Behzad Khosravi Noori, Ph.D., is an artist, writer, educator, play grounder, and necromancer.
His research-based practice includes films, installations, as well as archival studies. His works
investigate histories from The Global South, labour and the means of production, and histories of political relationships that have existed as a counter narration to the east-west dichotomy during the
Cold War. By bringing multiple subjects into his study, he explores possible correspondences, seen through the lenses of contemporary art practice, proletarianism, subalternity, and the technology of image production. He analyses contemporary history to revisit memories beyond borders, exploring
the entanglements and non/aligned memories. Behzad Khosravi Noori uses personal experience as a springboard to establish, through artistic research, a hypothetical relationship between personal memories and significant
world events between micro and macro histories. His works emphasise films and historical materials to bring the questions such as what happens to the narration when it crosses the border? or what is the future of our collective past? In his practice, he reflects upon marginalia of artistic explorations in relation to art, history of transnationalism, and global politics.
His ongoing artistic research project, The landscape of Imagination, analyses archival photographs captured with a camera known in the Urdu language as the “Soul Catcher” in relation to backdrop painting in the context of the Global South.
The search to propose a transdisciplinary practice point to the complexity of the subject and context of the inquiry and how substructures perform in creating connections between seemingly irreconcilable arenas and forms of urban life and its transnational characteristics.
The research is funded by The Swedish Research Council Vetenskapsrådet (VR) in collaboration with Konstfack, Gold Smith University and the Comparative Humanities department at Habib University.
- Doctor in Philosophy, Art, Technology and Design, KTD program, Konstfack & KTH (Royal Institute of Technology), Stockholm, Sweden.
- Konstfack, University of Art, Craft and Design, Stockholm, Sweden. – 2009-2011
- Tarbiat Modares University Tehran, Iran, M.A. in Moving Images. – 2001-2004
- Österangen skonsthall, Feburary 2022, Sweden
- Fabrika, Moscow, September 2022, Russai
- ABF, Stockholm, October 2021, Sweden
- Brioni – a necromantic attempt, Behzad Khosravi Noori and Magnus Bärtås with Paul Kupelwieser and Josip Broz Tito A Monument to the Invisible Citizen, HDLU, Zagreb, Croatia – 2020
- Soul Catcher, 12.0 Contemporary, Islamabad, Pakistan. A Monument to the Invisible Citizen, Malmö Art Museum, A Monument to the Invisible Citizen, Kalmar Art Museum, – 2019
- A Monument to the Invisible Citizen, Marabouparken Konsthall, Stockholm. Accession Utopia, Botkyrka konsthall, Stockholm. The Life of an Itinerant Through a Pinhole, Centre of Photography (CFF), Stockholm. – 2018
- The Life of an Itinerant Through a Pinhole, Aran Gallery, Tehran. – 2017
BIENNIAL and ART FESTIVAL
- Ural Industrial Biennale, Asbest House of Culture September 2021, Russia.
- Venice Biennial, Research Pavilion, 2017.
- Art Encounters Biennial, Timisoara, Romania, 2019
- Latvia Center for Contemporary art, Riga, Survival kit, 2019
- Islam Abad Art Festival, 2019
SELECTED GROUP EXHIBITION
- The Kamal Lazaar Foundation (KLF), Tunis. – 2019
- WUK, Cross Section, Vienna. The Owl, The Queen, and the Maquettiste, in collaboration with Benji Boyadgian – 2018
- Skånes konstförening, Around about, Lund – 2016
- New media Society, Tehran – 2015
- Tensta Konsthall in collaboration with Rene Leon Rosales – 2014
- Three of Four Irrelevant stories, Art and Hyper-politics, Konstfack Collection, 2021
Articles and Essays
Unconscious Colonial Memory, GSG magazine, Colonialism today, edited by Iva Kovač and Sanja Horvatinčić (In English and Serbo-Croat)
A monument to the invisible citizen, Public Journal, Canada
The Life of an Itinerant through a Pinhole, Journal for Artistic Research (VIS)
This is Life, the first generation of the student movement in Iran in Kalantari film (in Farsi).
Catalogue for the project a monument to the invisible citizen, Malmö Art Museum
From plop art to the phantasm of participation, Tazarv Art Magazine, Isfahan (in Farsi).
Abyssal thinking and Artistic research, The Future of Artistic Research, Uni Art Helsinki.
Catalogue for the project Accessing Utopia, in collaboration with Rene Leon Rosales, Venice
The Strangeness of Banality, The Carnivalesque of everyday life.
Magnus Bärtås catalogue exhibition, Gothenburg Konsthall.
The Fluid Narrative of Marginography: The Necessity of Microhistory in the Hyper-Politicized,
Time/Place/Body in Pirooz Kalantari’s Films, Microhistory ontology book,
Edited by Magnus Bärtås and Andrej Slávik.
In Etiquettes of Purification, Liminality and Heterotopic
character represent the other from the other, Herfeh- honarmand art magazine.
Tehran has or doesn’t have Pomegranate? Aftab network Magazine.
What are we Laughing at? Humour as a form of Political Resistance,
Aftab network Magazine.
About that And”, the missing points of history and
esthetic in contemporary Iranian documentary about Iranian revolution in 1978. Aftab
Rereading Ignorance, The Auto-Ethnographical story
Based on marginalia with the Last Milan Kundera’s novel, Herfeh- honor and art magazine,
Fluidly Narration of Marginography, about Pirooz Kalantary’s
Documentaries, November, Aftab art Magazine,