EXPERIENCING POSING, LIVING POSING
The two latest complexes of works by Iranian-Austrian artist Sissi Farassat are a consistent further development in terms of content and form of her previous work, that revolves around (female) iden- tity, its media and social condition, and constitutive dispositifs of gaze. The source material for the first series is a collection of about two hundred 35 mm slides from the 1960s that she bought at a flea market The pictures are private photos of an unknown family of three, presumably from Vienna. After copying them onto photo- graphic paper, the artist begins to process the pictures systemati- cally by tracing the outlines of the people in the pictures or, to be more precise, embroidering them with neon-yellow thread. How- ever, the artist does not merely emphasise, in this case literally pick out specific aspects but rather takes a decisive step towards con- ceptual abstraction. The work is presented back to front in public: the back of the photo becomes the »right side«, i.e. the side used to display the image. To begin with, the artist demonstrates once how the sign regime works by presenting the front and back at the same time. Afterwards, that which the majority of viewers long to see once they make out even the smallest corner of a photo is denied to them throughout: to get to see its front side, that is usually glossy and polychrome.