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Jananne Al-Ani: Timelines
About
In an ambitious new moving image work, Jananne Al-Ani reveals a micro landscape within the surface of a museum object and employs testimony and storytelling to reflect on the relationship between Britain and Iraq. Al-Ani draws upon interviews with her mother, recalling personal experiences of living in Iraq through moments of intense social and political change. This story is illustrated through an aerial journey over the surface of a highly decorated brass tray that originated in Iraq and is now held in the V&A Collection. The tray depicts events on Armistice Day, 1918, in the Iraqi town of al-Hindiyyah. Crowds of highly stylised Arab men and women and British soldiers in uniform are shown, from a bird's eye view, on either bank of the river Euphrates, which cuts across the centre of the tray. Using ultra close-up images of the tray and its engraved surface Al-Ani creates a layered narrative over a vast landscape which will be presented across a large-scale curved screen to create an immersive environment in which to encounter these stories.Co-commissioned by Film and Video Umbrella and Towner Eastbourne with Art Fund support through the Moving Image Fund for Museums.
Presented alongside 'Bringing to Light: Jananne Al-Ani curates the Towner Collection', 12 February – 22 May 2022.
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Jananne Al-Ani. Landmarks
Exhibition
10 Oct 2023 – 11 Nov 2023
Regular hours
- Tuesday
- 11:00 – 18:00
- Wednesday
- 11:00 – 18:00
- Thursday
- 11:00 – 18:00
- Friday
- 11:00 – 18:00
- Saturday
- 11:00 – 18:00
About
Ab-Anbar Gallery presents Landmarks, a solo exhibition by London-based Iraqi-born artist Jananne Al-Ani spanning more than two decades of photographic and moving image work and focusing on Al-Ani's longstanding interest in the disappearance of the body in highly charged and contested landscapes. Marking the 20th anniversary of the Iraq War, an event that casts a long shadow over Al-Ani's practice, Landmarks highlights preoccupations that have persisted over time and continue to reverberate throughout this distinctive body of work. From The Visit (2004), a multi-channel installation featuring intimate recollections of love and loss set against the desert landscape of the Middle East, to Black Powder Peninsula (2016), an aerial film focusing on the English landscape, including sites rich with the remains of British military, naval and industrial history. The exhibition highlights Al-Ani’s latest film Sounds of War II (2023), combining subtly animated archival images with contemporary aerial photographs of the ghostly footprints of US airfields across rural East Anglia which were decommissioned after the end of the Second World War. While Sounds of War II draws attention to the complex geopolitical relations that led to the rise of US power and influence in the second half of the 20th Century, Landmarks invites us to recall the central role played by Britain in the formation of the modern Middle East and the many catastrophes and upheavals its communities have continued to endure to this day.Rachel Withers: Jananne, you’ve been working for the last three years on a project that you’ve called The Aesthetics of Disappearance: a Land without People. It comprises both still and moving-image works, and I’d like to invite you to talk about three of the moving-image pieces: Shadow Sites I (2010), Excavators (2010), and Shadow Sites II (2011).
The earlier of the Shadow Sites works comprises a series of fourteen filmed aerial sequences. All were made using a camera mounted on a light aircraft and angled directly down at the earth below, and when you first described the procedure to me I imagined that this point of view would be familiar, at least to an extent. But when I saw the screened work with its unwavering downward point of view, I realised that its cinematic perspective is actually quite unfamiliar and unusual, and also really mesmerising. Can you start by describing the nuts-and-bolts of this project: how you shot the footage and what it shows?
Jananne Al-Ani: Well, aerial filming can get very technically complicated, involving elaborate rigs, gyroscopic mounts and helicopters to achieve complex takes. But in this work I was interested in going back to the fundamentals of film and photography and so my approach was really quite simple. I’d been looking at early reconnaissance photography and film: in particular material in the Smithsonian Institution archives shot in 1918 by Edward Steichen, while he was serving in the US Aerial Expeditionary Force. The unit Steichen headed was responsible for photographing the Western Front towards the end of World War I, and I was amazed at the strange beauty of the photographs, taken by cumbersome large-format cameras mounted on small biplanes. I wanted to recapture that simplicity. So on Shadow Sites I I worked with a small crew including an aerial film and photography specialist and using relatively simple equipment: a Super 16mm film camera on a purpose built mount att Ealaíontóir Éireannach-Iarácach is ea Jananne Al-Ani (Arabis: جنان العاني) Rugadh Al-Ani i Kirkuk, an Iaráic i 1966 d'athair Iaráiceach agus máthair Éireannach. Rinne sí staidéar na mínealaíona ag Byam Shaw School of Art agus bhain sí MA sa ghrianghrafadóireacht amach sa Royal College of Art i 1997. Faoi láthair is Comhalta Sinsearach Taighde í in University of the Arts London, agus tá cónaí uirthi agus oibríonn sí i Londain. Ag obair le grianghrafadóireacht, scannán agus físeán, tá spéis leanúnach ag Al - Ani sa traidisiún doiciméadach, trí chuimhní cinn dlútha agus cuntais oifigiúla eile. Bíonn a cuid oibre i dteagmháil freisin le tírdhreach an Mheánoirthir, a sheandálaíocht agus a léiriú físiúil.. Agus achoimre á déanamh aici ar a cuid oibre in agallamh leis an gcoimeádaí agus an léirmheastóir Nat Muller, dúirt Al-Ani: “Tá suim a mhair tamall fada agam i léiriú an choirp. Bhain na saothair is luaithe a thaispeáin mé leis an gcaoi a bhfuil coirp na mban léirithe ar fud stair phéintéireacht an iarthair. Roimh fhorbairt na grianghrafadóireachta agus na scannánaíochta, leagadh amach go soiléir idéil athraitheacha na háilleachta baininne i saothar ealaíontóirí. Mar sin féin, bhí tionchar mór ar mo chuid oibre ag clúdach na meán ar Chogadh na Murascaille 1991, a dhírigh ar íomhánna ón aer agus ó shatailít de thírdhreach dídhaonraithe lom, ar mo chuid oibre. Ina dhiaidh sin, rinne mé athmheasúnú ar mo chuid oibre, agus ar shaothar péintéirí eile ón Oirthir, agus ar an mbealach ar tógadh fantaisíochtaí faoin gcorp agus faoi thírdhreach an Mheánoirthir i saothair dá leithéid. Chonaic mé an corp féin mar chríoch chomhraic agus le linn na 90í chuir mé sraith saothar le chéile a rinne iarracht cur i gcoinne na dúspéise Eorpaí le coirp na mbean faoi chaille a nochtadh agus a tabhair chun solais. Le déanaí, leis an tionscadal Aest Jananne Al-Ani
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