Aria Farajnezhad is a multidisciplinary artist and organizer with a background in engineering and a long-term engagement with rhythm and playing percussion. His work encompasses a variety of mediums, predominantly emanating from the investigation of immediate surroundings and following up with researching genealogy as well as socio-political material conditions and power relations which constitute the very particular experience in the here and now. That might once delve into the sound wave landscapes in relation to sonic memory, or as the work Listening to The Rainbirds (2021) unfolding, inquire about the epistemological undertone to expose the whole earth through rocket technology and the narrative, in which opacity shapes off active resistance and reluctance to full exposure. To listen to the infrastructures and environments needed in place to launch the rocket or inspect the interior of the ear anatomy but also to listen to and with the witness position, the listener with temporary loss of hearing
Aria’s recent work; Taking the shape of a video installation in the Gerhard Marcks House, Toppled from the Horizontal Axis (2022). It mobilizes toppling as speculation of the vertical axes, retrieving fractions from the former construct in collaboration with many actors, among which is Bauteilbörse Bremen as a local partner, weaving together a series of conversations that unsettles the binary of glorification and denial.
Aria is a former fellow at Ashkal Alwan’s Home Workspace Program between 2018- 2019 and a former participant of Spring Curatorial Program 2022: Art Geographies. Between 2020-2022 he has been co-running the project space Circa 106 in Bremen, Germany. Aria is the co-founder of Futurearchives as part of ZEFAK. their recent work called Where the River resides has come to life upon an invitation by Sadtdgalerie Saarbruecken and MM, M in December 2021.