Anahita Razmi

Born in 1982 in Hamburg. Lives and works in Berlin and London.

The edition alters the logo of a known backpack brand by adding and re-branding it with the word "Middle". Logics of labelling, copying and advertising are put into question. What meanings does the altered logo evoke? A re-reading of the original brand slogan "Built to Resist"? The work aims to playfully address stereotypes, categorisations and associations by producing a "fake" brand and by rethinking aesthetics and localisations of copy culture within a global market.

New Silk Road Patterns:
The series New Silk Road Patterns is referring to the term 'Silk Road', an ancient trade route that connected China through the Middle East with the Roman Empire. It is taking this history as a point of reference for a project exploring specific present days trade routes and exchanges between China, Iran/Persia and the "West" within a defined sphere - collecting low-quality clothes found on various bazaars in Iran, that are using the Latin alphabet as a design feature. A common indication found on these clothes are spelling mistakes: often language is used in ways of patterns, letters are randomly combined, copy/paste text is used, known western clothes brands and logos are sampled and deconstructed. Following the production and sales paths of these textiles, New Silk Road Patterns is aiming to focus on what is happening to languages of global popular culture in their deconstruction, - what desires and wishes are expressed and what new cultural (dis)connections are established. The work is realized as a series of textile collages.

An Artist Who Cannot Speak Farsi Is No Artist:
The work is referring to Mladen Stilinovic's iconic piece "An Artist Who Cannot Speak English Is No Artist ", a rosé textile banner with the eponymous sentence in big black letters. An Artist Who Cannot Speak Farsi Is No Artist is replacing the word "English" with the word "Farsi" and printing the new sentence in Farsi/Persian onto a silk banner. Expelling a large part of its possible audience, the work is joining in on the conceptual play on 'inclusivity' and 'exclusivity' and patterns of 'global art production' of the original work. Also, the artist herself, despite being half-Iranian, cannot speak Farsi and is, therefore, no artist.