Ani Samperi

Berlin, Deutschland

All art is poetry; to be poets, we must not avert our eyes, but take a bold look at our environment, even at things that are ugly or decadent.
As a curator, I am drawn to several forms of visual art that embody transitory evolution and the fragmentation of human existence, much of which may be grotesque to many. Because of this, much of the art I support has to do with the concept of the uncanny (das Unheimliche), where eerie things provoke us because they seem both familiar and alien at the same time. The psychological politics of the uncanny and grotesque interest me most, so I tend to look for works that are socio-politically relevant, and sometimes violently fragmented, almost mocking the illusion of wholeness that evokes a sense of stability. I've found that the most communicative of these artworks tend to combine two forms of superficially divergent things: i.e., organic/inorganic, death/rebirth, conscious/subconscious, deliberate/accidental. These seemingly polarized elements actually stem from the same desperation of precariously balanced forces -- in Greek, they are 'pharmakon', two sides of the same coin, the poison as well as the antidote. In short, I'm interested in making a case for artworks that show something that embodies the sublime side of tragedy, something betraying itself in order to evolve.
I believe this also applies to sound, which I'd also like to incorporate into exhibitions. Noise music -- as a critique of both the need to organize sound into a uniform song in order to appreciate it, and to "clean up" sound to get its "true form" -- highlights the honesty of distortion and dissonance. By promoting the ability to appreciate raw sounds both natural and industrial, straddling the gap between the organic and inorganic, it focuses instead on the submersion of mood and atmosphere in communicating an idea. The listener learns to be "in the present" rather than to follow a predictable pace and expect a definitive, linear ending.
I'm also interested in the occult and Western esotericism, and the dismissal of these philosophies on the grounds of being misunderstood as dark or psychically violent. Their interpretation can shed light on artworks containing their elements, whose violence may actually be cathartic in its respect for death and loss in general. Similarly, I'm also attracted to representations of mental illness in art, and the tortured mind as a product of modernity rather than personal weakness.

  • Education
    • University of Florida