In this honest and deeply personal conversation, artist and performer Ghazal Ramzani shares how her film Self Portrait and Other Ruins emerged from a process of grieving and personal loss during the pandemic. Through an experience that intertwines memory, resistance, and emotional transformation, Ghazal reveals her approach to art as a means of healing and understanding the world around her. She also speaks about the challenges of artistic creation in today’s context, her engagement with social and political issues, and her new projects exploring the power of dance and film as tools for remembrance and resistance.

The work "Spasilac / Lifeguard" represents a complex dialogue between personal experience and social structures of power, control, and violence. It emerged as an artistic response to traumatic events.

In the contemporary art field, success is rarely perceived as a transparent or universally accessible goal. On the contrary, it increasingly resembles a dogmatic belief system.

Home is never a neutral space. It is a product of power relations, cultural norms, and generational transmissions.

In her work Self-Portrait and Other Ruins, artist Ghazal Ramzani inscribes her body into the genealogical continuity of female memory, treating it as a living architecture.

I often feel sickened by the principles that govern breaking through on the art scene, because I share a common impression with my peers that so much of it is based on friendships and favoritism.

In encounters that transcend geographic coordinates, art often becomes a meeting place of history and fiction, intimacy and politics, body and boundaries. Ask ChatGPT

That June morning three years ago, as I sat in the editorial office with my first coffee, scrolling through regional news portals and daily newspaper pages looking for interesting topics, Ask ChatGPT