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Altes Planetarium von Sharjah

Informative visuelle Tour mit Werken aller Teilnehmer der Ausstellung in Sharjah und Kurztexten aus dem Guide Book.


SB13: Tamawuj Act 1 in Sharjah

10. März - 12. Juni 2017

Kuratorin: Christine Tohmé

Präsidentin und Direktorin der
Sharjah Art Foundation: Hoor Al Qasimi

Ausstellungen, Programme, Projekte in Sharjah mit 73 Teilnehmern.
Liste aller Teilnehmer


Natascha Sadr Haghighian with Ashkan Sepahvand:
Carbon Theatre - Sharjah Edition, 2017
Soundinstallation, Wandzeichnung, Broschüre, vorgefundener Ort
Im Auftrag der Sharjah Art Foundation

* 1979 München, Deutschland / * 1984 Teheran, Iran
Lebt in Kassel, Deutschland / Lebt in Berlin, Deutschland


Natascha Sadr Haghighian’s research-based work is concerned with the socio- and geopolitical implications of modes of world-making. Carbon Theater (2016–ongoing) is the artist’s long-term collaboration with writer and artistic researcher Ashkan Sepahvand, whose work traces associations between histories of the body and the sensory as well as imagination, celebration, transformation and futurity. Together, Haghighian and Sepahvand founded the institute for incongruous translation in order to investigate the productive discrepancies between sensing and knowing. Most recently, they have focused on planetary transformations through the study of chemistry.

Act II (2017) of Carbon Theater takes place in an abandoned planetarium scheduled for demolition. The work includes this found site as well as a four-channel sound installation, a wall drawing and a free booklet. Entering the planetarium, visitors are immersed in soundscapes recorded at various sites of energy extraction––from open pit mines and oil refineries to wind farms and ancient watermills. Sensing out the sonic properties and non-visible topographies of each site, these acoustic projections give voice to formations challenging anthropocentric narratives around life and non-life. The question of ‘what formations are we keeping in existence or extinguishing?’ requires attunement to a ‘we’ that is not self-evident. In the booklet, the artists list the recording sites and include texts, photographs and drawings. One drawing has been applied to the back exterior wall of the planetarium. This blurry yellow line cutting horizontally across the dome’s hemicycle mirrors its form, suggesting the suspension of gravity, the disorientation of cardinal direction and displacement of human perspective.
(Aus dem SB13 Guidebook)

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