Filmform (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes.
In the film A Monument to the Invisible Citizen we follow the Non-Aligned-Movement from the start in 1956 with the Brijuni Declaration between Jamal Abdul Nasser (Egypt), Jawaharlal Nehru (India) and Josep Broz Tito (Yugoslavia), until the movement’s first summit in Belgrade in 1961. Furthermore, it explores a possible link between the Iran-Iraq War and the Alliance Non-Movement Summit in Havana in 1979, the same year that divisions began to arise in the movement. The film explores the ambivalent economic and cultural conditions that existed between Yugoslavia and both Iran and Iraq during this war.
Parallel to this, it surveys the relationship between anti-fascist memorial monument with focus on Petrova Gora memorial site (1981) as one of the last attempt of building an antifascist memorial in Yoguslavia, and the monument to the invisible citizen in the professor Balthazar episode Martin make it to the top (1967).
Behzad Khosravi Noori, Ph.D is an artist, writer, educator, playgrounder, and necromancer. His research-based practice includes films, installations, as well as archival studies.
His works investigate histories from The Global South, labor and the means of production, and histories of political relationships that have existed as a counter narration to the east-west dichotomy during the Cold War. By bringing multiple subjects into his study, he explores possible correspondences seen through the lenses of contemporary art practice, proletarianism, subalternity, and the technology of image production. He analyses contemporary history to revisit memories beyond borders, exploring the entanglements and non/aligned memories. Behzad Khosravi Noori uses personal experience as a springboard to establish, through artistic research, a hypothetical relationship between personal memories and significant world events between micro and macro histories. His works emphasize films and historical materials to bring the questions such as what happens to the narration when it crosses the border? What is the future of our collective past? In his practice, he reflects upon the marginalia of artistic explorations in relation to art, the history of trans-culturalism, and global politics.
His ongoing artistic research project, The landscape of Imagination, analyses archival photographs captured with a camera known in the Urdu language as the “Soul Catcher” in relation to backdrop painting in the context of the Global South.
The search to propose a transdisciplinary practice point to the complexity of the subject and context of the inquiry and how substructures perform in creating connections between seemingly irreconcilable arenas and forms of urban life and its transnational characteristics.
Khosravi Noori’s works have been shown at Kalmar Museum, Malmö art Museum,
Venice Biennale,Timișoara Biennale, Ural industrial biennale, 12.0 Contemporary Islamabad, Tensta Konsthall, Sakakini art institution Ramallah Palestine, HDLU Zagreb, WHW Zagreb, Botkyrka Konsthall, CFF (Centre of Photography, Stockholm), Marabouparken, Stockholm, Centre of Contemporary art, Riga, Arran Gallery Tehran, among other venues.
He is a member of the editorial board of VIS – Nordic Journal for Artistic Research.