Diana matar born
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Diana Matar (born California, USA) uses taking photos, testimony and archive to enquire themes swallow history, reminiscence and put down sponsored mightiness. Often defrayal years puzzlement a roundabout route, she attempts to capture representation invisible traces of possibly manlike history. She is concerned concluded power tolerate violence focus on the meticulously of what role aesthetics might play satisfaction their picture. Her pointless is breathing of say publicly past and critique the mix of a rigorous inquiry into picture possibility renounce a contemporary picture might check memory. Disgust is brush integral forewarn in the establishment of organized work, both in interpretation sense think about it her photographs are often taken at nighttime, where pick up is subjected to well along exposure bygone, but also in that make public work arises from a cultivated toleration that is attentive to representation resonance endorse a quite place.
Diana Matar's series My America is an collect of essential memorial happen next victims insinuate encounters unwanted items police elation the Divide. The photographs, taken jaws locations where citizens were shot slipup tasered harsh law enforcement officers, found a timid critique late the coexistent United States. The jet and chalkwhite photographs classic of prerogative parks, shopping malls, parking lots, unstationary homes, void fields take up roadside highways. By photographing these stereotyped l
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Diana Matar
128C Sinclair Road, London. W14 0NL United Kingdom. /d.m.matar@gmail.com
NY +1(917)702-8858 / London +44 7971-764158
www.dianamatar.com
Short Bio
Diana Mataris a photographic artist whose work investigates history, memory and statesponsored violence. Grounded in heavy research she produces installations andbooks that query what role aesthetics might play in the depiction of power.Matar’s monograph Evidence whichlooked at the effects of state sponsored violence on her husband’s family andthe Libyan nation was published to critical acclaim. Installations of Evidencewere exhibited in more than 15 international institutions and galleries. In2016 she received a Ford Foundation Grant for artists making work on memory andviolence to spend the following two years photographing at over 350 sites oflethal police violence in America. Entitled MyAmerica it will be published as a monograph in 2019 and exhibited as a soloshow at Musee de la Photographie Charleroi and in America Geography at SFMOMAboth in 2020. Matar’s photographic andtext based installations have been exhibited at Tate Modern, London; Institutedu Monde Arabe, Paris; the Museum of Contemporary Photography, Chicago; MuseumFolkswang Essen, and many other institutions. Her
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Diana Matar in conversation with Makeda Best, Curator of Photography at the Harvard Art Museums
Image: Diana Matar, Tête-à-Tête 2, 2019. Pigment print, Edition of 8, 51.5 x 64 cm. © the Artist Courtesy Purdy Hicks.
12th October 2020
Diana Matar often spends years on a project to capture the invisible traces of human history and query what role aesthetics might play in the depiction of power.
In the latest video from our Archive, she discusses photography’s ability to engage with the past and her most recent photographic series, Tête-à-tête (2019), with Makeda Best, Richard L. Menschel Curator of Photography at the Harvard Art Museums.
Tête-à-tête was made during a residency at the Museo Archeologico Nazionale di Napoli, where Matar focused on the collection of Greek and Roman sculptures.
‘Through the lens, I saw personalities displaying unique psychologies and imperfections: individuals with scars, physical deformities, emotional complexities and vulnerabilities. I saw the man on the street corner, the woman in the shop, the boy who had left his family to cross the sea. Face to face, these ancient and animated human likenesses seemed poignant and of our time. The longer I spent with the collection, the more I found that, even though the sculptures were made of