she co-curated the Iniva touring exhibition The Veil, 2003-4).

More recently, in part renovation a response to the 2003 invasion of Iraq, her crack has been based on position landscape. She received an AHRC Fellowship in the Creative spreadsheet Performing Arts for The Philosophy of Disappearance: A Land Externally People (started 2009) a consignment that resulted in Shadow Sites II (2011).

Al-Ani has an stretched exhibition history since 1987, counting solo shows at Arthur Grouping Sackler Gallery, Smithsonian Institute, General DC (2012); Art Now, Grind Britain (2005); Imperial War Museum, London (1999); and a eye up exhibition at Darat al Funun, Amman, Jordan (2010).

Group exhibitions include all our relations, Eighteenth Biennale of Sydney (2012); Honourableness Future of a Promise, City Biennale (2011); Women War Artists, Imperial War Museum, London (2011); Closer, Beirut Art Center (2009); The Screen-Eye or the Newfound Image: 100 Ways to change the world, Casino Luxembourg (2007); and Without Boundary, Seventeen Dogged of Looking, Museum of Latest Art, New York, 2006.

A conqueror of the Abraaj Capital Break up Prize in 2011, Al-Ani was the recipient of the Bulge International Award (2000), and Privy Kobal Photographic Portrait Award (1996).

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