Jeanno Gaussi
(Kabul, Afganistan, 1973)- Imaginary Friends, 2017
- Neon Green, 2008-2015
- Dreams on Wheels_Delhi, 2014-2015
- SOS - Save Our Souls, 2015
- The War Rug Project, 2011-2014
- Dreams on Wheels, 2013
- Kabul Fragment 02: Sandali, 2012
- Family Stories, 2011-2012
- Peraan-e-Tombaan, 2012
- Kabul Fragment 01: MELA / PICNIC, 2012
- Kabul Fragment 04: Ordinary Heores, 2012
- Kabul Fragment 03: Hit Me, 2012
- Three Fragments from Jerusalem, 2010
Peraan-e-Tombaan, 2012
Performance-based video installation; traditional Afghan men’s clothing with military insignias pattern. 7 costumes, video 8: 34 min
(ENG) As a counterpart to Family Stories, Peraan- e-Tombaan (Pant and Shirt) is a performance-based video installation where a group of dancers appear to be dressed in traditional Afghan men’s clothing, a combination of loose pants and a wide, knee-length shirt with an embroidered yoke. The costumes are in fact stitched from fabric used for military and police uniforms, and the embroidered pattern is made up of a combination of military insignias.
Confronting past (represented by the folk dance attan, now considered Afghanistan’s national dance) and present (symbolized by the fabric and insignias, which reflect the massive change in Kabul’s urban landscape and social behavior, militarized by security rules and the scars of war), Gaussi again faces her own blurred understanding of a reality that escapes her, but with which she nevertheless attempts to connect.
(Excerpt from: Andrea Viliani, documenta13: The Guidebook, 2012)
(CAST) En contraposición a Family Stories, Peraan-e-Tombaan (Pantalón y camiseta) es una instalación de vídeo basada en una performance ne la que un grupo de bailarines aparecen vestidos con ropas tradicionales afganas, una combinación de pantalones y una camiseta ancha, larga hasta la rodilla con canesú bordado. Los vestidos están hechos de tela utilizada para uniformes militares y policiales, y el estampado bordado está hecho de una combinación de insignias militares.
Confrontando el pasado (representado por una danza folklórica, ahora considerada la danza nacional de Afganistan) y el presente (simbolizado por la tela y las insignias, que reflejan el cambio masivo del paisaje urbano de Kabul y del comportamiento social, militarizado con normas de seguridad y cicatrices bélicas), Gaussi se enfrenta de nuevo a su confusa concepción de una realidad que se le escapa, pero a la que de todos modos se intenta conectar.
(Fragmento de: Andrea Viliani, docuemnta13: The Guidebook, 2012)
