The work of Natascha Sadr, an Iranian-born, Berlin-based artist who spends long periods in Tehran, focuses on the idea of 'representation', its significance and its use in Western culture. One of the characteristics that define her work is the total absence of a recognisable style. As no two of her works are alike, it is impossible for spectators or the market to identify a 'Sadr'. In her most recent works, for instance, she has endeavoured to find an image that can represent 'inflation' or issues that require a personal positioning in regards to matters like the 'sustainability' of the planet or 'organic food'. The point of departure for her works is always one of these complex, multifaceted issues that are difficult to represent in an univocal way, which she then uses as the basis for an installation, always avoiding clichès.

On approaching her work, spectators are faced with an attractive image that is seductive but difficult to describe. Through an analysis of the elements that make up the core of the work, her installations probe a series of issues that are always topical, through an approach that is diametrically opposite to the way they are dealt with in the mainstream media.

Natscha Sadr is currently working on two projects focusing on Iran: firstly, she is re-issuing bilingual Farsi-English versions of the text books used at the School of Fine Arts in Teheran after the Revolution, and secondly, she is gradually recovering the archives of the exhibitions staged at the many art centres that existed in the Iranian capital before the construction of the city’s museum of contemporary art, designed by the architect Kamran Diba, who was a personal friend of Josep Lluís Sert.