Reuter in Tehran (2026) is a new live performance conceived by Bahar Noorizadeh, originally for Cooper Gallery, Dundee, and now redeveloped for The Showroom in collaboration with London-based musician and sound artist Mhamad Safa.

Staged as a horroristic dialogue between an anomalous financial auditor and Baron Reuter, the concessionaire of the first imperial bank in Persia, Reuter in Tehran retraces the symptoms and the signs of a financial contagion initiated by the pathogen of the European central banking system.

The performance forms part of the public programme for Bahar Noorizadeh’s The Debtor’s Portal exhibition and mural commission: In Mortua Manu / In A Dead Hand.

About
Bahar Noorizadeh, born in 1988 in Iran, examines the relationship between art and capitalism and their entangled moral, social and organisational technologies. In her practice as an artist, theorist and filmmaker, she investigates the histories and the futures of economics, from ancient monetary systems to cybernetic socialism and neoliberal finance, and the techno-fictions underpinning geopolitical relations and logistical infrastructures. 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 n+1, 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. She is currently teaching in MA Geo-Design at the Design Academy Eindhoven and is a resident artist at the Rijksakademie (2026-2027).
baharnoorizadeh.com

Mhamad Safa is a London-based musician, sound artist, and architect whose practice spans various sonic worlds, including music for moving image, sound installations, and research in acoustics. His work assembles sound design, micro-sampling, algorithmic sound technology, psychoacoustics, field recordings, and their graphic interpretations. He is an associate lecturer in Architecture and Media Studies at the Royal College of Art. He also lectures in Sound Arts at the London College of Communication.
Mhamadsafa.com