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Omer Fast’s work is deceptive. The complex narratives he molds have a way of forcing one to question the thoughts we’ve yet to have. Through his editing we can reach a version of truth that is more true than reality itself. I really shouldn’t be writing anything about Nostalgia since I viewed the installation backwards, but it was amazing in that order. Rather than receive the most honest of the narratives first, Nostalgia I, which uses audio from Fast’s interview with a former Nigerian child soldier and video of a British gamekeeper following the instructions being said, I started with Nostalgia III. The last video of the series pushes fact into an unbelievable fiction as an apocalyptic tale of British refugees seeking asylum in an African nation unfolds. Nostalgia II depicts actors playing animated Nigerian man and a sullen American filmmaker in the interview process. I was most attracted to the way Fast manipulated concepts of identity by shifting the setting and characters of a single story. A story of catching a partridge repeats through each of the videos giving the viewer assurance that story is the same yet continually changing the context in which it can be understood. Nostalgia will be on exhibit at the Whitney until February 14th. Omer Fast also has a solo show at Postmasters that ends February 13th.