Nabila Misirli
1992, Buenos Aires. Argentina
Lives in Rosario, Santa Fe.

Since 2012, she studies Fine Arts with a specialty in engraving at the National University of Rosario. She’s currently taking the engraving workshop at the Musto Municipal School of Arts.

2018 | Participates in the project "10 artists 1 journey" organized by CIDDAI, Rosario.

That same year she’s selected to participate in the III International Biennial of Engraving at Regina Espacio de Arte in San Isidro, where she exhibited her work together with other selected artists.

In 2018 she was part of the "Mutant Graphic Fair" during the Museums’ Night.

Nabila Misirli


Bedroom secrets

02.09.2019 to 13.09.2019

The project consists of tackling an engraving production with sexual connotation, it’s a theme that I’ve been working on for more than a year, from an erotic starting point. Through the context that we live in, I cannot help but feeling interpellated, because of my condition as a woman within the artistic field, where women have been represented by the male gaze, designed for his enjoyment and procreation.

I’m interested in graphic work, because of its seriality, the possibility of reproduction, ceasing to be a unique work, allowing for a greater reach. I take references within the pornographic aesthetic from Marcantonio Raimondi, Keisai Eiser, Eugene Lepoittevin, Edouard Henri Avril, the paintings exhumed in Pompeii and the graphics that illustrated the work of Marquee de Sade. Thinking of the engravings of the 16th century as the first means of pornographic consumption –due to the possibility of dissemination–, taking these referents and thinking about the construction of women in pornography, I’m interested in discussing the construction of bodies, sexuality, the enjoyment of women, considering other forms of pleasure, the censorship of bodies. In this way of thinking the body, I think of my own body as my means of production, not only to execute the work, but to represent it and the place it occupies.

The work done at ACE made me think about how I had been working and helped me take my body as another tool—through a photographic record, I made a sequence spanning from the moment I was fully dressed to being fully nude. These images were printed on fabric and paper, where you can glimpse between each copy due to the transparency of the materials. The choice of materials was important, to think of the fabric as erotic –for its transparency– and paper as the texture of the skin –for its roughness–.