ANAHITA SADIGHI

NISHA MERIT
You expand the role of the gallery owner beyond its traditional mandate to include a variety of perspectives and disciplines – what distinguishes you and your work?

ANAHITA SADIGHI
It is the essence of a versatile, dynamic, lively, existential existence. Understanding life as a Gesamtkunstwerk because the inner child is curious and is constantly drawn to other topics, energies, people, and worlds.
This goes hand in hand with our own creative power, which benefits creative work and provides us with a compass in these challenging times. Living versatility – with all its facets and challenges.
I believe that we women in particular are creative beings who breathe and live in a versatile way. For centuries, we have been thought of in fixed categories – also in order to control this role. In a way, my work goes hand in hand with a liberation from these conservative ideas: to emancipate ourselves, to free ourselves, and thus return to the origins of femininity, of creative work.

NM
You initially established two galleries – today they are united in a joint programme. What fascinates you about working in historical and contemporary directions?

AS
We come from the water, we live on the earth, and dream of flying. That’s where my work and my understanding of creative activity are rooted – it’s the history of humanity.
It’s important to be aware of the cultures and stories that existed in the past and how they live on in the present. Arts of Asia and Contemporary were originally the main themes of two galleries. Not having to separate them anymore, but thinking them together, feels natural.
When we look at art from other cultures, such as Mbuti textiles from Central Africa, we see a strong female presence, a deep creative power, and a cultural heritage in which women play a central role, similar to the nomads of Persia.
Women have access to creative, spiritual, inventive dimensions – we are beings of primal creative force. What responsibility and power does this entail? For me, this is a reflection of our identity as human beings, as women – and this identity is currently in a state of transformation.
It is also about breaking down hierarchies and questioning power dynamics. That is why we place historical objects of high artistic quality in a white cube context – on equal footing with contemporary art and the works of modernism.
These objects have a special aura, a soul that can be felt. If you are sensitive enough to enter into dialogue with them, magic happens – especially in connection with contemporary positions, because new stories are told.
I miss these interstices in the art landscape – at the institutional level, but also in the private sector.

NM
Over the last ten years, you have initiated many of these spaces in order to create new connections. What have you learned from this?

AS
From the outset, I wanted to approach the gallery differently – offering readings, concerts, and new formats as an integral part of the gallery.
I believe that in-between spaces play a significant role for many people with a migrant background — often, home is precisely this in-between. Allowing these spaces to exist, nurturing them, and understanding them as a strength – on both a social and cultural level – enriches us.
For example, we organise loft parties, where art can be experienced in an intimate setting, in combination with music, performance, and a multisensory environment. The art world and the music world often remain separate. As a gallery owner, making music is considered incompatible – I want to show that it is possible, and that it is beautiful.
I have always listened to and practised music. Especially chamber music – making music together. Today, it’s back-to-back DJing with friends – magical. Music remains the greatest joy in my life.

NM
You break down structures to make them experienceable in a different way, thereby showing that an expanded vocabulary also leads to more space and participation…

AS
Yes, it’s about creating resonance. When you enter a space and become part of a community, it opens your senses – it’s something human, almost existential.
We need to redefine language, to liberate ourselves. This connection between themes, materialities, and disciplines – that’s the way forward. And what’s exciting is that this path is being shaped primarily by women. There is great healing power in this.
We bear responsibility in art and culture, especially today. Remaining apolitical is not an option. Over the past ten years, I’ve learned to let go of fear more – that has been good for my work. Ultimately, it is about authenticity, not about conforming to predetermined images.