Anna Ehrenstein (b. 1993) is an interdisciplinary artist weaving multipolar cosmogony between Berlin, Tirana, and the cloud. She is a professor in the photography department at HGB Leipzig.
(2025)
The rupture of the sacred, the fragmentation of the archive. Doom Scroll Djinn Tapestry emerges from the interstice where the digital phantasmagoria meets the material ruins of devotion.
(2025)
A series of wall works “Projection Screen Studies” evokes sensations of color field painting and the genres yearning for transcendence and the infinite through the juxtaposition and subtle interaction of one of present day histories most culturally and politically loaded fabrics - the hijab.
(2024)
Passdeutscha explores the intersections of integration discourse, racialized police violence, and structural racism in Germany through a hybrid form the duo coined: the Deutschrap-Lecture-Performance.
Cripto Sirenas is collaborative sci-fi fable and multi-media worldbuilding venture centered around a collaborative 360° video work.
(2024)
created in collaboration with Rebecca Pokua Korang, the series responds how Germany’s the “clan crime” myth is instrumentalized for political purposes.
(2023)
Ehrenstein entwines speculative cosmotechnics with Qur'anic epistemologies to explore water as both a spiritual sign and a techno-political site.
Sparked by the delusion of solidarity through networked protests in the West after the Iranian 'Woman, life, freedom!' demonstrations in 2022, EHrenstein materialized her orientalist avatar she uses in physical and virtual performances.
(2021)
A video installation.
(2021)
Textile Objects
(2020-ongoing)
Amultidisciplinary work cycle that looks to create a new relationship with science and technology iconography through gifting it with a global south, queerfeminist kink.
Originally comissioned for SITUATIONS/ Porn, Ehrenstein explores the idea of authenticity and its present-day distribution, commodification and circulation.
Tapestries saying "fake folk" consisting of textiles bought on tourist markets in China, Egypt and Morocco and embroidered with western pseudo–arabic and pseudo–chinese fonts from local craftsmen in Cairo.
Tapestries saying "fake folk" consisting of textiles bought on tourist markets in China, Egypt and Morocco and embroidered with western pseudo–arabic and pseudo–chinese fonts from local craftsmen in Cairo.
Tapestries saying "fake folk" consisting of textiles bought on tourist markets in China, Egypt and Morocco and embroidered with western pseudo–arabic and pseudo–chinese fonts from local craftsmen in Cairo.
Ehrenstein uses Tools for Conviviality to challenge the utopian idea of digital technologies as a neutral tool: smartphones, social media, the internet, and virtual reality today promise a multicultural communal life that goes beyond national borders.
Ehrenstein draws lines between Mughal carpets in Western Museums, fake Balenciagas in Airbnb‘s adventurous journey to Beijing‘s illegal backdoor Pearl Market Shopping experience, almost authentic souvenir making straight from the ancient ancestors in Cairo and 3D stock models on online platforms.
A series of twenty scultpural collages carved out of 70‘s magazines.
A photographic series of portraits of hyperfeminine boss bitches and fake gucci.
