户尔空间｜2025 巴塞尔艺术展巴塞尔展会·意象无限｜纳迪拉·侯赛因

意象无限（Unlimited）意象无限（Unlimited）?

 参展艺术家  Artists 

纳迪拉·侯赛因

Nadira Husain

在 2025 年巴塞尔艺术展巴塞尔展会的意象无限单元中，户尔空间将携手柏林的 PSM 画廊，联合呈现法国艺术家纳迪拉·侯赛因（Nadira Husain）的大型作品《闹鬼的博物馆（The Haunted Museum）》。

此次展出作品为一件规模宏大的三联画，融合绘画、雕塑、陶瓷、镜面与建筑装饰语言，围绕殖民时期被掠夺、从原属地迁移至欧洲博物馆的文化遗产展开深刻反思。侯赛因通过“视觉再掌控”的叙事方式，赋予这些被制度性展陈所束缚的文物以新生命，探讨博物馆与殖民历史之间的复杂关系。

作品的中心形象是著名的娜芙蒂蒂胸像（Bust of Nefertiti）——一尊出土自埃及泰尔·埃勒-阿玛纳（Tell el-Amarna）、现藏于柏林新博物馆（Neues Museum）的标志性文物。侯赛因将这位古埃及王后重塑为一位身穿阿迪达斯运动服的当代女性形象，游走于柏林多元文化语境之中，象征着“后移民身份”的复杂状态。

在这件作品中，娜芙蒂蒂不再只是被凝视的对象，而是主动回望观众的主体，她象征性地骑乘一头带有幼崽的巴比伦母狮（Babylonian lioness），走出博物馆重建的 “行进大道”（Processional Way），挑战西方博物馆的凝视机制与展陈权力结构。她周围则环绕着伊什塔尔门（Ishtar Gate）与古巴比伦建筑元素的视觉再现，呼应柏林佩加蒙博物馆（Pergamon Museum）中整体迁移并重构的文化遗址。

装置的视觉语言融合了莫卧儿细密画（Mughal miniature painting）的构图逻辑与漫画（comic strip）的叙事节奏，呈现出一种密集、非线性、无等级的图像网络。在其中，奈费尔提蒂的形象与旅游纪念品、塑料椅、伊斯兰花纹等符号交错共存，构成一种混杂“高雅”与“通俗”视觉符号的当代城市景观。装饰元素不仅是视觉点缀，更具有审美与概念上的独立性，回应伊斯兰艺术中关于“无限”的想象。

《闹鬼的博物馆》不仅呼应了当代关于文物归还（restitution）的全球性讨论，也指出了西方国家通过掠夺积累的文化与经济资本，与其同时施加于文物原属地居民的边境限制和身份控制之间的强烈反差。在这一神话化、视觉饱和的场域中，侯赛因尝试赋予这些文物一种“科幻化的可能性”（science-fictionalized possibility），重新激活其象征潜力，打开有关归属、记忆与未来的多重维度。

At Art Basel Basel 2025, Hua International is proud to present The Haunted Museum, a three-dimensional triptych by French artist Nadira Husain, featured in the Unlimited sector, and co-presented with PSM, Berlin.

Blending painting, ceramics, sculpture, and architectural ornamentation, The Haunted Museum addresses the violent displacement of cultural heritage during the colonial period and the persistent tension between institutional ownership and the call for restitution. At its heart lies the Bust of Nefertiti, originally from Tell el-Amarna in Egypt and today a permanent icon of the Neues Museum in Berlin. In Husain’s work, Nefertiti is reimagined as a post-migrant figure navigating Berlin’s contemporary landscape, dressed in Adidas apparel and surrounded by mundane yet charged urban settings.

Rather than being a passive object of display, Nefertiti actively gazes back at the viewer. She rides a Babylonian lioness, symbolically departing from the reconstructed Processional Way that surrounds the Ishtar Gate in the Pergamon Museum. This gesture of reappropriation challenges both historical narratives and the power dynamics embedded in museal display systems.

The installation draws on compositional strategies from Mughal miniature painting and the rhythm of comic strips, resulting in densely layered, nonlinear scenes. Tourist-bought Nefertiti replicas, monobloc chairs, Buti floral motifs, and Babylonian tile patterns cohabit the pictorial surface, generating an eclectic yet cohesive urban mythscape. Ornamentation here is not secondary but central, asserting its autonomy and resonating with Islamic aesthetics of the infinite.

Through this speculative, maximalist visual language, Husain offers a powerful meditation on the symbolic agency of displaced artifacts. The Haunted Museumnot only speaks to the unresolved politics of restitution and the enduring legacy of colonial extraction, but also gestures toward the speculative futures that emerge when we reimagine cultural heritage as a living, reappropriated force—especially for post-migration communities today.

关于艺术家

纳迪拉·侯赛因的作品通过视觉形式探讨“后移民”（post-migration）、“跨文化性”（transculturality）和“文化混合性”（cultural hybridity）等主题。她的创作以绘画为出发点，延展至空间性和多媒体表达，常常结合纺织、陶瓷等工艺技艺。她借用来自不同文化体系的符号与叙事，这些文化背景与她自身的多元文化身份息息相关。通过将这些元素融合进复杂的图像构图中，她强调形式与叙事中的相互关联。她的创作方法接纳多元艺术史的解读路径，挑战以欧洲为中心的观念，倡导一种包容、多元的观看方式。

在她的作品中，莫卧儿细密画（Mughal miniatures）的图像语言与欧洲漫画（European comics）相互交织，同时融入来自拟人兽亚文化（furry subculture）的拟人化角色，这些角色又与苏菲派伊斯兰文化（Sufi Islamic culture）产生对话与关联。她通过扁平化前景与背景、打破传统透视与比例关系，解构了经典绘画中的形式等级。在许多作品中，这种绘画语言进一步延展为空间装置，从而瓦解单一视角的观看方式。

在艺术实践之外，侯赛因还长期从事教学与集体行动。2021年至2024年，她曾担任柏林艺术大学（Berlin University of the Arts）的客座教授，与玛丽娜·纳普鲁什金娜（Marina Naprushkina）共同授课。自2017年起，她也一直是柏林-魏森湖艺术学院（Berlin-Weissensee Art Academy）“foundationClass”项目的讲师与导师。她积极参与自组织的集体艺术项目，长期投身于以反种族主义和交叉性价值为核心的艺术实践中。

她目前主要在柏林、巴黎和海得拉巴三地生活、汲取灵感并展开工作。

Nadira Husain's work explores visual forms that engages with themes of post-migration, transculturality and cultural hybridity. Her practice originates in painting and expands into spatial and multimedia expressions, frequently incorporating craft-based techniques like textiles and ceramics. By appropriating symbols and narratives from diverse cultural frameworks connected to her own multicultural background, she weaves these elements into complex pictorial compositions that emphasizes interconnections and relationships in both form and narrative. Her approach embraces varied interpretations of art histories, challenging Eurocentric perspectives and embracing a pluralistic view. 

In her work, references to Mughal miniatures intersect with European comics and merge anthropomorphic figures from furry subculture, who, in turn, engage with Sufi Islamic culture. By flattening foreground and background, perspective and scale, her paintings dissolve traditional formal hierarchies. Her pieces frequently expand into spatial installations, displacing the notion of a central view point. 

Beyond her art practice, she has served as a guest professor at the Berlin University of the Arts from 2021 to 2024, where she co-taught with Marina Naprushkina. Since 2017, she has also been a lecturer and mentor at *foundationClass at the Berlin-Weissensee Art Academy. Engaged in self-organized collective initiatives, she regularly contributes to projects grounded in anti-racist and intersectional values within the arts. 

Berlin (DE), Paris (FR), and Hyderabad (IN) are the main cities where she lives, draws inspiration, and works.