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_______________________________________________________________ Nooshin Farhid, Red Leaves No Residue, 2014, single screen video, 30 mins _______________________________________________________________
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___________________________________________________________ Nooshin Farhid, Installation Views, the Agency 2014
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_______________________________________________________________ Nooshin Farhid in collaboration with Paul Eachus, 'After Party', 2014, video sculpture, Four Videos, Monitors, DVD players, Wood, Tape _______________________________________________________________
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_______________________________________________________________ Nooshin Farhid , top: Untitled, 2014, C-print, bottom: Dance With No Fire, 2014, C-Print _______________________________________________________________
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_______________________________________________________________ Nooshin Farhid,'Like Others', 2014, Animations on Kindles, Stirling Board
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___________________ Nooshin FarhidRedcLeaves No Residue 8 March- 12 April 2014 _____________________ The Agency is pleased to premier the latest film piece ‘ Red Leaves No Residue’ by Iranian artist Nooshin Farhid with a related installation and photographic works. Nooshin Farhid has made a name for herself for her innovative approach to film, collating found footage from social media platforms, surveillance cameras as well as her own footage into powerful short film pieces. “Her practice not only raises questions about the impossibility of an unproblematic, neutral representation of truth, it aggravates and scrambles the conventional codes of video and filmic construction so as to open up these media to new modes of presentation and, concomitantly, to novel ways of reading the moving image.” Peter Suchin, Art Monthly, 2012 Following on from her successful piece Shallow Water, Deep Skin (2012), a filmic portrait of Iranian Feminist and entomologist Shahin Nawai involving powerful references to the Iranian revolution her latest film appears more intimate. The true story, which underpins the discernible narrative of ‘Red Leaves No Residue’, took place in a shopping centre in Teheran. A woman dressed in red stood in the same place every day for 30 years waiting in vain for the arrival of her lover. The film has as its central character the woman in red; it examines her love to varying degrees as overwhelming obsession and possible madness. The film is narrated both by the woman (a text written by Nooshin Farhid), and by a second anonymous voice at the beginning of the film, perhaps that of the film-maker who follows the woman in red, stalking her. The camera takes the role of a voyeur but rather than being in control, it is as fragile and vulnerable as the events it records. In the film a ‘ real’ passerby asks what the woman in red is doing. He expresses concern at being filmed and yet solicits the attention of the camera. He volunteers the information that he suffers from mental illness. His real life concerns merge with those of the woman in red. Her presence is not one of passivity. We hear the woman’s voice narrating throughout the film, evoking her body, the counting of the hours past, the loss of domesticity, occasionally sharply cut by the voices of the documented reality around her, rough bartering, laughter, quarrelling in a busy London market. Farhid links her appearance with real life disturbances, such as footage of recent street protests in London, situations and locations that suggest social unrest, fractured relationships and impending collapse, a system in crisis. The films’ realism emphasises the poetry of her presence without sacrificing documentary poignancy. In recent years Farhid has exhibited widely both internationally and in the UK, including at the Upstream Gallery, Amsterdam in 2011, Katara Art Center, Qatar in 2011, the Marrakesh Biennale and Art Gwangju in 2012, in London, at Paradise Row in 2011, Beaconsfield in 2011, and at Sazemanab (2012) and Mohsen ( 2011) Galleries in Teheran.
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