Larissa Sansour is an artist working across video, photography, sculpture and installation, often to create political artworks that explore life in Palestine. Our cover image for Vector No. 287 is taken from her recent film installation, ‘In the Future, they Ate from the Finest Porcelain’, a collaboration with the artist Søren Lind.
An interview with Larissa Sansour first appeared in the same issue, Spring 2018.
Vector: In an interview for “Reorient”, you talk about how your piece uses SF to address the ongoing trauma that is both national and personal. The film swerves away from a documentary approach, yet you leave room for it to be interpreted as a realistic narrative by using a framing device common to 19th and early 20th century SF. It is possible to imagine our world just off screen. On the soundtrack we hear a conversation between a woman and her therapist – they can be in the here‑and‑now; the visual narrative of the film can be interpreted to describe an imaginary world of the patient’s mind, her dreams, her hopes, fears and fantasies. Was this ambiguity intentional? Was there a decision not to commit fully to science fiction?
Larissa Sansour: Working with science fiction offers a lot of malleability in how I choose to comment on present day issues. There is a tendency when addressing heated or urgent political topics to fall into an already established and non-flexible discourse. One then generally has to accept the premise of the arguments that preceded your contribution. Science fiction helps me posit a new equation in which a new approach to can be formulated. So, the trauma, fear and fantasies are intended to occupy the blurry space between fantasy and reality and, like in most of my work, to question the basis of our understanding of what reality means. In In the Future They Ate From the Finest Porcelain, this focus is very much on historical narratives, and how much of that is really based on truth value.
The anachronism in the film is also very intentional. It is hard to talk about the Palestinian trauma without addressing several tenses. The Palestinian psyche seems to be planted in the catastrophic events of 1948 and is tied to a constant projection of the future, yet the present is in a constant limbo. Continue reading “Interview with Larissa Sansour”