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Nooshin Farhid

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Red Leaves No Residue, 2014 Single Screen Video 30 Minutes
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Red Leaves No Residue, 2014 Single Screen Video 30 Mins © Courtesy of the Artist and The Agency gallery
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Red Leaves No Residue, 2014 Single Screen Video 30 Minutes
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Red Leaves No Residue, 2014 Video 30 Minutes
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Conic Trilogy - Ellipsis, 2010 Single Screen Video 9 Minutes
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Conic Trilogy - Ellipsis , 2010 Single Screen Video 9 Minutes
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Conic Trilogy - Parabola , 2010 Single Screen Video 23 Minutes © image courtesy the artist and The Agency Gallery
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Conic Trilogy - Hyperbola, 2010 Single Screen Video 27 Minutes
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Conic Trilogy - Hyperbola, 2010 Single Screen Video 27 Minutes
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Conic Trilogy - Hyperbola, 2010 Single Screen Video 27 Minute
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Shallow Water, Deep Skin, 2012 Single Screen Video © Nooshin Farhid and the Agency
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Shallow Water, Deep Skin, 2012 Single Screen Video 30 Minutes
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Shallow Water, Deep Skin, 2012 Single Screen Video 30 Minutes
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Installation View Shallow Water, Deep Skin, 2012 Video Installation 30 Minutes
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Stripped, 2012 C-print 104 X 68 Cm
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A Wrong Turn, 2010 Digital Print 100 X 120 Cm
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16 Hours , 2008 Single Screen Video 16 Minutes
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16 Hours, 2008 Single Screen Video 16 Minutes
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Acid Drops, 2005 11 Screen Video Installation Variable
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Mrs Hodge's frequent use of air freshener, 2005 Single Screen Video 17 Minutes
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Hair Salon, 2004 Single Screen Video 11 Minutes
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She wants me to go to Heaven , 2001 Single Screen Video 17 Minutes
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Blind Spot , 2004 2 Screen Video Installation 11 Minutes
Quick Facts
Birthplace
Tehran, Iran
Lives in
London, UK
Representing galleries
Tags
mixed-media, installation, video-art, conceptual, photography, digital
Biography

Nooshin Farhid was born in Tehran, Iran and now lives and works in London. Her work is primarily concerned with the moving image, which takes the form of single screen works, installations, interventions and animation, still photography and the production of texts. She approaches film as collage, working with on and offline material and with editing and animation techniques alike.  Narratives emerge through this process of visual and audio ‘realignment’. Her written texts oscillate between the poetic and the factual, the personal and the philosophic, recited by actors in the form of voiceovers and overlaid onto a composed soundtrack created by the artist. The spoken word weaves the fragmented narratives together contextually and rhythmically. Farhid makes distinctive use of filmic genres and tropes. Nonetheless film is not a primary concern, but the portrayal of the human condition both in a direct documentary format and an allegorical style.

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