Artist’s Biography

Bahar Noorizadeh’s work looks at the relationship between art and capitalism, and their entangled moral, social and organisational technologies. In her practice as an artist, theorist and filmmaker, she examines the conflictual and contradictory notions of imagination and speculation as they collapse into one another. Her research investigates the histories and the futures of economics, from cybernetic socialism to neoliberal finance, and activist strategies against the financialization of life and the living space, asking what redistributive historical justice might look like for the present. 

Noorizadeh is the founder and organiser of Weird Economies, a multi-authored platform dedicated to radical economic imaginaries. Her work has appeared at the Guggenheim Museum NYC (2024), Taipei Biennial (2023), Venice Architecture Biennial (2021), Transmediale Festival (2020, 2022), Tate Modern Artists’ Cinema Program (2018), and Geneva Biennale of Moving Images (2018) among others. She is the co-editor of the e-flux special issue on Iran (May 2024) and has contributed essays to e-flux Architecture, Journal of Visual Culture, and Sternberg Press, and anthologies by Duke University Press and MIT Press. Noorizadeh completed a PhD in Art at Goldsmiths, University of London and is currently teaching in MA Geo-Design at the Design Academy Eindhoven.

www.baharnoorizadeh.com

Access

Cooper Gallery is located to the right side of the DJCAD buildings on Perth Road. The entrance is via double doors which face onto a car park.

The gallery is on two floors. First floor has ramped access and disabled toilet.

Second floor is accessible via lift and for wheelchair access via a stairclimber. The exhibition and performance is on both the first and second floor of the gallery.

Please email in advance if you require lift or stairclimber access.

First floor is also accessible via 24 steps. Two flights of 12 steps with handrails are separated by a landing.

Exhibition videos are subtitled and captioned in English. Seating is provided and/or additional seating available, please ask an invigilator. 

For all enquiries please email: [email protected]

Toilets

The ground floor has a wheelchair accessible toilet. The toilet is gender neutral.

Interpretation

Large print versions of the exhibition information handout are available, please ask our Guides. If you require alternative formats for material in exhibitions please email or ask our Guides.
 

About the exhibition

The Debtor’s Portal, is the largest solo exhibition to date in the UK by Iranian-Canadian artist, writer and filmmaker Bahar Noorizadeh, co-curated with The Otolith Collective and Interrogates the entangled relationships between art, capitalism, imagination and collective futures.

Visit
13 February – 11 April 2026
Tuesday – Saturday, 12–5pm

Image Credit

Bahar Noorizadeh, Free to Choose, 2023 (Still) 
Courtesy of the artist
 

Funding support

The exhibition is supported by the National Lottery through Creative Scotland and with the kind support of Duncan of Jordanstone College of Art Centenary Trust. The Otolith Collective is supported using public funding by Arts Council England. 

Speakers' Biographies

Tiffany Kaewen Dang is a Lecturer in Landscape Architecture at the University of Edinburgh. Her research lies at the intersection of landscape studies, posthumanism, urban theory, settler colonialism, and decoloniality. Broadly speaking, her research is focused on the settler colonial geographies of Canada (and the Americas, to a certain extent). Her current research explores how other-than-human landscape systems and infrastructural systems can interact in generative ways. Tiffany holds a PhD in geography from the University of Cambridge, an MLA from Harvard University, and a BA from the University of Toronto.

Angela Dimitrakaki is a writer and Prof of Contemporary Art History and Theory at the University of Edinburgh. Working across Marxism and feminism, in 2025 she published Feminism. Art. Capitalism. (Pluto Press), partly an investigation into capital's complex intellectual hegemony, and Depression Era: A Collective Lens in the Age of Crisis (co-edited with A. Strecker, K8), which documents a Southern European photography collective's interventions in the public sphere. She was recently awarded a Leverhulme Research Fellowship to explore how the idea of 'family' has informed histories of art and photography since the postwar years.

Charles Tonderai Mudede is a Zimbabwean-born American cultural critic, filmmaker, college lecturer, and writer. He is the Senior Staff Writer of the Stranger, a lecturer at Cornish College of the Arts at Seattle University, and has collaborated with the director Robinson Devor on three films, two of which Police Beat and Zoo, premiered at Sundance, and one of which, Zoo, screened at Cannes, and the most recent of which, Suburban Fury, premiered at New York Film Festival. (Police Beat is now part of MOMA’s permanent collection.) Mudede, whose essays regularly appear in e-Flux and Tank Magazine, is also the director of Thin Skin (2023).

Bahar Noorizadeh’s work looks at the relationship between art and capitalism, and their entangled moral, social and organisational technologies. In her practice as an artist, theorist and filmmaker, she examines the conflictual and contradictory notions of imagination and speculation as they collapse into one another. Her research investigates the histories and the futures of economics, from cybernetic socialism to neoliberal finance, and activist strategies against the financialization of life and the living space, asking what redistributive historical justice might look like for the present. 

Noorizadeh is the founder and organiser of Weird Economies, a multi-authored platform dedicated to radical economic imaginaries. Her work has appeared at the Guggenheim Museum NYC (2024), Taipei Biennial (2023), Venice Architecture Biennial (2021), Transmediale Festival (2020, 2022), Tate Modern Artists’ Cinema Program (2018), and Geneva Biennale of Moving Images (2018) among others. She is the co-editor of the e-flux special issue on Iran (May 2024) and has contributed essays to e-flux Architecture, Journal of Visual Culture, and Sternberg Press, and anthologies by Duke University Press and MIT Press. Noorizadeh completed a PhD in Art at Goldsmiths, University of London and is currently teaching in MA Geo-Design at the Design Academy Eindhoven.

Access

Cooper Gallery is located to the right side of the DJCAD buildings on Perth Road. The entrance is via double doors which face onto a car park.

The gallery is on two floors. First floor has ramped access and disabled toilet.

Second floor is accessible via lift and for wheelchair access via a stairclimber. The event will take place on the second floor of the gallery.
The exhibition is on both the first and second floor of the gallery.

Please email in advance if you require lift or stairclimber access.

First floor is also accessible via 24 steps. Two flights of 12 steps with handrails are separated by a landing.

Exhibition videos are subtitled and captioned in English. Seating is provided and/or additional seating available, please ask an invigilator. 

For all enquiries please email: [email protected]

Toilets

The ground floor has a wheelchair accessible toilet. The toilet is gender neutral.

Interpretation

Large print versions of the exhibition information handout are available, please ask our Guides. If you require alternative formats for material in exhibitions please email or ask our Guides.
 

About the exhibition

The Debtor’s Portal, is the largest solo exhibition to date in the UK by Iranian-Canadian artist, writer and filmmaker Bahar Noorizadeh, co-curated with The Otolith Collective and Interrogates the entangled relationships between art, capitalism, imagination and collective futures.

Visit
13 February – 11 April 2026
Tuesday – Saturday, 12–5pm

Image Credit

Bahar Noorizadeh, The Red City of the Planet of Capitalism, 2021 (Still)
Courtesy of the artist
 

Funding support

The exhibition is supported by the National Lottery through Creative Scotland and with the kind support of Duncan of Jordanstone College of Art Centenary Trust. The Otolith Collective is supported using public funding by Arts Council England. 

Artists' Biographies

Adam HajYahia’s work examines how aesthetic practices of image-making, performance, writing, and sound—both within and outside the art market—reflect on, simulate, initiate, and break apart sociality and political consciousness, particularly after the advent of colonial modernity. Through his work as a scholar, writer, and curator, he deals with the at once harmonious and dissonant relations between psychoanalysis and social organization, desire and labor, and settler-colonial and imperial economies and forms of political rebellion. He is currently Associate Curator at the Center for Human Rights & the Arts, Bard College. 

Bahar Noorizadeh’s work looks at the relationship between art and capitalism, and their entangled moral, social and organisational technologies. In her practice as an artist, theorist and filmmaker, she examines the conflictual and contradictory notions of imagination and speculation as they collapse into one another. Her research investigates the histories and the futures of economics, from cybernetic socialism to neoliberal finance, and activist strategies against the financialization of life and the living space, asking what redistributive historical justice might look like for the present. 

Noorizadeh is the founder and organiser of Weird Economies, a multi-authored platform dedicated to radical economic imaginaries. Her work has appeared at the Guggenheim Museum NYC (2024), Taipei Biennial (2023), Venice Architecture Biennial (2021), Transmediale Festival (2020, 2022), Tate Modern Artists’ Cinema Program (2018), and Geneva Biennale of Moving Images (2018) among others. She is the co-editor of the e-flux special issue on Iran (May 2024) and has contributed essays to e-flux Architecture, Journal of Visual Culture, and Sternberg Press, and anthologies by Duke University Press and MIT Press. Noorizadeh completed a PhD in Art at Goldsmiths, University of London and is currently teaching in MA Geo-Design at the Design Academy Eindhoven.

www.baharnoorizadeh.com

Nida Sinnokrot is an artist and educator whose work explores how various forms of power and bias are embedded in dominant narrative structures and attendant articulations of time and space. Working across film, video, photography, sculpture, installation, and agriculture, Nida seeks to expose and cannibalize -through tactile, tactical, and material acts of technical and conceptual détournement - various technologies of control that give rise to shifting social, political and environmental instabilities. Nida is a co-founder of Sakiya – Art | Science | Agriculture, an international residency programme and research platform in the West Bank village of Ein Qinya, and Associate Professor in the Art, Culture, and Technology program (ACT) at MIT in Cambridge, Massachusetts.

Access

Live captions available via zoom.
All enquiries email [email protected]

Image credit

Nida Sinnokrot, Jonah’s Whale, 2014.
 Steel, gypsum, Styrofoam, carpet, vinyl, plastic conduit, aluminum, foam, fabric, 7' 10 1⁄2" × 15’ 9" × 39' 4 1⁄2"
Photo: Trevor Good

Funding support

The exhibition is supported by the National Lottery through Creative Scotland and with the kind support of Duncan of Jordanstone College of Art Centenary Trust. The Otolith Collective is supported using public funding by Arts Council England. 

Artists' Biography

Bahar Noorizadeh’s work looks at the relationship between art and capitalism, and their entangled moral, social and organisational technologies. In her practice as an artist, theorist and filmmaker, she examines the conflictual and contradictory notions of imagination and speculation as they collapse into one another. Her research investigates the histories and the futures of economics, from cybernetic socialism to neoliberal finance, and activist strategies against the financialization of life and the living space, asking what redistributive historical justice might look like for the present. 

Noorizadeh is the founder and organiser of Weird Economies, a multi-authored platform dedicated to radical economic imaginaries. Her work has appeared at the Guggenheim Museum NYC (2024), Taipei Biennial (2023), Venice Architecture Biennial (2021), Transmediale Festival (2020, 2022), Tate Modern Artists’ Cinema Program (2018), and Geneva Biennale of Moving Images (2018) among others. She is the co-editor of the e-flux special issue on Iran (May 2024) and has contributed essays to e-flux Architecture, Journal of Visual Culture, and Sternberg Press, and anthologies by Duke University Press and MIT Press. Noorizadeh completed a PhD in Art at Goldsmiths, University of London and is currently teaching in MA Geo-Design at the Design Academy Eindhoven.

www.baharnoorizadeh.com

The Otolith Group is an award-winning artist led collective founded by Anjalika Sagar and Kodwo Eshun in 2002.

Their moving image, audio works, performances and installations are characterized by an engagement with the legacies and potentialities of diasporic futurisms that explore modes of temporal anomalies, anthropic inversions and synthetic alienation.

Recent solo exhibitions include: I See Infinite Distance Between Any Point and Another, greengrassi, London (2023); A Sphere of Water Orbiting a Star, Galway Arts Centre, Galway and Hangar Artistic Research Centre, Lisbon (both 2023); What the Owl Knows, Secession, Austria (2022-2023); Xenogenesis, Irish Museum of Modern Art, Dublin (2022-2023); Sharjah Art Foundation (2021-22); SAAG (2020); Buxton Art Gallery, Melbourne (2020); ICA, Virginia (2020); Van Abbe Museum, Eindhoven (2019); O Horizon, The Rubin Museum of Art, New York (2018); Reconstruction of Story 2, National Museum of Modern and Contemporary Art, Korea (2018); The Radiant, Art Gallery Miyauch, Japan (2017); In the Year of the Quiet Sun, CASCO, Utrecht (2014); Novaya Zemlya, Museo Serralves, Porto (2014); and Medium Earth, REDCAT (Roy and Edna Disney/Cal Arts Theater), Los Angeles (2013).

Approaching curation as an artistic practice of building intergenerational and cross-cultural platforms, the collective has been influential in critically introducing particular works of artists such as Chris Marker, Harun Farocki, Anand Patwardhan, Etel Adnan, Black Audio Film Collective, Sue Clayton, Mani Kaul, Peter Watkins, and Chimurenga in the UK, US, Europe, and Lebanon.

otolithgroup.org

Access

Cooper Gallery is located to the right side of the DJCAD buildings on Perth Road. The entrance is via double doors which face onto a car park.

The gallery is on two floors. First floor has ramped access and disabled toilet.

Second floor is accessible via lift and for wheelchair access via a stairclimber. The In-conversation will take place on the second floor.
The exhibition is on both the first and second floor of the gallery.

Please email in advance if you require lift or stairclimber access.

First floor is also accessible via 24 steps. Two flights of 12 steps with handrails are separated by a landing.

Exhibition videos are subtitled and captioned in English. Seating is provided and/or additional seating available, please ask an invigilator. 

Alcoholic drinks will be served. Non alcoholic refreshments available.

For all enquiries please email: [email protected]

Toilets

The ground floor has a wheelchair accessible toilet. The toilet is gender neutral.

Interpretation

Large print versions of the exhibition information handout are available, please ask our Guides. If you require alternative formats for material in exhibitions please email or ask our Guides.
 

About the exhibition

The Debtor’s Portal, is the largest solo exhibition to date in the UK by Iranian-Canadian artist, writer and filmmaker Bahar Noorizadeh, co-curated with The Otolith Collective and Interrogates the entangled relationships between art, capitalism, imagination and collective futures.

Visit
13 February – 11 April 2026
Tuesday – Saturday, 12–5pm
 

Funding support

The exhibition is supported by the National Lottery through Creative Scotland and with the kind support of Duncan of Jordanstone College of Art Centenary Trust. The Otolith Collective is supported using public funding by Arts Council England. 

Image credit

Bahar Noorizadeh, Weird Economies’ Flows Diagram, 2022
Courtesy of the artist