The dramatic urban development in Tehran over the past decade has been the main focus for Nazgol Ansarinia’s work. She has worked with architectural models, municipal murals and miniature monuments that capture the intersection between the sacrosanct domestic sphere and the broader built environment. Her architectural process is one that is fundamentally based on deconstruction. In her own words, “I take elements of these subjects apart and then put them back together in a way that reveals something unnoticed about them.” For Liste, the artist presents a new sculptural body of ceramic work that is a continuation of her recent project Demolishing buildings, buying waste in which she recorded an entire building being demolished by pick-axe and shovel over the period of 16 days. The rubble that is swept off- screen becomes a basis for interrogation by the artist and appears in a multitude of new sculptural forms and works on paper. In these works, Ansarinia portrays that moment between demolition and creation, dissection and construction, disorder and pattern.
For Hera Büyüktaşçıyan, a singular place becomes a point of inquisition and departure. She presents a new sculpture and drawing series based on a large scale in-situ installation that was first shown in Istanbul at Arkeopark, the most extensive archaeological site to date on the Asian side of Istanbul and is where the Satyros Monastery was discovered in 2001. The site is now somewhat surreally located in a highly populated and constructed area of the city, surrounded by contemporary life. Once an area associated with summer rest, views of the sea, gardens and mansions, Küçükyalı is now a neighbourhood obstructed by time and urban development. Büyüktaşçıyan’s installation Rising… A Small Height from the Ground speaks to the idea of the invisible and unknown history that lies beneath our feet, but also about the regeneration of contemporary cities.