Aria Farajnezhad was born in 1989 in Ahvaz, Iran. His family migrated to Tehran when he was eight. He grew up in Tehran and finished his bachelor's in engineering. Since 2015, he has been studying fine arts at HFK Bremen with Korpys/Loeffler and Natascha Sadr Haghighian. Aria is an examiner of sound and images. He studies the modes of power that enable the constitution of form to begin. His practice deals with associative arguments, and his work is a response to the context in which they emerge. that might ones translate to dealing with the telecommunication restriction policy and speculation around similar engineering of the city structure and electronic cheapest, the other time delve into the sound wave landscapes in relation to sonic memory, or as the other project suggesting unpacking the coincidence of the fundamental turn in the shutter technology and the A-bomb.
Patrick Peljhan (born 1991, in Pforzheim) is an artist and fine arts student, currently based in Bremen. Since 2015 he is studying Fine Arts at the University of Arts Bremen in the class of Natascha Sadr Haghighian and Iman Issa.
Patrick Peljhan investigates how history is written and manifests physically in documents, objects and the landscape. He analyzes and decomposes historical and archival media or objects related to his subject matter. By deconstructing and appropriating the technologies used to write and shape history, he tries to understand how these are instrumentalized to subject and control human and land. His investigation is presented in installations often incorporating film and sound.
Lower Upwards Horizon
Colonization has always become possible through the means and technologies that cohere the incoherent, forcing the plates of scattered landscapes to merge and collapse into one. The favorite image of the sovereign represents itself in the small models of the claimed territories that have been made by expeditionaries. Survey and cartography have been the requirement for organizing any occupation operation.
3d modeled maps introducing the third axis, the vertical measurement, the topology, create a more “accurate” representation. It suggests that the viewer is looking diagonally or even horizontally as an added feature to the traditional 2d maps, which only allow a birds-eye view. The machine is calculating the third axis and extrapolating the 3d shape. The same principle goes into the audio visualization--one needs time, frequency and volume, three elements adequate for mapping out the shape, three distinct variables to turn almost anything into the computer-generated mass. The audible memory has a more subtle effect on the sense of belonging and ownership. The melodies which are sonically dominating the ears, the landscapes which visually govern the eyes. This project is dealing with the forms that have been ideologically used and instrumentized, but yet has to be challenged and subverted. We toy with the means that seem fully taken by the propaganda apparatus but need to be reclaimed and decolonized.
Sound editing workspace
Test capture, process
Test capture, process
Light projection from the ceiling to the floor crossing wave landscape mesh hanging in median level of the roomcreating a framed enlightened area on the ground the projection on the floor interrupted by the shape of the mesh fences in a 2-dimensional distorted shadow map On the ground level a stereo sound composition circles the space in a loop consisting of an layered humming-- "Study and Process"
landscape mesh hanging in median level of the room
Lower upwards horizon is reclaiming the format to speculate the future which accommodates imaginative landscapes, the ones which have not been occupied, and never will. imagining the future which is not ruled under capitalism and modernism, is the one that must be surpassing fictional narratives which only project and repeat themselves, that can not be positively articulated but will negatively emerge.