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Bahar is an artist, writer and filmmaker. She is the founder of Weird Economies platform.

Bahar Noorizadeh looks at the relationship between art and capitalism. In her practice as an artist, writer and filmmaker, she examines the conflictual and contradictory notions of (artistic) imagination and (financial) speculation as they suffuse one another. Her research investigates the histories of economics, cybernetic socialism, and activist strategies against the financialization of life and the living space, asking what redistributive historical justice might look like for the present. Bahar is the founder of Weird Economies, a co-authored and socially-connected project that traces economic imaginaries extraordinary to financial arrangements of our time. She completed a PhD in Art at Goldsmiths, University of London.

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Bahar reflects on her practice as an art-subject implicated in the larger-scale cultural economy and the creative industries, as parallel to the evolution of neoliberalism towards financialization. Engaging a diverse chrono-political approach in which contingent histories and promissory futures interact, her work disseminates as video (sci-fi documentaries and video game speedruns) writing (finance and weird fiction,) and real-time socially-connected practice (in the framework of the muti-authored platform Weird Economies.)

Bahar’s work has appeared at the German Pavilion, Venice Architecture Biennial 2021, Taipei Biennial 2023, Warsaw Biennial 2021, Tate Modern Artists’ Cinema Program, Transmediale Festival, DIS Art platform, Berlinale Forum Expanded, and Geneva Biennale of Moving Images among others. Bahar has contributed essays to e-flux Architecture, Journal of Visual Culture, and Sternberg Press; and forthcoming anthologies from Duke University Press and MIT Press.

Doctoral Fellowship, Social Science and Humanities Research Council (SSHRC) of Canada (2019–2023)

Canada Council for the Arts (2022, 2021, 2016, 2015)

Hans Nefkens Foundation Video Award (shortlisted, 2020)

Moscow International Experimental Film Festival (honorary mention 2018, 2019)

“Generations Award”, Biennale of Moving Images Genève (winner, 2016)


Noorizadeh, B. and Saad, B. (2024). Transience: Cosmopolis. In: Z. Blass, M. Jue, and J. Rhee, eds., Informatics of Domination. Durham: Duke University Press.

Noorizadeh, B. (2024). Teslaism. In: M. Marder, and G. Tusa, eds., Contemporanea. A Glossary for the XXI Century, Cambridge: MIT Press, pp. 273-288.

Noorizadeh, B. (2023). The Great Illiquidity. In: G. Zhexi Zhang, ed., Catastrophe Time!, London: Strange Attractor Press, pp. 82-100.

Noorizadeh, B. (2021). The Red City of the Planet of Capitalism. In: T. Zolghadr, ed., REALTY — Contemporary Art, Land Grabs, and other Options, Old and New, Berlin: Hatje Cantz, pp. 127-133


(2023) Taipei Biennial

(2023) Open Systems, Singapore Art Museum

(2023) Transmediale Festival, Berlin.

(2022) Warsaw Biennial

(2022) The Radical Imaginary II: Reclaiming Value. VOX. Montreal.

(2021) Venice Architecture Biennial, German Pavilion.

(2021) The Red City of the Planet of Capitalism (Solo Exhibition), Museum Folkwang. Essen. Germany.

(2019) Governance Machines and the Future of Futures (Solo Exhibition), Mercer Union. Toronto.

(2018) Mountain of the Sun (Solo Screening), Tate Modern. London