My recent painting series is a frank confession of the contradictions inherent in my origins and the rituals that were engaged in inverting values to construct a ‘reality.’ Fighting, hiding, bravery, timidness and obscuring my femininity were the contradicting and confusing values that I learned in school.
Today in my studio:
working on a new painting on canvas. I’m preparing myself for my solo painting show “Hidden Camera” on Feb 7th!
I’m getting fussy now…can’t finish the piece…
Winter time in a village in Azerbaijan, with my sound designer/sister Negar Behbahani during filming “Ride the Caspian,” 2011
JOIN ME FOR GO To hear about the challenges and rewards of filming in Baku, Azerbaijan + Cappadocia, Turkey + Tehran, Iran
a Brooklyn Museum community-curated
open studio project
SEPTEMBER 08 + 09, 2012
I would be delighted to welcome you into my studio along with sound designer + sister, NEGAR BAHBAHANI—direct from Iran—for casual conversation, and of course, tea, throughout the afternoon.
A chance to peak inside the enigmatic studio of Bahar Behbahani! Come see where I paint, edit, and share some Saffron Tea with me….
Ride the Caspian received a beautiful writeup on the Queensland GOMA Museum blog by Reuben Keehan! Catch the whole thing here.
"For the last couple of years I’ve been quite interested in the “landscape theory” that informed the work of radical Japanese filmmakers like Nagisa Oshima, Koji Wakamatsu and Masao Adachi and the photographer Takuma Nakahira in the 1960s and 70s (see this fascinating interview with Adachi — himself a fascinating guy — at Midnight Eye). The idea was essentially that landscape, even picturesque landscape, is shaped by ruling powers, and that it, in turn, has a role in shaping the lives and sensibilities of those who live within it.
With Ride the Caspian, Menlibayeva and Behbahani complicate this account in interesting ways, lending it some contemporary nuance. They seem to suggest a non–linear version of cultural inheritance that overlaps in time and space, and also the role of certain libidinal forces in mediating the relationships that take place there. Which begs the question: does desire liberate us from the power of landscape, or is it part of the landscape of power?”