Portrait of a Refugee

2021

Pigment print on Diasec, 52 x 50 cm

A collage made of Bing image search results, with the image title as the search term.


The Girl in Green

Video installation 2021

Duration: 17 minutes

Amir Jan & Anna Knappe

”When we show you pictures of napalm victims, you’ll shut your eyes. You’ll close your eyes to the pictures. Then you’ll close them to the memory.  And then you’ll close your eyes to the facts.”    – Harun Farocki

The Girl in Green narrates a story of humans, waste, and human waste by looking into refugees and their homes. The film starts with a photo taken by photojournalist Massoud Hossaini of a terrorist attack in Kabul and ends with an image from a Finnish newspaper. Between the two photos, the film follows the research made by sociologists Lena Näre and Elina Paju, who ask the question: “What does it say about how asylum seekers are valued that the material for their homes is made of the excess, the waste of the Finnish society?”


The Miracle of Leftovers

Text/photo installation 2020

Anna Knappe, Amir Jan, Lena Näre & Elina Paju


Afghanistan 100

2019

Pigment print on Diasec, 25 x 47 cm

The first 100 images for Google image search with ‘Afghanistan’ as the search term.


Warland

Video installation, 2019

Duration: 21 minutes

Warland is a film about belonging to a place one does not know or recognize as home. In the film, young Afghan migrants who were born outside Afghanistan, talk about their so-called homeland which they have never seen. For Afghan migrants, the homeland is not only a matter of identity, but also the place where they are forcefully deported when their residence permits in other countries end or are not granted, or when they are born in a country that does not recognize them. Forceful deportations, no matter how they are justified by the deporting society, are traumatic experiences for the individuals who are forced to experience them. Deportations and detentions destroy dreams, separate families, and create displacement by embedding the experiences in the collective memory of generations. For the young Afghans in the film, this collective memory then becomes part of their national identity, part of what being an Afghan means.


The Camp is Closed

video installation, 2018