Atoosa Pour Hosseini (b. Tehran, Iran 1981) is an Iranian-Irish visual artist and filmmaker based in Dublin, Ireland. She make film, performance, installation and sculpture with a particular attention to analogue processes. Her works to explore the influence of history and culture on the perception of reality and illusion.
Pour Hosseini’s work has shown extensively at several galleries, museums, festivals, around the world and won numerous awards nationally and internationally. Her work has been shown at Temple Bar Gallery, Dublin; Irish Museum of Modern Art; Irish Film Institute; Project Arts Centre, Dublin; Museum of the Moving Image, New York; Jeu de Paume, Paris; Kino Moviemento, Berlin; LUFF festival, Switzerland; Museum of Modern Art, Rio de Janeiro; and Museum of Contemporary Art, Tehran.
She was recently awarded residencies at Cité Internationale des Arts, Paris, and Centre Culturel Irlandais (CCI), Paris. She holds a MA in Fine Art Media from the National College of Art and Design, Dublin, and a BA in Fine Art Painting from the Azad University of Art and Architecture, Tehran. She has received support for her practice from the Arts Council of Ireland, Culture Ireland and Dublin City Council. Her work has featured and been reviewed in, MUBI Notebook, Winter Papers, Visual Artists Ireland, The Irish Times, RTÉ Culture, Totally Dublin, as well in various international art and film journals. Her work has also been included as a subject in several academic research studies.
Her monograph, Atoosa Pour Hosseini 2011-2021, was published by Oonagh Young Gallery (2022). Pour Hosseini’s work is held in the collections of the Irish Museum of Modern Art, Arts Council of Ireland, and International Institutes as well as private collections.
"the single biggest discovery in this year’s Museum of the Moving Image program, comes from Iranian-Irish filmmaker Atoosa Pour Hosseini. Mirage is a deceptively simple study of a set of fragments of a landscape. Muddy puddles and hilltops in a pinhole haze, we soon see these same images funneled through reverberating sprocket holes, yellow light pouring through the edges of the grainy, black and white earth. The nearly silent film reverses its terms, with the landscape getting sucked into a rogue sprocket and vibrating horizontally, plunging up and down like the needle in a sewing machine. And then, suddenly, the apparatus asserts itself: the Super 8 projector clacks, and we see the red stripe of end leader bisecting the visual field. Are these artifacts “invasions” of an otherwise unified terra firma? Or is it this very instability that defines this locale?
And did I mention that Pour Hosseini accomplishes all of this in a mere four minutes? A propulsive yet painterly film that never lets up, Mirage does in fact dissipate the closer you get to it. And now, as we are assaulted by all manner of pigheaded certainty in the media and the political sphere, it is that much more of a relief that Mirage thwarts easy assimilation. If we mean to resist, after all, it may be necessary to resist meaning."
-Michael Sicinski, MUBI Notebook "On Resistance" at First Look Festival, New York 2017
"A film of subtle poetics and expressive aesthetics achieved through the hypnotising intertwining of archive and authorial footage, Antler erases the boundaries between fiction and documentary, introducing the viewer to a mysterious and, to a certain degree, fairy-tale-ish world of oneiric atmosphere. Formally seductive, and challenging to decipher, this "ecological fantasy" (for the lack of a more precise definition) transforms a botanical garden into a laboratory of evocative images and sounds, in a process that could be identified as alchemy."
-the jury's response on the Antler's award (International Experimental Film Festival, Belgrade, Serbia) 2018
