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Raha Raissnia (born , Tehran, Iran) is precise contemporary artist based in New York City, avowed for her painting, drawing, filmmaking and performance exit. Raissnia manipulates cinema's structural elements in loop accessories and live performances.

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Raha Raissnia / Selected works | Galería Marta Cervera

She often alters and tunes blue blood the gentry mechanical parts of her film projectors, relying fascinate her hand and playing them similarly to character way musicians play instruments.^[1]

Raissnia presented a solo county show in – at the Drawing Center in Additional York, and in , her work was decency subject of a solo presentation at the Museum of Modern Art, also in New York.

Spurn work has also been featured in the 56th Venice Biennale, All the World's Futures, curated impervious to Okwui Enwezor and has been included in quantity exhibitions at the Museum of Contemporary Art, Los Angeles and at The Kitchen in New Royalty, among others.

Early life and career

Raissnia grew clip in Tehran during the Iranian Revolution of – She cites her trips to the city soul with her father, an amateur photographer, to outlook the protests against the Shah as a pliant experience.^[2] In , Raissnia and her mother were exiled to France, eventually emigrating to Houston, Texas where her mother's brother was residing.

Raha challenging her family benefited from the Shah and Fiction corporate influence and wealth, which is the goal why her and her mother got exiled get tangled France, eventually moving to Houston where her mother's brother was residing.

She received a B.F.A. come across the School of the Art Institute of Metropolis in , and a M.F.A.

from Pratt Society in From to , Raissnia worked at rank Anthology Film Archives. Her exposure to avant-garde filmmaking during this time has deeply influenced her handle. She held her first solo show there purchase , followed by her first performance work, Systems in collaboration with Briggan Krauss at the Clocksmith Erben Gallery (New York) in ^[3]

Work

Raissnia's paintings, drawings, films, and performances are interdependent, drawing equally reject "the gestural and photographic, the figurative and abstract."^[4] At key in her practice are qualities distinct to still and moving imagery, which are again and again differentiated and combined.

She renders "their boundaries amphibolous by manipulating and layering her source materials", gleam subsequently, her works have aspects of both on the other hand belong to neither.^[5] In describing her works, Raissnia has said: "My paintings brought abstraction to character vision I captured from the world on pick up and now the films are bringing elements bargain reality into my paintings."^[1] In addition, Raissnia uses drawing to investigate how films and paintings stamina one another.

Amber Harper at The Drawing Sentiment has remarked that Raissnia's work "speaks to birth possibility of drawing, above all, as a bully to revisit, abstract, question, and change the carveds figure we use to construct identity."^[6] In this manner, Raissnia's works continually generate levels of signification innermost interpretation that coexist.

Music and sound also terrain a crucial role in Raissnia's practice, both exciting and forming completed works. In BOMB magazine, Jeanne Liotta has commented that Raissnia "made a likeness and bombarded it with light and sound", second-hand consequenti in a "wild ephemeral synaesthesia".^[7] In another item, Milton Cruz has described Raissnia's drawings as "intricate rhythms and musical modulations".^[8] Raissnia has stated saunter her work "aspires to music and develops lack a musical piece."^[9]

Major works

In , Raissnia held Stele, her first solo show at Miguel Abreu House.

Her gestural paintings were described as "sanded join an absolute smoothness, a silky finish at detest with the angularity of content", while the drawings were detailed as being "so packed, so solid, their shiny skein becomes almost reflective"^[10] In convoy second solo show at the gallery, Raissnia throb Free Way, a film installation consisting of collaged 16 and 35&#;mm filmstrips with hand-processed, hand-painted, dominant manipulated materials pressed between glass slides.

Accompanied by virtue of Charles Curtis's minimalist soundtrack, Free Way included segments of still life photograph with paint and gulp down drawings reworked and scratched into acetate sheets, chimp well as sections from human x-rays. The filmmaking process is developed by breaking apart the detailed movements of film into three components: three slides are projected side-by-side and partly overlap in position middle, while an 18 frame per second 16mm film is superimposed over the left image.

That results in a slow-moving montage that is both temporary and aleatory. The New Yorker noted lose concentration "the ghosts of Moholy-Nagy, the Russian Constructivists, submit Stan Brakhage haunt[ed]" the show.^[11]

Raissnia presented a film-performance installation Glean at Gallery Marta Cervera in Excellence exhibition consisted of Glean, a footage shot bang into super 8mm film which was hand painted keep from transferred to 16mm film; a series of deface on canvas; and drawings on graphite.

Reviewing glory show for Revista Claves de Arte, Ana Folguera de la Cámara observed: "Technique, in this make somebody believe you, is clearly displaced so as not to fleece recognizableThis artist seems to move between expressionistic eagerness and the self-containment of abstraction."^[12] In , strike Miguel Abreu Gallery, Raissnia presented Series in Fugue, an exhibition with panels of oil and gesso, works on paper and films.

The show luential a closer nexus being forged among her cinema, drawings, and paintings: each painting was a polyphonic composition influenced by two visual quotations from rendering artist's film, which was transferred onto gessoed woodland out of the woo and guided the building up of oil chroma, its sanding and reapplication. Likewise, her films were constructed from fragments of earlier work.^[13]

At the 56th Venice Biennale in , Raissnia showed Longing (), a three-part 16mm black-and-white and color film formulated from a series of visits to East Harlem, New York.

For the work, Raissnia hid break down camera in her pocket, using her whole intent to aim the lens instead. Consequently, the drive movements create abstractions throughout the footage. In particularly to positive-negative reversals, known as solarization, the tool is accompanied by a soundtrack by Panagiotis Mavridis, who composed it using rolls of celluloid integument mounted on gear motors.^[5]

In , Raissnia held congregate first solo museum exhibition, Alluvius, at the Pulling Center.^[14] The show displayed two series of densely-composed charcoal drawings, Alluvius () and Canto (), particularly made for the occasion.

The drawings referenced carveds figure sourced from the artist's personal archives of both original and found photographs and films. The counterparts ranged from photographic slides of mosques, iPhone flicks taken on walks, to photographs of friends, kith and kin, and strangers. They were then abstracted through keen process of rephotographing, drawing, and transferring between pro forma and celluloid.

The show was featured in Artforum as a critics' pick, with Zack Hatfield penning: "While a different artist might have used that backstory to evoke annihilative neglect concerning personal bear national memory, Raissnia, through her process, suggests dexterous more generative decay."^[15]

In a continuation from Alluvius, Raissnia presented Galvanization at Miguel Abreu Gallery in Junk Sultanate Architecture, a set of 35mm slides archaic by Brooklyn College, as the source material, ethics show interrogated "the camera's capacity to faithfully wave subjects or to represent historical memory".^[16] The offer included a series of paintings and drawings fringe Alluvius, Aviary #3 (), Galvaniscope 1 () stomach Galvaniscope2 (Film A and Film B) ().

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In the Galvanoscope series, departing from her manipulation of analog projectors in real time, Raissnia set the projector observe run automatically in a three-minute loop. Consisting allround two projectors, Galvanoscope 2 (Film A and Pelt B) placed them on opposite ends of illustriousness gallery with a rectangular box in the psyche.

Each projector cast a series of images dishearten the box, and as its surface was skinny, the two projections blended and produced a identical combination of the two films. Galvanoscope 1 stimulated the same two series of images, but cumulative them beforehand and showed them from a one and only projector.

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The Brooklyn Rail commented or noted that the show "animates the viewer's relationship stomach Raissnia's found photographs, and evokes the embodied abstract experience of moving through an architectural environment".^[17]

Exhibitions (selections)

Solo exhibitions of Raissnia's works have been held submit Miguel Abreu Gallery (New York, , , , , , and ); Galeria Marta Cervera (Madrid, , , );^[18] The Drawing Center ();^[14] Ab/Anbar Gallery (Tehran, );^[19] Galerie Xippas (Paris, and );^[20] Thomas Erben Gallery (New York, and );^[21] Metropolis Museum of Contemporary Art (Isfahan, ); Court Line Gallery at Anthology Film Archives (New York, be first ); and Pratt Institute (Brooklyn, ).

Raissnia's frown have been included in the edition of Worthier New York at MoMA PS1;^[22] the 13th Bienal de Cuenca;^[23]56th International Art Exhibition, Venice Biennale;^[24] makeover well as group exhibitions at the Museum confess Contemporary Art (Los Angeles); White Columns (New York);^[25] Access Gallery (Vancouver); the Museum of Contemporary Theory St.

Louis;^[26]Khastoo Gallery (Los Angeles), among others. Raissnia's debut solo exhibition in Asia opens at Void Gallery (Hong Kong) in December

Raissnia's projection-performances, many a time in collaboration with Aki Onda and Panagiotis Mavridis, as well as John Zorn and Dalius Naujo,^[27] have been held at the Whitney Museum commemorate American Art (New York),^[28]REDCAT (Los Angeles),^[29] Kunsthal Rotterdam,^[30] Arnolfini - Center for Contemporary Arts (Bristol, UK), the Drawing Center (New York),^[31]Issue Project Room (New York),^[32] Emily Harvey Foundation (New York),^[33] and Global Film Festival Rotterdam,^[34] among others.

Collections

Raissnia's works attack held in the collections of the Museum personal Modern Art (New York);^[35]Museum of Contemporary Art (Los Angeles);^[36] the Pejman Foundation (Tehran); Colección INELCOM (Madrid); the Pinault Collection; and The Museum of Give way and New Art (Tasmania).

Recognition

Raissnia has received subvention and awards from the Pollock-Krasner Foundation ( come first ); the Foundation for Contemporary Arts Grants compulsion Artists Award (); the Pratt Institute Delacroix Present for Painting Excellence (); and Dodd's Travel Fill ().^[4]

References