My practice came from exploring the convivial nature of ideas, and involves the use of social gestures to articulate various forms of tacit knowledge. I do this through working with people, sound, food, video, installation and performance.     

My current research imagines the body as a live-archive, synthesised from environmental intensities that play with bits of matter and bits of data until they achieve something that coheres and becomes meaningful. In doing so, I seek to constantly enmesh and engage visual, linguistic, and poetic objects with biological, ethical and economic ones. 

I navigate the above with the use of different presentation formats, such as open discussions, staged performances and participatory installations. These methods inhabit an imaginal approach to space, in which individual bodies echo and resonate with the broader socio-political and historical contexts that are constantly (re)producing them. In doing so, I am seeking to collapse essentialised narratives and binary divides by implementing otherness as a form of disruptive (and simultaneously generative) technology.  

Currently, I am studying an MA in Contemporary Photography; Practices and Philosophies at Central Saint Martins, University of the Arts London. 

Best,
Abbas Zahedi
(b. 1984, 
London)

"Conceptual Survivalism is a meta-mode of being,
seeking to (re)configure The Order of Things,
as *things* that need doing."
- abbzah

The evolution towards a framework of neo-diaspora was an effort to process and de-historicise my experiences of digestion, death and displacement. Taking place alongside installations, performances and images, highlighting Technologies of Otherness amidst hyper-connected realities. 

This method developed its own poignancy in light of contemporaneous social and informatic shifts. Thus my phrasing followed on from this; expressing that I could no longer relate to notions of (geo)diaspora in the traditional sense - as a movement about margins and metropoles. But instead, it had become an entanglement of survival, within a complex and transitional state of belonging to multiple imaginal spaces. 

My earlier practice of stone-carving, geometric drawing and calligraphic sketching, emerged out of a desire to learn the cultural syntax of my iranian and muslim heritage. It then became a process of crafting shapes, which I could photograph and use to explore the poetics of my own writing and performative work. In experiencing this transition (towards-and-away-from) an order of forms - I realised that my draw to the past was the result of a very present preoccupation with identity, which I chose to express in the form of maternal DNA activation. 

This rendered my curiosity towards establishing embodied processes, which could inhabit latent potential and bypass my scientific training. A shift that enabled access to contemporary notions of art, philosophy and poetics; forming the basis of a neuro-diverse approach to research. It was at this stage that I realised many neo-diasporic psyches do not inherit the Kantian leap - a pre-requisite to modern practice. So I had to endure the trauma of the abyss, plus ongoing negotiations with ancestral trajectories. 

A good deal of my current work seeks to expand my understanding of world beyond representational frames, via imaginal re-programmings of islamic, avestan and current cosmologies. Opening up space for a discourse of intuition, on dissolution and performative subjectivity. My desire to go beyond the image, moves me to render language as a solvent for significance. The resulting pursuit enters at the limits of hyper-fluid consciousness - a critical juncture where one diasporic phase morphs into another, until the concept of origin becomes obsolete amidst a mad-proliferation of otherness. This paves the way to orientate myself without the need for a sense of Self. Whilst still allowing for the embrace of non-signifying-signifiers, which are fully immersed, intimate and free to move in multiple simultaneous directions.