Larissa Sansour

Sansour was born in Jerusalem and studied Fine Art in Copenhagen, London and New York.

 

Sansour’s work is interdisciplinary, immersed in the current political dialogue and borrowing heavily from the language of film and pop culture. By using video, photography, experimental documentary and other new media she approximates the nature, reality and complexity of life in Palestine and the Middle East to visual forms normally associated with entertainment and televised pastime. Her grandiose and often humorous schemes clash with the gravity expected from works commenting on the region. References and details ranging from sci-fi and spaghetti westerns to horror films converge with Middle East politics and social issues to create intricate parallel universes in which a new value system can be decoded.

 

Sansour has held a number of solo exhibitions including: Sci-Fi Trilogy, Dar El-Nimer for Arts and Culture, Beiru, 2018t; Waste Lands, Casa Arabe, Madrid, 2018; The State is Not a Work of Art, Tallin Art Hall, Estonia, 2018; The Clocks are Striking Thirteen, Athr Gallery, Jeddah, Saudi Arabia, 2018; In the Future They Ate from the Finest Porcelain, Chapter Art, Cardiff, UK, 2017; In the Future They Ate From the Finest Porcelain, Bluecoat, Liverpool, UK, 2017; In the Future They Ate From the Finest Porcelain, Montoro 12, Rome, Italy, 2017; In the Future They Ate From the Finest Porcelain, Wolverhampton Art Gallery, Wolverhampton, UK, 2016; In the Future They Ate from the Finest Porcelain, Nikolaj Kunsthal, Copenhagen, Denmark, 2016; In the Future They Ate From the Finest Porcelain, Mosaic Rooms, London, UK, 2016; In the Future They Ate From the Finest Porcelain, Sabrina Amrani Gallery, Madrid, Spain, 2016; In the Future They Ate From the Finest Porcelain, Lawrie Shabibi, Dubai, UAE 2016; In the Future They Ate From the Finest Porcelain, New Art Exchange, Nottingham, UK, 2016; Nation Estate, Montoro 12, Rome, Italy, 2015; Nation Estate, Al Ma’mal, Jerusalem, Palestine, 2015; Nation Estate, Wolverhampton Art Gallery, Wolverhampton, UK, 2014; Larissa Sansour, Gallery Dock, Bratislava, Slovakia, 2014; Nation Estate, Museum of Conemporary Art, Turku, Finland, 2013; Science Faction, Lawrie Shabibi, Dubai, UAE, 2013; A Moon Without a People, Sabrina Amrani Gallery, Madrid, Spain, 2013; Nation Estate, Galerie Anne de Villepoix, Paris, France 2012; Living the Highlife, Centre of Photography, Copenhagen, Denmark, 2012; Falafel Road, Depo, Istanbul, Turkey, 2011; A Space Exodus, Jack the Pelican, Brooklyn, New York, USA, 2010; Intergalactic Palestine, La B.A.N.K, Paris, France, 2010 ; and Larissa Sansour – Ex-terrestrial, Kulturhuset, Stockholm, Sweden, 2010.

 

She has participated in several group exhibitions including: Technologies of Violence, Arsenal cinema, Berlin, 2018; The Absence of Paths, Tunisian Pavilion, 57th Venice Biennale, Venice, Italy, 2017; Code Art Fair, Bella Center, Copenhagen, Denmark, 2017;  Into the Unknown: A Journey through Science Fiction, Barbican Centre, London, UK, 2017; Imagined Future Shorts, Shubbak Festival, London, UK, 2017; Identity, Avesta Art, Sweden, 2017; Beautiful Stranger, Museum De Wieger, Deurne, Netherlands, 2017; Oberhausen International Short Film Festival, Germany, 2017; Cinema Days, Beirut, Lebanon, 2017; gegenKino film festival, Leipzig, Germany, 2017; KINO DER KUNST, Munich, Germany, 2017; Imagine Science Film Festival, NYU Abu Dhabi, UAE, 2017; De Bruits et de Mouvements, Video Box Festival, Le Carreau du Temple, Paris, France, 2017; Bucharest International Experimental Film Festival, Romania, 2017; International Film Festival Rotterdam, Netherlands, 2017; Kasseler Dok Fest, Kassel, Germany, 2016; Abu Dhabi Art, with Lawrie Shabibi, UAE, 2016; Technologies of Violence, Arts Santa Mònica, Barcelona, Spain, 2016; This Sea is Mine, Qalandiya International, Palestine, 2016; DC Palestinian Film and Arts Festival, Washington D.C., 2016; Boston Palestine Film Festival, Museum of Fine Arts, Boston, MA, USA, 2016; Social Calligraphies: East – West, ZachÄ™ta National Gallery of Art, Warsaw, Poland, 2016; For an Image, Faster Than Light, Yinchuan Biennale, Yinchuan Museum of Contemporary Art, Yinchuan, China, 2016;After the Last Sky, Ballhaus Naunynstrasse, Berlin, Germany, 2016; Blue Hour, XX Bienial of Visual Arts of Santa Cruz de Lasierra, Museum of Contemporary Art, Bolivia, 2016; Beneath Our Feet and On the Surface of Things, New Rochelle, NY, USA, 2016; Toronto Palestine Film Festival, Toronto, Canada, 2016; For an Image, Faster Than Light, Yinchuan Museum of Contemporary Art, Yinchuan, China, 2016; After the Last Sky, Ballhaus Naunynstrasse, Berlin, Germany, 2016; XX Bienial of Visual Arts of Santa Cruz de Lasierra, Museum of Contemporary Art, Bolivia, 2016; Waste Lands, Es Baluard, Palma, Spain, 2016; Ideologue, Utah Museum of Contemporary Art, Utah, USA, 2016; Nation Estate, Paris & Department of Seine-Saint-Denis, France, 2016; Festivale Cine Palestine, Paris & Department of Seine-Saint-Denis, France, 2016; Palestine en Vue, Lyon, France, 2016; Cut with the Kitchen Knife through the Raw Future of 100 Years Before, Spatiu Intact, Cluj, Transylvania, Romania, 2016; Live Ideas Festival, New York, USA, 2016; Film sector, Art Basel Hong Kong, with Sabrina Amrani, Hong Kong, 2016; Art Dubai Cinema, with Lawrie Shabibi, Dubai, UAE, 2016; Dans la Lune, Bel Ordinaire, France, 2016; Phase Space, KINGS Artist Run-in, Melbourne, Australia, 2015; A Drop of Sky, YARAT Public Art Festival, Baku, Azerbaijan, 2015; Home Ground: Contemporary Art from the Barjeel Art Foundation, Aga Khan Museum, Toronto, Canada, 2015; Feminis Arte III, Centro Centro, Madrid, Spain, 2015; Phase Space, Kings ARI, Melbourne, Australia, 2015; Videorama, Werkleitz, Halle, Germany, 2015; Space Between Our Fingers, Ashkal Alwan, Beirut, Lebanon, 2015; Culture of Peace, Lajevardi Collection, Tehran, Iran, 2015; Territory of Disused Body, Darb 1718, Cairo, Egypt, 2015; La terre nous est étroite, Le 19, Montbéliard, France, 2015; Institut du Monde Arabe, Paris, France, 2015; Palestine: A Future Landscape, White Box, NY, USA, 2014; Future/ Past, Reverse Gallery, Williamsburg, NY, USA 2014; Science Fiction: New Death, FACT, Liverpool, UK, 2014; 5th Orient Express, Oujda, Morocco, 2014; The Public Domain, Delfina Foundation, London, UK, 2014; The Moving Museum Exhibition, Various locations, Istanbul, Turkey, 2014 and Displacement, City of Women, Ljubljana, Slovenia, 2014; Simple Past, Perfect Futures: Images in Countershot, Le CentQuatre, Paris, France, 2014; Cornerhouse, Manchester, UK, 2012; What Is Contemporary Art?, Museum of Contemporary Art, Roskilde, Denmark, 2011; A Window to the World, Hiroshima MOCA, Hiroshima, Japan, 2011; Progress Report, Iniva, London, UK, 2010; Liverpool Biennial, Liverpool, UK, 2010; Public Discourse Sphere,  LOOP, Seoul, South Korea, 2010; What Keeps Mankind Alive, 11th  International Istanbul Biennial, Istanbul, Turkey, 2009; and Farewell to Post-Colonialism, Third Guangzhou Triennial, Guangzhou, China, 2008.

 

Her works are part of notable collections including the Wolverhampton Gallery, UK; the Imperial War Museum, UK; Louis Vuitton Collection, France, the Carlsberg Foundation, Denmark; the Museum of Contemporary Art, Denmark; N.B.K., Germany; Nadour, Germany; Salsali Private Museum, UAE and the Barjeel Foundation, UAE.

 

In 2016, Larissa was awarded the Guanajuato International Film Festival (GIFF) Award for In The Future They Ate From The Finest Porcelain, in the Best Experimental Short Film category.  In 2015, Sansour’s aforementioned sci-fi short was nominated for the Muhr Short Competition organised by the Dubai International Film Festival (DIFF). She is the beneficiary of a grant from Arab Fund for Art & Culture and financial support for In The Future, They Ate From The Finest Porcelain, from The Film London Artists’ Moving Image Network (FLAMIN) a film she produced and co-directed with Soren Lind. She was invited as an artist in residence with the Moving Museum, Istanbul for three weeks in September 2014.

 

Sansour currently lives and works in London.