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Plantas Harmonias: connecting continents through medicinal and ritual plants is a solo exhibition in which Farah Rahman presents existing and new work that she continues to develop during the exhibition’s opening hours. Plantas Harmonias is part of a series of solo exhibitions at Zone2Source, in which artists share their artistic research and making processes with the public.

The artist as ethnobotanist Farah’s artistic research practice is similar to the work of an ethnobotanist, who analyses complex relationships between plants, people and cultures through field research. In doing so, Farah starts from her own family history in Suriname and India. She creates mutlisensorial works involving long-forgotten memories and political and spiritual relationships between people and plants. How can we reshape our relationship to plants—other than as food sources or decoration—by connecting to the complex cultural meanings in which humans and plants are always intertwined?

The world exhibition The Amstelpark was created for a world horticultural exhibition, the 1972 Floriade: a typical modern colonial phenomenon where plants, animals and people are taken out of context and detached from their traditions and relationships. In Plantas Harmonias, Farah Rahman explores the cultural meanings of trees and plants from various places around the world and incorporates them into new artworks.

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Working with Kurkuma, Turmeric roots, the holy color yellow. During my exhibit working period at Zone2Source i was working with sustainable printing techniques using kurkuma and plants from the surrounding Amstelpark that had medicinal historical meanings.

In Plantas Harmonias: connecting continents through medicinal and ritual plants, artist Farah Rahman guides visitors through her research process during her weekly working sessions, workshops, and expeditions in the park. The exhibition will thus become a place for presentation and fieldwork, with the Amstelpark as a laboratory for research into complex (post)colonial relationships between people and plants.

The artist as ethnobotanist Farah’s artistic research practice is similar to the work of an ethnobotanist, who analyses complex relationships between plants, people and cultures through field research. In doing so, Farah starts from her own family history in Suriname and India. She creates mutlisensorial works involving long-forgotten memories and political and spiritual relationships between people and plants. How can we reshape our relationship to plants—other than as food sources or decoration—by connecting to the complex cultural meanings in which humans and plants are always intertwined?

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Sensing Willow is multi sensorial installation. This work is part of an ongoing artistic research on how to sense a thinking forest. The tactility, scents and soundscapes sent through the wooden logs start working when the visitor’s ears are pressed against the wooden logs. Sent through the wood are layered field recordings, recorded by attaching piezo microphones to the bark of a group of trees that I visited and listened to during the lockdown period. Listening to trees is part of a thinking and making process started by walking and wandering around in this area, sharpening my senses through my working method: different self made sensorial exercises. By exploring and perceiving the landscape around me I sat still, touched, smelled, looked, listened and interacted with my surroundings. 

This work could be experienced during the exhibit in the glass house of Zone2Source 2023 and was a part of the Graduation Show of the ArtScience Interfaculty at The Royal Academy of Arts. The work was nominated for the Waag & Society Technology Award.

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In ‘Symphony of spores’, my new expanded cinema work, I collected and fixated mushroom spores. Mainly the mushrooms were collected through intuitive fieldwork sessions in Amstelpark during my exhibit and working period in Zone2Source apr-jun 2023. During fieldwork sessions I sharpen my senses by looking, listening, feeling in a careful and meditative way. Connecting and attracted to plants, trees, mushrooms that have a historical, medicinal, edible character. This way of perceiving the landscape around me is rooted in personal healing work with plant medicines. In ‘Symphony of spores’, magnifications of real mushroom spores on glass slides can be seen as moving light projections (so come and experience it live ;) The projection is done with the use of analog slide projectors and slow turning shutterwheels. Fixating mushroom spores is also a determination method used by biologists. Tiny mushroom spore particles are always floating around us. They’re a part of our body and connect us to our surroundings. Thats how mushrooms spread themselves. They're part of a vast intelligent underground mycelium network that connects all plants/trees sending information to each other. It’s hard to see this mushroom particle release proces, it goes in a slow way, takes time and is difficult for the human eye to spot.

The work can be viewed at my solo exhibit Plantas Harmonias connecting continents through medicinal and ritual plants 23 April – 18 June 2023 Zone2Source , Glasshouse, Amstelpark, Amsterdam.

artscience #mushrooms #mushroomspores #fieldwork #intuitive #meditation #morchella # #ethnobotany #edibleplants #medicinalplants #healing #expandedcinema #zone2source #glasshouse #amstelpark #lightprojections #farahrahman #fariatie

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INVITATION Art Science Graduation Show @ Royal Academy of Art The Hague.

Dear,

You are cordially invited and welcome to drop by and interact with my installation titled: 'Sensing Willow' Sensing Willow This work is part of an ongoing artistic research on how to sense a thinking forest. The tactility, scents and soundscapes sent through the wooden logs start working when the visitor’s ears are pressed against the wooden logs. Sent through the wood are layered field recordings, recorded by attaching piezo microphones to the bark of a group of trees that I visited and listened to during the lockdown period. Listening to trees is part of a thinking and making process started by walking and wandering around in this area, sharpening my senses through my working method: different self made sensorial exercises. By exploring and perceiving the landscape around me I sat still, touched, smelled, looked, listened and interacted with my surroundings.  This work can be experienced in room CD002 next to the auditorium in the Bleijenburg building and is a part of the Graduation Show of the ArtScience Interfaculty at The Royal Academy of Arts: There are two entrances:at the back of the building: Bleijenburg 38 which is the most nearby or at Prinsessegracht 4. Tickets can be booked here. Every 30 minutes there is a timeslot for a visit for approx two hours:

8 juli https://kabk.stager.nl/Graduation-Show-8-July/tickets 9 juli https://kabk.stager.nl/Graduation-Show-9-July/tickets 10 juli https://kabk.stager.nl/Graduation-Show-10-July/tickets 11 juli https://kabk.stager.nl/Graduation-Show-11-July/tickets

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Dear, You are cordially invited and welcome to drop by and interact with my installation titled:

'Sensing Willow' Sensing Willow This work is part of an ongoing artistic research on how to sense a thinking forest. The tactility, scents and soundscapes sent through the wooden logs start working when the visitor’s ears are pressed against the wooden logs. Sent through the wood are layered field recordings, recorded by attaching piezo microphones to the bark of a group of trees that I visited and listened to during the lockdown period. Listening to trees is part of a thinking and making process started by walking and wandering around in this area, sharpening my senses through my working method: different self made sensorial exercises. By exploring and perceiving the landscape around me I sat still, touched, smelled, looked, listened and interacted with my surroundings.  This work can be experienced in room CD002 next to the auditorium in the Bleijenburg building and is a part of the Graduation Show of the ArtScience Interfaculty at The Royal Academy of Arts: There are two entrances: at the back of the building: Bleijenburg 38 which is the most nearby or at Prinsessegracht 4. Tickets can be booked here. Every 30 minutes there is a timeslot for a visit for approx two hours:

8 juli https://kabk.stager.nl/Graduation-Show-8-July/tickets 9 juli https://kabk.stager.nl/Graduation-Show-9-July/tickets 10 juli https://kabk.stager.nl/Graduation-Show-10-July/tickets 11 juli https://kabk.stager.nl/Graduation-Show-11-July/tickets

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Dear,

You are cordially invited and welcome to drop by and interact with my installation titled:

'Sensing Willow’ 

This work is part of an ongoing artistic research on how to sense a thinking forest. The tactility, scents and soundscapes sent through the wooden logs start working when the visitor’s ears are pressed against the wooden logs. Sent through the wood are layered field recordings, recorded by attaching piezo microphones to the bark of a group of trees that I visited and listened to during the lockdown period. Listening to trees is part of a thinking and making process started by walking and wandering around in this area, sharpening my senses through my working method: different self made sensorial exercises. By exploring and perceiving the landscape around me I sat still, touched, smelled, looked, listened and interacted with my surroundings.  This work can be experienced in room CD002 next to the auditorium in the Bleijenburg building and is a part of the Graduation Show of the ArtScience Interfaculty at The Royal Academy of Arts: There are two entrances:at the back of the building: Bleijenburg 38 which is the most nearby or at Prinsessegracht 4. Tickets can be booked here. Every 30 minutes there is a timeslot for a visit for approx two hours: 8 juli https://kabk.stager.nl/Graduation-Show-8-July/tickets 9 juli https://kabk.stager.nl/Graduation-Show-9-July/tickets 10 juli https://kabk.stager.nl/Graduation-Show-10-July/tickets 11 juli https://kabk.stager.nl/Graduation-Show-11-July/tickets

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Het geluk daar is niet zoals hier.

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In 2015 gingen twee Nederlandse journalisten op zoek naar verhalen over staatloosheid in Europa. Naast complexe regelgeving waren er copingmechanismes en ook realiteitszin. Op basis van hun bevindingen ontwikkelde Creative Court ‘And now I am here’, een reflectieve video-installatie die vanuit verschillende perspectieven gevoelens van ontheemding bevraagt. Interviewfragmenten en filosofische citaten vermengen zich met beelden van videokunstenaar Farah Rahman, die ‘found footage’ deconstrueert en laadt met nieuwe associaties. Migratie is een terugkerend thema in haar werk.

Creative Court ontwikkelt kunstprojecten en reflecteert op vrede en recht.

‘I think that people who are in the same situation as me are more alive than you are. Because you have everything.’ – Hassana, Sahrawi en staatloos in Spanje.

Videokunstenaar: Farah Rahman Research en interviews: Giselle Vegter, Els Duran, Evelien Vehof Tolk en vertaling: Carlijn Teeven, Myrte Sara Huyts, Morgan Mekertichian Artistieke en zakelijke leiding: Creative Court

And now I am here is ontwikkeld in het kader van Art & Design Programma EU2016 Europe by People. Met dank aan alle geïnterviewden en aan de European Cultural Foundation, die het vooronderzoek mogelijk maakte.

www.creativecourt.org

Datum: Do 2 t/m zo 5 juni, Zuilenzaal Doorlopend, aanvang 19.00 uur Entree: gratis

Bezoekers van de voorstelling Nobody Home kunnen de video-installatie voorafgaand en na afloop van de voorstelling bezoeken.

http://www.compagnietheater.nl/voorstelling/and-now-i-am-here.html

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Opening performance: €urovisions by European Souvenirs at Framer Framed.

The exhibition Voices Outside the Echo Chamber: Questioning Myths, Facts and Framings of Migration takes the phenomenon of echo chambers as a starting point for understanding the meta-framing producing current discourses on migration. More information below. 

Curated by Katayoun Arian with works by Lawrence Abu Hamdan, Angela Anderson, Kaya Behkalam & Azin Feizabadi, Libia Castro & Ólafur Ólafsson, Banu Cennetoğlu, Harun Farocki, Foundland, Maryam Monalisa Gharavi and Daniela Ortiz. The form of recent debates about migration to the European continent mirrors that of online filter bubbles, or so-called echo chambers, in which individuals intensify their world-views by surrounding themselves with information that corroborates and echoes back their own beliefs. The recurrent use of terms such as ‘crisis’, ‘borders’ and even ‘human rights’ in these echo chambers, disregards the complexity of human mobility and movement, obscuring the histories created largely by European colonial powers, that call for closer attention to the conditions and uses of such words. The artists’ works in the exhibition break out of these echo chambers, freeing themselves from regulated discourses propagated through the language used by the media, NGOs and other institutions, which conveniently filters out all other possible perspectives. In an attempt to unsettle fundamental notions such as ‘human rights’ and ‘borders’, the exhibition calls attention to modernist knowledge-systems and structures of truth-making at work today. In destabilizing prevailing views on migration from a historical and contemporary perspective, and by shifting and displacing the meanings of supposedly fundamental concepts, the exhibition and the event program aim to create space for voices that are otherwise filtered out or marginalized. Forthcoming events include dialogues with collectives and individuals, artists, activists and thinkers on the injustices of the migratory control system and the discursive framework of human rights. Radio shows in collaboration with Ja Ja Ja Nee Nee Nee Read more: http://bit.ly/1RShpX9 The opening event is a Framer Framed collaboration with Ongekend Bijzonder and Beeld voor Beeld film festival. See: http://bit.ly/1YsjMk8

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“Yesterday the Indian Film Festival The Hague - IFFTH officially opened in the Zuiderstrandtheater in The Hague, Netherlands. After the speeches by the Director of the Film Festival, Mr Ricardo Burgzorg and some dignitaries, like the Ambassador of India to the Netherlands, we were treated to a unique live musical performance, accompanied by personal videos and pictures of people of Indian decent, skillfully blended by media artist and VJ Ms Farah Rahman. It was a beautiful way to start the Festival. The other musicians and vocalists on stage were: Klaas Hekman, Andro Biswane, Sandhya Sanjana & Satyakam Mohkamsing. They will perform their show (which is named 'Lalla Rookh Revisited') during the next few days in The Hague. For more information please visit the website of the ‪#‎IFFTH‬:http://indianfilmfestival.nl/nl/lalla-rookh-revisited/ To get you in the mood, check out one video I shot while sitting in the audience, enjoying the show.” - Original Fb post written by Fauzia Jonas. 

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By a coincidence I stumbled upon a big slide archive which contained more than 600 old Kodachrome slides. 

After carefully reviewing all the images, i selected, re-arranged, scanned and created a new photographic series of 9 photos in a period of two weeks.

The series titled “A.k.a. the life of” tells the story of a young child growing up into adolescence seen through the lens of her parent(s). The photographer made an effort framing, staging and capturing the child’s discovery of new things, holidays, road trips, playfulness, love for animals and finally as a teenager looking into her own reflection, slowly forming her identity as a young woman.

More info: fariatie.tumblr.com

© Farah Rahman 2015

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I found these on the street, i enjoy rescuing memories. At some point someone decided saving this personal archive was not important anymore. I selected, re-arranged, scanned and edited them into a new photographic series. Landscapes dissolving into blurred abstract colors, a lady walking in nature cornered by mold and dust. This serie tells the story of eroded memory’s formed together with emotions. Changing and blurring details, passing of years. The aim of this series is to create tension between remembering and forgetting, to raise questions about our own memory and why people save images. Are we afraid to lose moments in our lives? And if we lose this, does this mean we lose a piece of ourselve? Are images proof of our existence in the digital era?

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Memory is a fluid that encases an event; we do not recall the event itself, only the shape that the fluid describes

Tomato (via atrc) (via blankspacecollective)

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8-4 €urovisions  Spanish premiere in Sevilla at ZEMOS98 Festival.

€urovisions: looking at Europe from the migrant’s perspective 

From may 2012 untill now i participated as a live video artist and artistic researcher in the audiovisual remix project curated by Spanish organisation ZEMOS98. We attended different artist residencies in Londen, Warsaw, Seville, Istanbul and Amsterdam over a period of 12 months and attended different workshops and lectures in the field of audiovisual remix. We were given access to the countries audio-visual archives in order to use this as a base for ‘remixing’. In the Netherlands i worked with EYE film institute and Nationaal Archief. My co-workers with British Film Institute etc. By remixing this media we review, re-investigate and reconsider prevailing imagery of (im)migrants in European societies and re-map Europe visually geopgraphically and mentally.

The Live Cinema performance 'European Souvenirs' and our second performance '€urovisions' was performed at:

Next performance will be at the preview days of the Venice Biennale 2015 

- EYE Film Institute and De Balie in Amsterdam, British Film Institute in Londen, Mapping Festival in Geneva, Creative Commons Festival at Museu D’Art Contemporani De Barcelona and Madrid at La Casa Encendida, ZEMOS98 Festival in Sevilla, Hondakin Festival in Bilbao, S8 Festival in La Coruña,    Doku Fest in Kosovo, NEF summit in Horn Austria, Vrede van Utrecht Festival in Utrecht and at a Migration Conference in Lublin Poland.

Hosted at the EYE Film Institute in Amsterdam, the four artists performed the live audiovisual  remix show in front of a packed audience. €urovisions offers a challenging and multifaceted look at the contemporary story of immigration and Europe. The unique performance encourages the audience to reflect on the evolving role of the media and our interaction with representations of immigration and European identity.

Our audiovisual performance & research project started at ZEMOS98 festival in Seville April 2012. It is called European Souvenirs.Remixing media, shaking up our minds with intense workshops in Seville, Istanbul, Warschau and Amsterdam. It is a audiovisual trip through Europe’s archived memory’s, it’s issues & common grounds.