His works have been presented in festivals across Europe including: Rencontres Choreographiques Internationales de Seine-Saint-Denis, Springdance, Temps d’Images Cluj, Tanz im August Berlin, Antistatic Festival Sofia, European Festival of Contemporary Dance Kraków/Bytom, Paris Quartier d'ete, Exodos Festival Ljubljana, Timisoara Performing Arts Festival and in venues such as: Hebbel Am Ufer (HAU) Berlin, Tanzquartier Wien, National Dance Centre Bucharest, The Paintbrush Factory Cluj, Akademie der Künste Berlin, Alfred Ve Dvore Theater Prague, Teatri de Vita Bologna, Oberwelt e.V. Stuttgart, Eastwards Prospectus Gallery Bucharest.
He was artist in residence at Tanzquartier Wien, National Center of Dance Paris, Hebbel Theater Berlin, Centre National de Franche-Comte Chorégraphique of Belfort, La Manufacture, Atelier du Rhin Colmar.
In 2013 Farid Fairuz was a fellow at Akademie der Künste in the Performing Arts section.
In 2006 he was nominated for “Paris-Europe Prix 2006” by Maison d'Europe et d'Orient, Paris. In 2015 he was awarded the National Dance Centre's Prize for imposing a new institutional discourse on contemporary art.
In the last years Farid Fairuz was performing works by Alexandra Pirici and Manuel Pelmus at Kunsthalle Dusseldorf, Tate Modern London, Russian Museum, St. Petersburg, HAU Berlin, Kunshalle Wien/TQW Wien and he has been part of the collective work Blindspot (initiated by Karen Kipphoff) presented at Kunsthalle Bergen in the frame of Meteor Festival.
His last work “We are all lichens” was presented at the end of 2017 at Paintbrush Factory Cluj-Napoca and at Omnia Hall – The National Dance Centre Bucharest.
Festival.
From February till April 2018 Farid Fairuz is performing a mediator of presence (through a hologram image) part of "Co-Natural" - a new work by Alexandra Pirici at New Museum, New York.
Based on his practice developed inside the process of 'We are all lichens" he was invited (by Kilobase Bucharest) to engage with the visitors of Supersimetrica 2018, Madrid, in a subtle still infectious way. For a few days he experimented a ”misleading tour” in which the participants were invited to twist their perception and to exercise dissolving the boundaries between their bodies and the art works, conversations, objects, material and immaterial elements, spaces, thoughts, sounds, feelings, and all other bits of information present on the spot.
DOWNLOAD CV (Update 2016)
