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Place is a decisive factor: the settings where her visual essays unfold are all confined in some way, delimited and closed off by natural or manmade barriers. From Palestine and Tahiti to Guatemala and Lithuania, she uses ellipsis to address the political constitution of the present. That ellipsis is always there, though it can only be read by picking up and assembling the pieces that fall along the way and others that are less obvious, at least at first glance. And places are joined by people in an investigation into other communities bound by affect. Some of those communities are dominated by women in places where cultural and artistic tradition has been defined by the colonial legacy.
The pieces selected for this exhibition establish a trio of duos thanks to the interrelation between her film work and the transitional spaces provided by her pictorial creations. The earliest works (Dahiet Al Bareed and Electrical Gaza) are set in Palestine, where Nashashibi explores her father's place of birth and the daily repercussions of the tense political situation on social relations. There is also a connection between two films from 2017, Why Are You Angry? and Vivian's Garden, as both focus on women and have art as a common thread. However, while the first subverts the male gaze of the representation of women as objects of desire, the protagonists of the second are active subjects. Finally, the most recent duo is actually one work with two parts in which the unusual nonlinear time and new affective communities unite and dissolve.
Rosalind Nashashibi has a distinguished track record in the international art world: she was nominated for the Turner Prize and participated in the last Kassel documenta, as well as in the Venice Biennale and Manifesta. Over the past year, she has had solo shows at the Art Institute of Chicago, Witte de With in Rotterdam, Foksal Gallery in Warsaw, Secession Vienna and SMAK in Ghent. Now Seville audiences have a chance to learn more about her fascinating career.