FIELD MEETING: THINKING PRACTICE
Raha Raissnia (Tehran and New York)
Temporal and Experiential Condition of Music
A cinematic experience of sequentially and stillness is provoked through the artist’s performance, in which a series of hand-painted photographic collages come to life; a permutation process evoking sentiments of human vulnerability as well as ideas of movement, light, and other fascinating connections between painting and film.
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Raha Raissnia, Temporal and Experimental Condition of Music, 2016. Performance documentation FIELD MEETING: Thinking Practice, November 11th at Solomon R. Guggenheim Museum. Photo: Renata Carciofolo.
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Raha Raissnia works in film, painting, and drawing, with each medium informing the other. Her film works are the result of an iterative approach: footage shot on Super-8, 16mm, digital, and even mobile phone is manipulated in the studio, the footage of which is projected onto paintings and screens, incorporating found materials and additional film and digital imagery, which she then refilms as a whole to yield densely layered celluloid films. In 2015, her work was included in All the World’s Futures, 56th International Art Exhibition, curated by Okwui Enwezor, Venice Biennale. Previously, her work has been featured in exhibitions at White Columns (New York), Access Gallery (Vancouver), Thomas Dane Gallery (London) and The Kitchen (New York), among others. Recent solo shows were held at Miguel Abreu Gallery (New York), Galeria Marta Cervera (Madrid), Galerie Xippas (Paris), and the Isfahan Museum of Contemporary Art (Isfahan, Iran). Her first solo show in Tehran was held at Ab/Anbar in 2015 and a retrospective of her film-based works was held at the Museum of Modern Art, New York in 2016.Her participation in FIELD MEETING is supported by Ab/Anbar (Tehran).
Raha Raissnia, Untitled, 2013. Image transfer, Sumi ink, compressed charcoal, and collage on paper, 14 x 17 inches. Courtesy of artist.
