January 24 - February 15, 2015
Press: The Guardian, Houman Harouni
Pedal
stage with skirt, mechanized pedal, carpet, photographs, with audio
Farideh Sakhaeifar, 2015
Untitled
inkjet reverse mounted on plywood with polymer medium
Workers Are Taking Photographs
inkjet on paper
Farideh Sakhaeifar, 2008
inkjet on metallic pearl paper mounted on 1/8" sintra
Farideh Sakhaeifar, 2014
Video, Untitled
video loop, no audio
LAUGH TRACK, opening night, January 24, 2015
Terry Berkowitz, Luca Pagliari and Farideh Sakhaeifar
Farideh Sakhaeifar with Shadi Harouni
Mohammad Golabi, Sadra Shahab, Pooya Amin Javaheri, Milad Owji
Anthony Graves and Carla Herrera-Prats of Camel Collective
Farideh Sakhaeifar, Sara Rahbar, and Arash Yaghmaian
'Laugh Track' is Farideh Sakhaeifar’s first solo-exhibition in New York City and will run concurrently with a solo-show by the artist in Barcelona, Spain. Born in Tehran, Iran in 1985, she has lived in New York City for three years having first come to the United States to attend Cornell University’s MFA program. Primarily a photographer, Farideh’s work in 'Laugh Track' will also include video and sculptural installation that spans her final years in Tehran and recent years in the U.S. 'Laugh Track' draws primarily from three bodies of work that are unified by the leitmotif of a blank, white surface: Cathouse FUNeral will exhibit a selection of medium-format photographs, 'Workers Are Taking Photographs', from Sakhaeifar’s exhaustive series of over 150 images showing male, blue-collar, Iranian workers taking their own picture using a cable release in a meaningful, minimal set that has the photographer on location standing behind the individual men holding up a white card backdrop, her presence indicated only by her two visible hands seen on either side of the white card.
A series of small-scale, collaged photographs that seamlessly conflate found images of recent ISIS internet posts of exploding mosques and monuments and found images of NASA rocket launches, creating sardonic reflections on spectatorship, violence, and transcendence.
An installation of 'Pedal' animates the gallery with audible, yet incomprehensible, zealous chanting and cheering from a mechanically rigged stage that has a sole pedal that Supreme Leaders use to rouse the masses with slogans and propaganda.
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Farideh was recently in the LMCC's studio program and was an ICP Infinity Award nominee for young photographers. In 2015 her work will be published in The New School's LIT magazine and she was recently interviewed on Huffington Post Live regarding her project 'U.S. army supplies are making their way into Iran'. In 2008 she was selected for the 11th Iranian National Biennial of Photography.
