Matilda Aslizadeh

Matilda Aslizadeh is a practicing visual artist and educator. She was born in Iran and moved to Greece after the Iranian Revolution in 1979. A few years later, her family settled in Vancouver, British Columbia, Canada, where Matilda still lives on the unceded Musqueam, Squamish, and Tsleil-Waututh territories.

Matilda Aslizadeh
Born1976
Iran
NationalityCanadian
EducationUniversity of British Columbia (Bachelor of Fine Arts), University of California, San Diego (Master of Fine Arts)
Known forvideo, photography, installation
Websitehttps://www.parinadimigallery.com/matilda-aslizadeh

Aslizadeh utilizes video, photography and installation to rethink narrative structures such as the "classic fall and redemption narrative."[1] She has also artistically and pedagogically explored expanding media archeology into non-western practices "that incorporate old and new immersive technologies to understand how they enable engagement with other cosmologies that continue to co-exist and co-evolve in our global context of accelerated capitalism."[2]

Select work

In a dark wood

Aslizadeh's 2009 work, In a dark wood, features an animated roulette-spin of B.C. trees, spaced as if they were Greek pillars.[3] It is influenced by the turmoil of her youth, and the artifacts of different ancient and living cultures can be seen in her practice,[4] including this work. The two-channel work layers footage into a sorting, "with short bursts of archival, black-and-white film footage culled from British Columbia's history"[3] intertwining geographical locations.

Moly and Kassandra

Curated by Grant Arnold and part of Capture's Selected Exhibition Program, Aslizadeh exhibited Moly and Kassandra, 2018 at the Vancouver Art Gallery in 2020.[5] The installation features three operatic performances by individual female figures in front of open pit mines, mimicking an amphitheatre. Arnold describes the work as building a "correlation between the terms in which abstract economic systems are represented and the physical extraction of raw materials by precisely interweaving statistical charts, images of monumental excavations into the surface of the earth and scenes of operatic divination."[6] Using references from 1979 fashion and history connects to the shift from Keynesian to neoliberal economic policies, the work reflects on the consequences economy in late-capitalism.[7] Helena Wadsley rereads the work again in the year it was being shown and developing a relationship to COVID-19's emptiness.[8]

Art Mamas

Aslizadeh is a founding member of the artist collective A.M. (Art Mamas). The Vancouver-based group is made up of nine artists at different stages of both motherhood and their careers; they have been meeting regularly since the spring of 2016.[9] The collective finds ways to facilitate a support system for artist caregivers while critically exploring the place of motherhood and care work within the dominant culture of art production. As part of Art Mamas’ 2021 residency at Access Gallery PLOT, (with Gabriela Aceves-Sepúlveda, Robyn Laba, Natasha McHardy, Maria Anna Parolin, Heather Passmore, Sarah Shamash, prOphecy sun and Damla Tamer) the gallery space was activated as a laboratory and included other creative producers who are mothers/parents from the local community and beyond. Conversations and screenings featured artists Margaret Dragu, Jin-me Yoon, and Elizabeth MacKenzie.[10]

References
  1. Cachia, Amanda (2009). Diabolique. Regina, SK: Dunlop Art Gallery. p. 27. ISBN 978-1894882347.
  2. Sepulveda, Gabriela Aceves (September 2018). "Alternative Beginnings Towards other Histories of Immersive Arts and Technologies". Media-N: The Journal of the New Media Caucus. 14: 1–10. doi:10.21900/j.median.v14i1.57. hdl:2142/112878. S2CID 226891600 – via ResearchGate.
  3. Dault, Gary Michael (November 21, 2009). "A cabinetmaker/joiner/artist in top form". The Globe and Mail. Retrieved March 24, 2022.
  4. Edinger, Carrie Ida (December 2, 2018). "Spotlight". New Media Caucus. Retrieved March 24, 2022.
  5. "NEXT Matilda Aslizadeh: Moly and Kassandra". Canadian Art. March 2020.
  6. Arnold, Grant (March 2020). "NEXT Matilda Aslizadeh: Moly and Kassandra". Vancouver Art Gallery. Retrieved March 24, 2022.
  7. Mander-Wionzek, Allison (March 2020). "Molybdenum, Kassandra and Forecasting in Times of Uncertainty: An Interview with Matilda Aslizadeh". Capture Photo Fest. Retrieved March 24, 2022.
  8. Wadsley, Helena (August 10, 2020). "Video installation welds economy and culture in its critique of neoliberalism". Galleries West. Retrieved March 24, 2022.
  9. Mushet, Mark (January 26, 2019). "A Vancouver collective for artists who juggle parenting helps counter the art world's tendency to sideline young mothers". Galleries West. Retrieved March 24, 2022.
  10. Mushet, Mark (May 10, 2019). "Art Mamas: Meet the Vancouver collective that creates community for mothers in the arts". CBC Exhibitionists. Retrieved March 22, 2022.
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