Rosalind Nashashibi was born in 1973 in Croydon and lives and works in London. She works primarily in film and also makes paintings and prints. She works with analogue 16mm film and transfers this footage to digitally. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.
In works such as Electrical Gaza 2015, Nashashibi was commissioned by the Imperial War Museum to film life in Gaza. Combining observational documentary with animated sequences, the film counters the typical depiction of Gazan life. The film in bookended by scenes at the Rafah Border crossing explicating the inability of its citizens to move freely. Nashashibi’s roving camera offers a fragmented portrayal of everyday life under the duress catastrophic economic and political sanctions. As the artist has noted, life goes on, and the work captures something of the contradictions of her experience.
Vivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the power dynamics of their household, but also presents the care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.
26 Sep 2017 – 7 Jan 2018 (Free)
Ferens Art Gallery, Hull
Discover more at hull2017.co.uk/turnerprize