Welcome to the twenty eighth installment of Meet LA’s Art Community. Check out our previous interviews right here.
Hayv Kahraman (2019) (picture courtesy the artist and Jack Shainman Gallery)

Welcome to the twenty eighth installment of Meet LA’s Art Community. Check out our previous interviews right here.

This week I interview the artist Hayv Kahraman. Born in Baghdad, Kahraman displays on her experiences as a refugee and immigrant by way of her artwork. When she was 11 years previous, her household fled the primary Gulf War and settled in Sweden, the place she would start portray. Her artwork has been described as a manner of processing her sense of “difference.” Across her work and sculptures, you’ll see many figures of ladies, generally proven alone, different instances supporting each other, and even at instances disembodied and fragmented. Together these ladies are meant to symbolize the collective immigrant experience.” 

In this interview, Kahraman shares the collection she is presently engaged on, referred to as Anti-Body, which explores what it means to be immune. “Is the body a fortress, untouchable, or impenetrable to ‘outside’ germs and enemies?” she asks. In explicit, the artist is involved in how the language of epidemiology is “similar to the us-versus-them rhetoric used in discussing refugees and immigration.” The subject has felt significantly related in the course of the COVID-19 pandemic. Read extra about what Kahraman has been fascinated about and studying throughout these previous months in her solutions under.

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Welcome to the twenty eighth installment of Meet LA’s Art Community. Check out our previous interviews right here.
Hayv Kahraman, “Anti-Body #1” (2020), oil, pigment and linen on panel, 50 x 70 inches (picture courtesy the artist and Jack Shainman gallery)

Where had been you born?

I used to be born in Baghdad, Iraq.

How lengthy have you ever been residing in Los Angeles?

I moved down from the Bay Area about 5 years in the past and reside in west LA.

What’s your first reminiscence of seeing artwork?

Before fleeing Iraq within the early ’90s I bear in mind driving by Jawad Saleem’s huge wall-relief monument “Nasb al-Hurriyah” (the liberty monument) in Baghdad and being in awe. It capabilities so properly each when seen from afar (learn as a linear historic narrative) in addition to up shut, through which the detailed nuances get revealed.

Do you want to {photograph} the artwork you see? If so, what system do you utilize to {photograph}?

I hardly ever {photograph} artwork. I really feel that it loses its tactility, particularly if I {photograph} it utilizing my telephone. I principally {photograph} the title or, if at a museum, the wall textual content.

What was your favourite exhibition in Los Angeles this 12 months?

Betye Saar: Call and Response on the Los Angeles County Museum of Art (LACMA) was such a complete view of her work and thought course of. I beloved seeing the sketchbooks and behind-the-scenes development of the work.

What’s the very best e-book you’ve learn not too long ago?

I’m presently juggling two books: Immunitary Life -A Biopolitics of Immunity by Nik Brown and An Apartment on Uranus by Paul B. Preciado. The latter is simply an extremely inspiring and revolutionary piece of writing that I really feel all people ought to learn. There are so many linguistic gems on this e-book! And the e-book on Immunitray Life is a complete view of the philosophy of immunology and straight relates to the analysis I’m doing on my present physique of labor Anti-Body.

Do you favor to see artwork alone or with pals?

Alone, however I normally take my six-year-old daughter alongside which at all times provides an attention-grabbing perspective!

What are you presently engaged on?

I’m presently engaged on a brand new, prolonged collection referred to as Anti-Body inspecting the biopolitical concepts surrounding the notion of immunity — all of the extra related throughout COVID-19 — and what it means for our our bodies to be immune. Is the physique a fortress, untouchable, or impenetrable to “outside” germs and enemies? How can we modify the militaristic rhetoric in epidemiology, which relies on constructing imaginary partitions between our our bodies and the remainder of the world? This language is comparable to the us-versus-them rhetoric utilized in discussing refugees and immigration. Through anchoring this collection within the distinct Y-shape of antibodies, I hope to suggest a radical shift in coexistence the place we acknowledge the porosity of our pores and skin and transfer in the direction of a symbiotic relationship to distinction.

What is one accomplishment that you’re significantly happy with?

The most gratifying moments are after I obtain private notes that my work has empowered ladies and given them hope. In 2009, a collector began a ladies’s crafts group in Afghanistan after seeing my work. The group enabled ladies to communally make crafts and promote them so as to maintain a residing. These are the issues that actually matter to me.

Where do you flip to for inspiration on your initiatives?

It’s two fold, I do numerous educational studying principally throughout the discipline of gender and decolonial research and I browse random historic imagery on Instagram. I observe a couple of accounts of craftspeople in Turkey who make these elaborate, conventional Islamic patterns that function backgrounds for calligraphic items in Arabic. I discover it attention-grabbing that the calligraphers fee these craftswomen and males to make the backgrounds for his or her work — that, for me, is extra attention-grabbing than the precise heart piece of calligraphy.