Selected Projects / Performances

2026 2025 2024
  • Beyond the Black Box Festival, Hexeneinmaleins premiere, Antwerp, Belgium
  • AMOK Brugge, Rainbow installation, Bruges, Belgium
  • De Delicate Revolutie: Over kunst en identiteit/eenzaamheid, Bruges, Belgium
2023 ​2022 2020 2019 2018  2017  2016 
  • Les Halles Saint-Géry/Sint Gorikshallen,Working Title Festival, Brussels, Belgium
  • La Bellone - House of Performing Arts, Solo exhibition, La Face B Side, Brussels, Belgium
  • Kulturpackt, Orient trifft Okzident, Rathaus, Schweinfurt, Germany
  • Les Halles, Foire Attraction, Brussels, Belgium
  • Uferstudios, Wild Card - Life Long Burning project, Berlin, Germany
2015 
  • Nuit Blanche, Brussels, Belgium 
2014 
  • FMA François Martens Architects,, solo exhibition, Drawings, Brussels, Belgium 
2011 
  • 18th annual Watermill Center Summer Benefit, Voluptuous Panic, Long Island, New York, USA
  • Robert Wilson's 70th birthday celebration, Flowers-performance, Elmgreen & Dragset, Berlin, Germany
  • Sylvester Manor, Shelter Island, Shelter, New York, USA
2006 - 2010 
  • Kaitheater, Costume design, Tom & Bess O’Bedlam, directed by Sybille Wilson, Brussels, Belgium, 2010
  • Beijing Music Festival, Costume design, Semele (Händel), directed by Zhang Huan, Beijing, China, 2010
  • Kleine Akademie, Brussels, Belgium, 2008
  • Flagey, 100% Schubert Festival, Brussels, Belgium, 2008
  • City Sonics, Festival des arts sonores, Mons, Belgium, 2006
  • Lower Manhattan Cultural Council, set design, Death in vacant lot! (Shuji Terayama), Southwing Company, New York City, USA

Early Career / Assistant Design

  • Assistant designer, costume assistant, and performer with institutions and artists including: Théâtre Royal de la Monnaie / De Munt, Robert Wilson, Zhang Huan, The Watermill Center, Théâtre du Soleil, Bayerisches Staatsschauspiel
  • Ongoing collaborations in opera and large-scale stage productions alongside independent artistic practice

Selected Venues / Presentations

  • M HKA Museum of Contemporary Art, Antwerp
  • KANAL - Centre Pompidou, Brussels
  • Flagey, Brussels
  • DE SINGEL, Antwerp
  • Watermill Center, NY
  • Kaaitheater, Brussels
  • Operadagen Rotterdam
  • KIKK Festival, Namur
  • C-mine, Genk

Grants / Selected Residencies

  • 2024 Production grant - Flemish government
  • 2022 Research grant - Flemish government
  • 2020 Research grant - Flemish government
  • 2019 Production grant - Flemish Community Commission of Brussels
  • 2019 Production grant - Flemish government
  •  2019 Artist in Residence - Villa Empain / Boghossian Foundation, Brussels
  • 2017 Production grant - Flemish Community Commission of Brussels
  • 2016 Production grant - Federation Wallonia-Brussels 
  • 2016 Flemish Community Commission of Brussels
  • 2011 Artist in Residence – Watermill Center, Long Island, NY

Education

  • Master in Scenography, La Cambre – École Nationale Supérieure des Arts Visuels, Brussels, 2003–2008
  • BA Theater / Drama Université Sorbonne Nouvelle, Paris, 2001–2003
  • BA Theatre / Drama, Ludwig-Maximilians-Universität, Munich, 1999–2001

Press & Links

  "Freedom for women to define themselves, to trust their own knowledge instead of waiting for others - men - to be good enough to think of that. Witches, as we know them from stories, are the model for this. Though they may be mostly a figment of the imagination, Fakoor evokes them here very convincingly by conjuring with stunningly simple means - light, space, image and sound." 

“Fakoor shares a research on the imagery associated with witches. Nature images flow into urban landscapes and poetic in-between zones such as a choreography of lines drawn by women's hands in the sand, or transparent foil that creates a surreal reflection like a kind of mirage in the forest. Atmospheric strings, silence and high, low, old, young, hesitant and confident voices speaking different languages alternate. The voices try to put fears into words, or ideas about witches. Hexeneinmaleins is a tuneful insight into a working process that will later be developed into a new performance.”

“In a special way, Rainbow combines a mystical poem about a mythical bird and the scientific, Newtonian discourse about the splendour of the rainbow into a contemporary reflection on identity. At the same time, Fakoor’s performative installation remains open to various interpretations by her audience. Just as we sit around it in an ellipse, which both disfigures and stabilises our perspective, Rainbow is strongly focused on a reflection on yourself, on your own perspective and view of the world.”

“Mirrored surfaces hang together and rotate around their axes like a giant mobile. They are fragile mirrors. Full of dents and creases. They reflect the image of the artist and scenographer Nazanin Fakoor in strange color waves. Like a rainbow that keeps losing its form. Or like us perhaps: liquid under the armor of our skin.”

“Intimate, dark and yet full of colour, breath, voices, bodies; everything is sound, everything is part of space, everything is choreography. Nazanin Fakoor played with Rainbow not one but several senses in a message full of hope. As it is said in the piece itself, "Everything here is outside of time, outside of measurements, so forget about the beginning, forget about the end.”

“Nazanin Fakoor has created a highly sensory light installation that is enriched with live vocal soundscapes by the SWARA Vocal Ensemble, in a composition by Aftab Darvishi. Their music theatrical installation transports you in the mystical text of the twelfth-century Persian poet Attar and at the same time invites you to come to repentance in the stratification of yourself.”

               
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