The 'Other' and I 2018
This photograph, a psychological tableau inspired by Magritte’s The Collective Invention, addresses my female body configured within an authoritarian regime, its formation shaped by perverse power. Lying on a stage half-veiled, the mirror behind me shows the camera’s reflection and the image of a sea projected onto a screen; juxtaposed against my real, objectified figure, they transform the scene into a zone of contradictions. The use of reflection and projection alludes to the subject’s perception of her external body incompatible with her internal image (of it). This conflictual self-concept explains the woman’s transformation into a persona alien to her, namely the four-legged body represents her repressed shadow.
A Space In-Between 2018
A multimedia lecture-performance in which I create a rewriting of history in the form of a series of speculative events that parallel reality. The narrative’s anchoring theme is the means of control and discipline that the state imposes upon citizens.
This presentation is a testimony that conveys my personal voice in reading historical events. The text, photos, and videos are interwoven to create an unstable narrative to be decoded by the viewer during the performance. I forge the history, my father’s experience of confinement, and raw material of my memories into a story with the possibility to see and name again.
One hundred Cypresses 2014
All aspects of one’s life, myth, inspiration, culture, or religion are carved into the rings of history within a tree’s trunk.
One hundred Cypresses is based on the poem She recalls the memory of many deaths by Saib Tabrizi (1601-1677). The work consists of a land art project and a two-hour documentation of its process: planting one hundred cypresses on the foot of Mount Damavand. One Hundred Cypresses calls for an active participation in the process of preserving what identifies oneself in the era of decay.
Note: The text above was written by the Artist. No modification was made by COCA.
Anahita Norouzi is originally from Iran and lives in Montreal, where she dedicates herself to her artistic practice. She holds degrees in Fine Arts Concordia University in Montreal. Her conception of art is closely linked to social and political issues, which she explores critically in her works.
For the past 10 years, she has traveled often between Iran and Quebec to conduct her research, which examines questions of memory and identity from a psycho-historical point of view. She has given numerous talks on her artistic process in relation to challenges of identity, migration, and memory.
Anahita Norouzi has taken part in several individual and collective exhibitions internationally. Most recently she has had shows in Canada, Germany and Iran. She was a finalist for the MOP CAP Art Prize for pieces shown at the Royal College of Art in London and in Dubaï in 2013. She has received grants from the Canada Council for the Arts, and is working on a show that will be presented in 2020.