Behzad Khosravi Noori (b. 1976) is an artist and a researcher (PhD) based in Stockholm.
In April-May 2012, Behzad Khosravi Noori had a residency focused on a case study: The representation of Middle East and Middle Eastern in Swedish television since 1976 beginning of Multiculturalism in Sweden. A collaboration with the Multicultural Centre. The research was presented as a temporary banner installation during Fittja Open 2012 with the title ““MulticulturalISM is dead, Viva the Multicultural…”
Fittja Open as an opportunity to practice the logic of public art within the notion of communication and multiculturalism.
Multiculturalism or cultural pluralism is a policy, ideal, or reality that emphasizes the unique Characteristics of different cultures in the world, especially as they relate to one another in Immigrant receiving nations.
Sweden is one of the few countries in the world that practices Multiculturalism.
The denunciation of multiculturalism by the far right politicians, British,German and French premiers between late 2010 and early 2011 would have made more sense if European multiculturalism had actually ever existed.
This attitude assume us that multiculturalism was the best and only way of relation between different culture in divers societies and when it doesn’t work it means the idea of divers society is changed.
Right now it is not very surprising that the notion of old definition of cultural communication is renovated; the ideas such as Melting pot and assimilation that has a deep history of racism in the European countries.
Lets be honest, as an artist who works in the field of public art and communication, I have found the discourse of multiculturalism very problematic. In fact the practice of Multiculturalism in Sweden especially in Stockholm neither help the notion of co existence nor the open society. The best example is Fittja. The suburb recognized as a multicultural place in the realm of Multiculturalism. the main problem in this case is the relation between different parts of the city which in this case almost doesn’t exist.
“Fittja Open” is a brilliant concept in order to invite others to the multicultural environment or in order to bring Fittja to the center of the city, which as a matter of fact is if anything multicultural. I therefore see this as an opportunity to present (and rethink) the idea of multiculturalism as an already extinct idea, but at the same time an opportunity to celebrate multicultural society and the notion of diversity as a lung of our life and our city.
In this project I would therefore like to present, two banners at Kulturhuset and Multicultural center that says “MulticulturalISM is dead, Viva Multicultural…”, in order to create a symbolic relation between the lung and the heart of the city and celebrate the notion of multicultural society instead of Multiculturalism.
Behzad Khosravi Noori
Bathutä (René León-Rosales & Behzad Khosravi Noori)
Video installation with 5 monitors, headphones (2017)
Accessing utopia is an artwork by the collaborative artistic research group Bathutä. The piece is based on interviews with young Swedish activists who have engaged in organizations dealing with the multiple expressions of racism and social injustice in the Swedish society. Using artistic research methodology the project articulates a narrative strategy which aims to put forward the complexities in the young people’s understanding of their own activism, and hence their political subjectivities.
In bringing forward their narrations about and from contemporary Sweden and its current political state, the project also works with the politics of dialog and listening as a method of engagement in relation to the viewers. It attempts to perform a visibilisation – i.e. the visual production of silences, listening and articulations – of the politics of identifications of the group through the notion of art and the materiality of it.
This approach is staged in the format of a polyphonic multi-channel video installation, in which Accessing Utopia addresses questions of accessibility, institutional involvement and societal knowledge production, arguing for the necessity of critical perspectives on the power structures of knowledge production in society.
The video installation is part of Botkyrka municipality’s art collection, and was shown in the group exhibition Third Space (2017), curated by Anneli Bäckman.