The Ankersentrum by Natascha Sadr Haghighian
at the German Pavilion of the 58th Venice Biennale: a journey through the ruins of the world.
by Elda Oreto
In classical mythology, we speak of catabasis when the protagonist descends into the underworld for
The front door of the Pavilion is closed, but it can be accessed through a side entrance.
In another room, there is a sculpture made from the remains of scaffolding, a street poster, and plastic containers for transporting tomatoes. The sculpture, which recalls the countless deaths of illegally employed immigrants, seems stationary; however, it is imperceptibly in motion. In Ankersentrum, everything loses its connotations, merges, becomes invisible, changes its name. Mohamed becomes Sammy. Abdullah becomes Tony. And Natascha Sadr Haghighian becomes Natascha Süder Happelmann.
Helene Duldung, played by Susanne Sachsse – who collaborated in the Pavilion with Jessica Ekomane, Maurice Louca, DJ Marfox, Jako Maron, Tisha Mukarji, Elnaz Seyedi, Maziyar Pahlevan, Sina Ahmadi, Jasper Kettner, and many more — is her speaker. However, the voice that speaks on somebody’s
At the press conference and presentation, Frau Duldung speaks for Natascha and reads Rosa Luxemburg. To divide and conquer is necessary to create a capitalist society, perpetually in ruins, structured in favor of the few and in favor of privatization and accumulation of goods; this is the origin of borders and nations.
Ankersentrum summarizes the crucial moments of her practice, an heir to relational art, from Jorge Pardo to Tobias
For Documenta 13, the artist created d (13) pfad / d (13) trail with Pola Sieverding, a path made of debris from Second World War, surrounding the Ehrenmal, a war memorial. From the bushes around the park emerge the onomatopoeic verses of animals in different languages. pssst LEOPARD 2A7 + (2013) is a prototype that imitates a tank of wood and lego pallets with plugged-in headphones and installed testimonies about Germany’s role in the production of weapons.
In the book published by Archive Books, Franciska Zólyom writes “to paraphrase Walter Benjamin, the witness only becomes a witness when he communicates to others what he has seen and experienced. (…) In this way it is not the witness or the narrator who is immortal, but ‘The very story of repetition, a story that, repeated at least twice, is not individual”.