Kani is a visual artist and performer of experimental sound with hair. Born and raised in Iraq, she currently lives and works in London.
Her works signify the relentless and ruthless ongoing social and political systems of abuse in Iraqi Kurdish society, representing and embodying the hidden specific societal issues through her hair and voice to challenge the stereotype. Her interest is around stories that have never been told or heard, and history that has never been recorded, translating and decoding these stories into art and using art as a tool for social critique is the method in her artistic practice with using investigating form to reveal the unrevealed side of the stories, therefore the listening process is a major part of her practice.
She employs human hair as the main material as a tool for the entanglement of many perspectives and politics and converges personal stories through it as a protest against this stigma that never disappears against a specific gender in that society. Producing work through photography, installation, video performance and sound.
Since 2015, her works have been exhibited in galleries and institutions including the National Museum NOMUS in Gdansk, Poland(2021), (Babylon Cinema as Moviemento, Kreuzberg and FSK Kino) in Berlin, Middle East Institute, Washington D.C(2019), V&A London, Manchester art gallery the UK, Institute of fine art Iraq, Reykjavik Art Museum in Iceland, woman made Gallery (WMG) Chicago. Kani also holds an MA in [fine art] from Middlesex University, London, with the artist Sonia Boyce as her tutor. She is currently studying for a PhD in [fine art] at Manchester Metropolitan University.
Her works signify the relentless and ruthless ongoing social and political systems of abuse in Iraqi Kurdish society, representing and embodying the hidden specific societal issues through her hair and voice to challenge the stereotype. Her interest is around stories that have never been told or heard, and history that has never been recorded, translating and decoding these stories into art and using art as a tool for social critique is the method in her artistic practice with using investigating form to reveal the unrevealed side of the stories, therefore the listening process is a major part of her practice.
She employs human hair as the main material as a tool for the entanglement of many perspectives and politics and converges personal stories through it as a protest against this stigma that never disappears against a specific gender in that society. Producing work through photography, installation, video performance and sound.
Since 2015, her works have been exhibited in galleries and institutions including the National Museum NOMUS in Gdansk, Poland(2021), (Babylon Cinema as Moviemento, Kreuzberg and FSK Kino) in Berlin, Middle East Institute, Washington D.C(2019), V&A London, Manchester art gallery the UK, Institute of fine art Iraq, Reykjavik Art Museum in Iceland, woman made Gallery (WMG) Chicago. Kani also holds an MA in [fine art] from Middlesex University, London, with the artist Sonia Boyce as her tutor. She is currently studying for a PhD in [fine art] at Manchester Metropolitan University.
ABOUT
RADIO ARCHIVE
KASHA POTROHOSH
C-drík aka Kirdec aka Cedrik Fermont
Zara Joan Miller
Zara Joan Miller
RADIO STATEMENT
EXTRA-GENRE COMMUNITY RADIO «FANTASIA» ORIGINATED BY TYPOGRAPHY CENTER WORKERS IS TO CREATE A PLATFORM TO SPEAK OPENLY ABOUT ACTUAL PROBLEMS OF THE WORLD SOCIETY AND ARCHIVE MATERIALS COLLECTED BY ARTISTS, CURATORS, JOURNALISTS, ART AND SOCIAL THEORISTS, SONIC RESEARCHERS AND SOUND POETS.
WE CREATE AN IMPULSE AND HOPE THAT IT WILL FIND AN OUTLET IN DIFFERENT POINTS OF REALITY, WE WANT TO COME TOGETHER WITH THOSE CULTURAL WORKERS THAT CONTINUE TO WORK IN DIFFICULT SITUATIONS ALL AROUND THE WORLD.
WE ALSO CONSIDER IT IMPORTANT TO FIGHT IN VARIOUS FORMS. THERE ARE DIFFERENT WAYS OF CIVIL RESISTANCE, SPREADING INFORMATION ABOUT WARS, CONFLICTS, DISCRIMINATION AND A CLEAR AND UNAMBIGUOUS EXPRESSION OF THE POSITIONS.
WE CREATE AN IMPULSE AND HOPE THAT IT WILL FIND AN OUTLET IN DIFFERENT POINTS OF REALITY, WE WANT TO COME TOGETHER WITH THOSE CULTURAL WORKERS THAT CONTINUE TO WORK IN DIFFICULT SITUATIONS ALL AROUND THE WORLD.
WE ALSO CONSIDER IT IMPORTANT TO FIGHT IN VARIOUS FORMS. THERE ARE DIFFERENT WAYS OF CIVIL RESISTANCE, SPREADING INFORMATION ABOUT WARS, CONFLICTS, DISCRIMINATION AND A CLEAR AND UNAMBIGUOUS EXPRESSION OF THE POSITIONS.
Hi Misha, here is the text of one of my pieces, Masculine Hanger and also I have attached a few photos, Textiles have played a major role in the interconnections of the social, cultural and economic life of Iraqi Kurdistan. From making clothes to weaving rugs, the production of textiles was mostly executed by invisible and often unpaid labour by women. For instance, for a specific men’s Kurdish expensive Kurdish costume called ‘Shall’, a significant period of time and production is needed in order to prepare the raw material (the animal hair) to weave a ‘Shall’ fabric. The final handprint and selling process, however, belongs to men, superseding the work of women. Reproducing a (300cm x 17cm) shall fabric out of my hair is to articulate the notion of unpaid labourers and mundane jobs of women through a local product.
Kani Kamil
radio statement hiding
Kani is a visual artist and performer of experimental sound with hair. Born and raised in Iraq, she currently lives and works in London.
Her works signify the relentless and ruthless ongoing social and political systems of abuse in Iraqi Kurdish society, representing and embodying the hidden specific societal issues through her hair and voice to challenge the stereotype. Her interest is around stories that have never been told or heard, and history that has never been recorded, translating and decoding these stories into art and using art as a tool for social critique is the method in her artistic practice with using investigating form to reveal the unrevealed side of the stories, therefore the listening process is a major part of her practice.
She employs human hair as the main material as a tool for the entanglement of many perspectives and politics and converges personal stories through it as a protest against this stigma that never disappears against a specific gender in that society. Producing work through photography, installation, video performance and sound.
Since 2015, her works have been exhibited in galleries and institutions including the National Museum NOMUS in Gdansk, Poland(2021), (Babylon Cinema as Moviemento, Kreuzberg and FSK Kino) in Berlin, Middle East Institute, Washington D.C(2019), V&A London, Manchester art gallery the UK, Institute of fine art Iraq, Reykjavik Art Museum in Iceland, woman made Gallery (WMG) Chicago. Kani also holds an MA in [fine art] from Middlesex University, London, with the artist Sonia Boyce as her tutor. She is currently studying for a PhD in [fine art] at Manchester Metropolitan University.
Her works signify the relentless and ruthless ongoing social and political systems of abuse in Iraqi Kurdish society, representing and embodying the hidden specific societal issues through her hair and voice to challenge the stereotype. Her interest is around stories that have never been told or heard, and history that has never been recorded, translating and decoding these stories into art and using art as a tool for social critique is the method in her artistic practice with using investigating form to reveal the unrevealed side of the stories, therefore the listening process is a major part of her practice.
She employs human hair as the main material as a tool for the entanglement of many perspectives and politics and converges personal stories through it as a protest against this stigma that never disappears against a specific gender in that society. Producing work through photography, installation, video performance and sound.
Since 2015, her works have been exhibited in galleries and institutions including the National Museum NOMUS in Gdansk, Poland(2021), (Babylon Cinema as Moviemento, Kreuzberg and FSK Kino) in Berlin, Middle East Institute, Washington D.C(2019), V&A London, Manchester art gallery the UK, Institute of fine art Iraq, Reykjavik Art Museum in Iceland, woman made Gallery (WMG) Chicago. Kani also holds an MA in [fine art] from Middlesex University, London, with the artist Sonia Boyce as her tutor. She is currently studying for a PhD in [fine art] at Manchester Metropolitan University.
ABOUT
RADIO ARCHIVE
KASHA POTROHOSH
C-drík aka Kirdec aka Cedrik Fermont
Zara Joan Miller
Zara Joan Miller
RADIO STATEMENT
EXTRA-GENRE COMMUNITY RADIO «FANTASIA» ORIGINATED BY TYPOGRAPHY CENTER WORKERS IS TO CREATE A PLATFORM TO SPEAK OPENLY ABOUT ACTUAL PROBLEMS OF THE WORLD SOCIETY AND ARCHIVE MATERIALS COLLECTED BY ARTISTS, CURATORS, JOURNALISTS, ART AND SOCIAL THEORISTS, SONIC RESEARCHERS AND SOUND POETS.
WE CREATE AN IMPULSE AND HOPE THAT IT WILL FIND AN OUTLET IN DIFFERENT POINTS OF REALITY, WE WANT TO COME TOGETHER WITH THOSE CULTURAL WORKERS THAT CONTINUE TO WORK IN DIFFICULT SITUATIONS ALL AROUND THE WORLD.
WE ALSO CONSIDER IT IMPORTANT TO FIGHT IN VARIOUS FORMS. THERE ARE DIFFERENT WAYS OF CIVIL RESISTANCE, SPREADING INFORMATION ABOUT WARS, CONFLICTS, DISCRIMINATION AND A CLEAR AND UNAMBIGUOUS EXPRESSION OF THE POSITIONS.
WE CREATE AN IMPULSE AND HOPE THAT IT WILL FIND AN OUTLET IN DIFFERENT POINTS OF REALITY, WE WANT TO COME TOGETHER WITH THOSE CULTURAL WORKERS THAT CONTINUE TO WORK IN DIFFICULT SITUATIONS ALL AROUND THE WORLD.
WE ALSO CONSIDER IT IMPORTANT TO FIGHT IN VARIOUS FORMS. THERE ARE DIFFERENT WAYS OF CIVIL RESISTANCE, SPREADING INFORMATION ABOUT WARS, CONFLICTS, DISCRIMINATION AND A CLEAR AND UNAMBIGUOUS EXPRESSION OF THE POSITIONS.
Hi Misha, here is the text of one of my pieces, Masculine Hanger and also I have attached a few photos, Textiles have played a major role in the interconnections of the social, cultural and economic life of Iraqi Kurdistan. From making clothes to weaving rugs, the production of textiles was mostly executed by invisible and often unpaid labour by women. For instance, for a specific men’s Kurdish expensive Kurdish costume called ‘Shall’, a significant period of time and production is needed in order to prepare the raw material (the animal hair) to weave a ‘Shall’ fabric. The final handprint and selling process, however, belongs to men, superseding the work of women. Reproducing a (300cm x 17cm) shall fabric out of my hair is to articulate the notion of unpaid labourers and mundane jobs of women through a local product.
Kani Kamil
radio statement hiding