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Short biography Nooshin Farhid was born in Tehran, Iran and now lives and works in London. She came to the UK as a political refugee. She studied Fine Art at Central Saint Martin’s College of Art (University of The Arts ,London) were she now teaches on the BA and MA Fine Art Course. She has been involved in a number of exhibitions, film festivals and screenings of her video works both nationally and internationally. Her work is primarily concerned with the moving image, which takes the form of single screen works, installations, interventions and animation. Recently she has added to this an engagement with still photography and the production of texts. Her video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness and a deliberate disjuncture that ruptures the familiar trajectory of the traditional narrative. This agitation and an unwillingness to settle for what is ‘on offer’ (this is the way things are) reflects upon the current state of things socially, politically and ideologically. This work continually picks away at those familiar stabilising forces that we encounter on a daily basis both within the social space of the everyday and also within the domain of contemporary art itself. Farhid’s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events and chance meetings that collectively question the incessant drive towards normality and conformity through the pressure of the state and its agencies. At the same time she appropriates that other form of ‘making dumb’, the popular media – soaps, reality TV, Bollywood, MTV. This raw material is savagely and uncompromisingly edited and undergoes a form of post production, collaged fragments are welded together, each one activating and qualifying its predecessor. It is within this approach to her work that her radical position is to be found, her deliberate lack of regard for status, image hierarchy and historical continuity allows for an essentially tangential trajectory to her subject matter.
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