Narges
Poursadeqi
https://www.nargespoursadeqi.com/
tools for mixing ghosts
2020
3" × 25" × 1"
Mirrors, copper, globe Glass, archive negatives.
tools for mixing ghosts
2020
3" × 25"
Mirrors, copper, globe Glass, archive negatives
Tools for mixing ghosts
A tool with the responsibility of finding massacre places, looking at them, and reflecting them over and over inside itself. Break them down; layer them until those places forget their stories. They were in endless grief.
Machine 855
2019
50in × 25in
wood panel, paper mache clay, magnify lenses, and machinery
Machine 885
This is not just a machine to entertain you. It's a trap, it will record your memory and play it back to you over and over again.
Machine 855
2019
50in × 25in × 25in
wood panel, paper mache clay, magnify lenses, and machinery
Reel Number 9
2019
5in × 5in × 5in
Slide Reel, 3D Viewer
Reel Number 9
5in × 5in × 5in
Slide Reel, 3D Viewer
Reel Number 9
2019
5in × 5in
Slide Reel, 3D Viewer
Reel Number 9 Video
Sergeant Garcia was drunk, while we secretly watched Esmeralda dance. The moral police were searching every corner of the streets to find her as we, trying to keep her hidden, relayed her on to the next person. Khomeini was talking about the blessing of the war when Zorro heroically appeared from far left and then got married.
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Put your title here
2019
50in × 50in
Newspaper Archives of 1979 Iran, glue, pigments, wood board, cyanotype
Put Your Title here (in depth)
2019
50" × 50"
Newspaper Archives of 1979 Iran, glue, pigments, wood board, cyanotype
Put Your Title Here (in depth 2)
2019
50" × 50"
Newspaper Archives of 1979 Iran, glue, pigments, wood board, cyanotype
Playing the role of a detective seeking clues for each broken story like a mirror into a thousand images, and getting lost in fragmentations and becoming a ghost is my aim.
I have nothing to say but only to show. Collections of pictures from history. Pictures of people, places, and debris memory. I offer an object to each, the right place to set and to be, as I collect and use them.
Narges Poursadeqi was born and raised in Tehran, Iran. She started photography and video production at the Iranian Youth Cinema Society, and continued studying in Fine Art at The University of California Berkeley. Her work investigates the intersection of culture, memory, and narrative, and how each affects the other. Poursadeqi’s practice is derived by political events, culture, and religion. She works with archived photos, videos, and texts. Her role as a collector and storyteller allows her to create contemporary work that responds to political events, cultural movements, and contemporary religious discourse. The work exists in the process of finding the perfect casing, the perfect context for each object.