Neshat tehran

Iranian artist, film director, and photographer

Shirin Neshat
Neshat at the Viennale
Born	() March 26, (age&#;67) Qazvin, Imperial State of Iran
Nationality	Iranian-American
Education	University of California, Berkeley (BA, MA, MFA)
Known&#;for	Mixed media performance, video installations, photography
Notable work	The Shadow under the Web (), Speechless (), Women without Men ()[1]Rapture ()
Movement	Contemporary art
Spouse	Kyong Park (divorced)[2]
Partner	Shoja Azari[2]
Awards	Silver Lion Venice Film Festival, Golden Lion Venice Biennale

Shirin Neshat (Persian: شیرین نشاط; born March 26, )^[3][4] is an Iranian photographer and visual artist who lives in New York City, known primarily for her work in film, video and photography.^[5][6] Her artwork centers on the contrasts between Islam and the West, femininity and masculinity, public life and private life, antiquity and modernity, and bridging the spaces between these subjects.^[1][7]

Since the Islamic Revolution, she has said that she has "gravitated toward making art that is concerned with tyranny, dictatorship, oppression and political injustice.

Although I don’t consider myself an activist, I believe my art – regardless of its nature – is an expression of protest, a cry for humanity.”^[8]

Neshat has been recognized for winning the International Award of the XLVIII Venice Biennale in ,^[9] and the Silver Lion as the best director at the 66th Venice Film Festival in ,^[10] to being named Artist of the Decade by Huffington Post critic G.

Roger Denson.^[11] Neshat was a visiting critic in the photography department at the Yale School of Art in ^[12]

Early life and education

Neshat is the fourth of five children of wealthy parents, brought up in the religious city of Qazvin in north-western Iran^[13] under a "very warm, supportive Muslim family environment",^[14] where she learned traditional religious values through her maternal grandparents.

Shirin neshat artist biography She was very intimidated by the New York art scene and felt that the art she was creating was not significant enough. October 22, Shoja Azari [ 2 ]. Retrieved June 27,

Neshat's father was a physician and her mother a homemaker. Neshat said that her father "fantasized about the west, romanticized the west, and slowly rejected all of his own values; both her parents did. What happened, I think, was that their identity slowly dissolved, they exchanged it for comfort. It served their class".^[13]

Neshat was enrolled in a Catholic boarding school in Tehran.

According to Neshat, her father encouraged his daughters to "be an individual, to take risks, to learn, to see the world". He sent his daughters, as well as his sons to college to receive higher education.^[14]

In , Neshat left Iran to study art at University of California, Berkeley and completed her BA, MA and MFA degrees.^[15] In college she studied art under Harold Paris and Sylvia Lark.^[16] Neshat graduated from UC Berkeley in , and soon moved to New York City.

She quickly realized that making art wasn't her profession then. After meeting her future husband, who ran the Storefront for Art and Architecture, an alternative space in Manhattan, she dedicated ten years to working with him there.^[17]

During this time, Neshat made a few attempts at creating art, which was subsequently destroyed.

She was intimidated by the New York art scene and believed her art was not substantial. She states, "Those ten years I made practically no art, and the art I did make I was dissatisfied with and eventually destroyed."^[17]

In , Neshat returned to Iran, one year after Ayatollah Khomeini's death. "It was probably one of the most shocking experiences that I have ever had.

The difference between what I had remembered from the Iranian culture and what I was witnessing was enormous. The change was both frightening and exciting; I had never been in a country that was so ideologically based. Most noticeable, of course, was the change in people's physical appearance and public behavior."^[18]

Since the Storefront ran like a cultural laboratory, Neshat was exposed to creators — artists, architects, and philosophers; she asserts Storefront eventually helped reignite her interest in art.

In Neshat began earnestly to make art again, starting with photography.^[17]

Works

Neshat's earliest works were photographs, such as the Unveiling () and Women of Allah (–97) series, which explore notions of femininity about Islamic fundamentalism and militancy in her home country.^[19] As a way of coping with the discrepancy between the culture that she was experiencing and that of the pre-revolution Iran in which she was raised, she began her first mature body of work, the Women of Allah series, portraits of women entirely overlaid by Persian calligraphy.^[20]

Her work refers to the social, cultural and religious codes of Muslim societies and the complexity of certain oppositions, such as man and woman.

Neshat often emphasizes this theme by showing two or more coordinated films concurrently, creating stark visual contrasts through motifs such as light and dark, black and white, male and female. Neshat has also made more traditional narrative short films, such as Zarin.

The work of Neshat addresses the social, political and psychological dimensions of women's experience in contemporary Islamic societies.

Although Neshat actively resists stereotypical representations of Islam, her artistic objectives are not explicitly polemical. Rather, her work recognizes the complex intellectual and religious forces shaping the identity of Muslim women throughout the world. Using Persian poetry and calligraphy, she examined concepts such as martyrdom, the space of exile, the issues of identity and femininity.

In –02, Neshat collaborated with singer Sussan Deyhim and created Logic of the Birds, which was produced by curator and art historian RoseLee Goldberg. The full-length multimedia production premiered at the Lincoln Center Summer Festival in and toured to the Walker Art Institute in Minneapolis and Artangel in London. In this collaboration and her other projects that incorporate music, Neshat uses sound to help create an emotionally evocative and beautiful piece that will resonate with viewers of both Eastern and Western cultures.

Shirin neshat artist biography images Khaleeli, Homa. Archived from the original on Roger Denson , for "the degree to which world events have more than met the artist in making her art chronically relevant to an increasingly global culture," for reflecting "the ideological war being waged between Islam and the secular world over matters of gender, religion, and democracy," and because "the impact of her work far transcends the realms of art in reflecting the most vital and far-reaching struggle to assert human rights. Many Eastern artists, intellectuals and activists have proposed several, profound arguments, which benefited greatly from the efforts of theorists such as Edward Said, and which aimed at wiping off the influence of several classical, Western and Orientalist concepts and researching the representations of the east and document it.

In an interview with Bomb magazine in , Neshat revealed: "Music becomes the soul, the personal, the intuitive, and neutralizes the sociopolitical aspects of the work. This combination of image and music is meant to create an experience that moves the audience."^[21] In , Neshat created her second live performance, OverRuled, for Performa

When Neshat first came to use film, she was influenced by the work of Iranian director Abbas Kiarostami.^[13] She directed several videos, among them Anchorage () and, projected on two opposing walls: Shadow under the Web (), Turbulent (), Rapture () and Soliloquy ().^[9] Neshat's recognition became more international in , when she won the International Award of the XLVIII Venice Biennale with Turbulent and Rapture,^[9] a project involving almost extras and produced by the Galerie Jérôme de Noirmont which met with critical and public success after its worldwide avant-première at the Art Institute of Chicago in May With Rapture, Neshat tried for the first time to make pure photography with the intent of creating an aesthetic, poetic, and emotional shock.

Games of Desire, a video and still-photography piece, was displayed between September 3 and October 3 at the Gladstone Gallery in Brussels before moving in November to the Galerie Jérôme de Noirmont in Paris. The film, which is based in Laos, centers on a small group of elderly people who sing folk songs with sexual lyrics - a practice which had been nearing obsolescence.^[22]

In , she won the Silver Lion for best director at the 66th Venice Film Festival for her directorial debut Women Without Men,^[10][23] based on Shahrnush Parsipur's novel of the same name.

Shirin neshat artist statement He sent his daughters, as well as his sons to college to receive higher education. Turn off more accessible mode. Retrieved March 5, It served their class".

She said about the movie: "This has been a labour of love for six years. This film speaks to the world and to my country."^[24] The film examines the British-American backed coup, which supplanted Iran's democratically elected government with a monarchy.^[22]

In July , Neshat took part in a three-day hunger strike at the United Nations Headquarters in New York in protest of the Iranian presidential election.^[22]

In , she joined protests about the Death of Mahsa Amini, by showing her work Woman Life Freedom, at Piccadilly Circus, and Pendry West Hollywood.^[25]

Exhibitions

Neshat's first solo exhibition was at Franklin Furnace in New York in ^[26] A major retrospective of Neshat's work, organized by the Detroit Institute of Arts, opened ^[27] In , she had an exhibition titled "Afterwards", at the Mathaf: Arab Museum of Modern Art.^[28] In , The Broad Museum in Los Angeles presented a year retrospective of Neshat's work: Shirin Neshat: I Will Greet the Sun Again.^[29][30] In , Neshat participated in the group exhibition "Eyes on Iran" at Franklin D.

Roosevelt Four Freedoms State Park, Roosevelt Island, New York; in response to the Mahsa Amini protests.^[31]Shirin Neshat: I Will Greet the Sun Again at The Broad in Los Angeles, –, was her largest exhibition to date.^[32]

Recognition

Neshat was an artist in residence at the Wexner Center for the Arts in and at MASS MoCA in In , she was awarded an honorary professorship at the Universität der Künste, Berlin.^[33] In , she was awarded The Dorothy and Lillian Gish Prize, one of the richest prizes in the arts, given annually to "a man or woman who has made an outstanding contribution to the beauty of the world and mankind's enjoyment and understanding of life."^[34]

In , Neshat was named Artist of the Decade by Huffington Post critic G.

Roger Denson, for "the degree to which world events have more than met the artist in making her art chronically relevant to an increasingly global culture," for reflecting "the ideological war being waged between Islam and the secular world over matters of gender, religion, and democracy," and because "the impact of her work far transcends the realms of art in reflecting the most vital and far-reaching struggle to assert human rights."^[11]

In , Neshat was selected and photographed by Annie Leibovitz as part of the 43rd Pirelli Calendar.^[35]

Opera

At the Salzburg Festival, Neshat directed Giuseppe Verdi's opera Aida, with Riccardo Muti as conductor and Anna Netrebko singing the main character.^[36] Asked by the festival organizers about the particular challenge for an Iranian woman to stage a play that deals with the threats of political obedience and religion to private life and love, Neshat said, "Sometimes the boundaries between Aida and myself are blurred."

Works

• Turbulent, Two channel video/audio installation.^[37]
• Rapture, Two channel video/audio installation.
• Soliloquy, Color video/audio installation with artist as the protagonist.
• Fervor, Two channel video/audio installation.
• Passage, Single channel video/audio installation.
• Logic of the Birds, Multi-media performance.
• Tooba, Two channel video/audio installation based on Shahrnush Parsipur's novel Women Without Men.
• The Last Word, Single channel video/audio installation.^[38]
• Mahdokht, Three channel video/audio installation.
• Zarin, Single channel video/audio installation.
• Munis, Color video/audio installation based on Shahrnush Parsipur's novel Women Without Men.
• Faezeh, Color video/audio installation based on Shahrnush Parsipur's novel Women Without Men.
• Possessed, Black & white video/audio installation.
• Women Without Men, Feature film based on Shahrnush Parsipur's novel Women Without Men.
• OverRuled, Performance.^[38]
• Before My Eyes, Two channel short film.

  Part of the Seasons series.^[39]

• Illusions & Mirrors, Short film commissioned by Dior and featuring Natalie Portman.
• Looking for Oum Kulthum, Feature film co-directed by Shoja Azari.
• Land of Dreams, Feature film co-directed with Shoja Azari, written by Jean-Claude Carrière.^[40]
• The Fury, Monochrome two channel video installation.^[41]

Awards

• First International Prize at the Venice Biennale ()^[42]
• Grand Prix at the Kwangju Biennale ()^[42]
• Visual Art Award from the Edinburgh International Film Festival ()^[42]
• Infinity Award from the International Center of Photography, New York ()^[42][43]
• ZeroOne Award from the Universität der Künste Berlin ()^[42]
• Hiroshima Freedom Prize from the Hiroshima Museum of Art ()^[42]
• The Dorothy and Lillian Gish Prize, New York ()^[44]
• Rockefeller Foundation Media Arts Fellowship, New York ()^[45]
• Cultural Achievement Award, Asia Society, New York ()^[45]
• Silver Lion Award for Best Director, 66th Venice International Film Festival ()
• Cinema for Peace Special Award, Hessischer Filmpreis, Germany ()^[45]
• Crystal Award, World Economic Forum, Davos, Switzerland ()^[45]
• Rockefeller Fellow, United States Artists, New York ()^[45]
• Praemium Imperiale Award ()^[46]
• Honorary Fellowship of the Royal Photographic Society, Bristol ()^[47]

Bibliography

Exhibition catalogues

Other literature and film

• Expressing the Inexpressible: Shirin Neshat. Documentary by Jörg Neumeister-Jung and Ralf Raimo Jung, originally produced by Westdeutscher Rundfunk in Video, 42 minutes, color.

  DVD: Films for the Humanities & Sciences, Princeton, NJ, Online: Films Media Group, New York, N.Y., ^[52][53]

• Hirahara, Naomi. We Are Here, Hachette, ^[54]

See also

References

Further reading

• Grosenick, Uta; Riemschneider, Burkhard, eds. (). Art Now (25th anniversary&#;ed.). Köln: Taschen. pp.&#;– ISBN&#;. OCLC&#;

External links

• Mohammed Afkhami, Sussan Babaie, Venetia Porter, Natasha Morris.

  "Honar: The Afkhami Collection of Modern and Contemporary Iranian Art." Phaidon Press, ISBN&#;

• Shirin Neshat at IMDb