Several years after her suicide, Nasim Najafi Aghdam (aka Nasime Sabz, aka ‘the YouTube Shooter’) remains at the cutting edge of post-ironic, avant-garde video art.
Aghdam intuitively utilised aestheticised irony to express a neo-sincere / nuanced belief system via video performance and photographic self-portraiture, which positioned her as an artist-activist-outsider-influencer.
She employed a stratagem of parody as critique, playfully / humorously exploring issues related to censorship, veganism, fitness, body image and animal cruelty, but with a dark emotional undercurrent penetrating her presentation of these themes.
An anti-materialist sentiment also featured strongly in Aghdam’s work, and she was particularly critical of the ‘sickness’ of social media, while paradoxically existing socially / subsisting financially primarily on / through its digital platforms and channels.
Aghdam’s death catalysed her work, and her artistic persona / fragmentary corpus can be posthumously understood as threading the needle between a solipsistic-introverted loner Ryan Trecartin and a politically engaged-extraverted neon Francesca Woodman.
Video art has always possessed a reflexive critique / connection towards it’s own medium and Aghdam extends this creative auto-reflex action to social media networks, and the total-permeation of the political / economic into every sphere of contemporary life / modes of being.