Bahram's practice revolves around the idea of ‘affirmative negation’ and deconstruction of the peripheral relationship between medium and message. He unpacks his installations and performances through presenting the impotent medium, such as texts that are incapable of conveying their intended message, destructed photos that are depleted from the iconic value of an image, and bodies that are unable to introduce the real identity of individuals. Within this destructive space lies an important and affirmative sentiment, which is the main objective in his relational practice: the possibility of relocating the meaning from the art object to the contingency of reception.

Bahram has shown nationally and internationally ranging from venues such as ArtHelix Gallery, Brooklyn, NY; Gowanus Loft, Brooklyn, NY; Yerba Buena Center For the Arts, San Francisco, CA; Mission Cultural Center, San Francisco, CA; Disjecta Art Center, Portland, OR; Reed College, Portland, OR; Jordan Schnitzer Museum of Art, Eugene, OR; Asian Resource Gallery, Oakland, CA; Umpqua Valley Arts Center, Roseburg, OR; Siuslaw Public Library, Florence, OR; Plâtre et Moi Gallery, Paris, France; Laatikkomo, Jyväskylä, Finland; Aaran Gallery, Tehran, Iran; Fravahr Art Gallery, Tehran, Iran; Sazmanab Center for Contemporary Art, Tehran, Iran.

Bahram's work and research has been supported by grants and awards from the Tokyo Foundation for International Research, Ford Alumni Center, University of Oregon and Society for Photographic Education. Born in Iran, Bahram lives in Eugene, where he works as adjunct faculty at the University of Oregon since 2015.

Website Publications:

28 January 2018

Bahram, who has visited Iran once in the past seven years, explores the complexity of social and political identity through his work, and in particular the effect of Iranian government surveillance and censorship on communication. [LINK]

18 June 2017

As an artist and photographer, Farhad Bahram is interested in challenges: What does it mean to be from a particular place, from a particular background? What do labels mean, and what happens if we ignore them, or tear them down? What does it mean to be a performer, and a member of an audience or an observer? What if the line between them is blurred? [LINK]

28 March 2015

...I centered the main trajectory of my work on examining the possibilities for transforming this determined correlation between medium and message into an ever-moving chain of relations with no fixed entities to hold onto. This effort introduces the communicative act as a subjective mechanism related to the inability of the addresser to fully express her intentions, but at the same time, her ability to enunciate a context for spontaneous realization. [LINK]

University of Oregon, School of Architecture and Allied Arts

May 13, 2013

He tweets in French, English, and Farsi. He’ll set up an empty chair in front of his own chair on a busy sidewalk just to see who stops by, documenting the results in photographs. His portfolio includes photographs of shopkeepers holding portraits of dead relatives; photo assemblages “created to raise suspicion”’; photographs gathered from dozens of artists and sold to benefit children with cancer, children in poverty, children in need of human rights protection. [LINK]

Born in Tehran, Farhad began his photography practice as a photojournalist in 2005 and had a unique experience in this field as it strengthened his belief in cultural activities on grassroots as basis for social practices and photography. [LINK]

Iranian photographer Fahrad Bahram has always been interested in observing the effects of governmental mistrust and tradition, whether it is in the form of his photographic work and scholarly research. [LINK]

Farhad Bahram’s piece, Reciprocal Subject (2012) complicates the view of its subjects... Bahram empowers the subjects and makes them anonymous, but they share in the creation of the work. Bahram and each subject simultaneously took pictures of each other in open public spaces, and Bahram arranged the resulting color photos on a board in an apparent order or system that mimics a scrapbook, with names appearing beside each photo. [LINK]

As a citizen of Middle East, I have been able to observe the effects of governmental mistrust of traditions, which in Iran result in the attempt to control every aspect of communication. Having grown up under such stringent regulatory control, I developed a great desire to use the potential of Art in reconstructing the conservative type of communication in the society. [LINK]

UO graduate student Farhad Bahram, currently pursuing his Master in Fine Arts in photography, has recently been awarded the prestigious OUS-Sylff Fellowship for International Research. [LINK]


last update: January 2018


last update: February 2018

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