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Journal articles on the topic 'Shirin Neshat'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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1

Millet, Bernard. "Shirin Neshat." La pensée de midi N° 5-6, no. 2 (September 1, 2001): 172–79. http://dx.doi.org/10.3917/lpm.005.0172.

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2

Traficante, Alana. "Shirin Neshat,Soliloquy." Senses and Society 10, no. 3 (September 2, 2015): 390–93. http://dx.doi.org/10.1080/17458927.2015.1108682.

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3

MacDonald, Scott, and Shirin Neshat. "Between Two Worlds: An Interview with Shirin Neshat." Feminist Studies 30, no. 3 (October 1, 2004): 620. http://dx.doi.org/10.2307/20458988.

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4

Vitali, Valentina. "Corporate art and critical theory: on Shirin Neshat." Women: A Cultural Review 15, no. 1 (March 2004): 1–18. http://dx.doi.org/10.1080/0957404042000197161.

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5

Rounthwaite, Adair. "Veiled Subjects: Shirin Neshat and Non-liberatory Agency." Journal of Visual Culture 7, no. 2 (August 2008): 165–80. http://dx.doi.org/10.1177/1470412908091936.

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6

K Shaw, Wendy Meryem. "Ambiguity and audience in the films of Shirin Neshat." Third Text 15, no. 57 (December 2001): 43–52. http://dx.doi.org/10.1080/09528820108576941.

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7

Moore, Lindsey. "Frayed Connections, Fraught Projections: The Troubling Work of Shirin Neshat." Women: A Cultural Review 13, no. 1 (January 2002): 1–17. http://dx.doi.org/10.1080/095740400210122959.

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8

KARAÇALI, Hülya. "THE EFFECT OF MIGRATION ON THE ARTISTIC CREATION PROCESS: SHİRİN NESHAT." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 7 (April 30, 2016): 224. http://dx.doi.org/10.17365/tmd.2016716523.

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9

Sivri, Melis Tanik. "Establishing an Authentic Artistic Identity." Romanian Journal of Psychoanalysis 11, no. 2 (December 1, 2018): 27–40. http://dx.doi.org/10.2478/rjp-2018-0015.

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Abstract Shirin Neshat is an Iranian contemporary female artist who is in exile by choice. Born in Qazvin, Iran, in 1957, the artist moved to the United States in 1974 in order to study arts. Due to the Islamic Revolution in 1979, she was prevented from going back to her country. In 1990, after almost 12 years, Neshat visited Iran for the first time after the revolution, which transformed her artistic life into a productive one, full of prizes. The aim of this article is to reflect on the impact of Neshat’s homecoming experience in developing an authentic artistic identity. The emphasis of the paper will be on the artist’s first cinematic film, Turbulent (1998), which will be discussed as a manifestation of the artist’s working through the turbulent encounter with the changes in the motherland after a long separation due to the revolution.
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10

Navab, Aphrodite Désirée. "Unsaying Life Stories: The Self-Representational Art of Shirin Neshat and Ghazel." Journal of Aesthetic Education 41, no. 2 (2007): 39–66. http://dx.doi.org/10.1353/jae.2007.0014.

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11

Navab, Aphrodite Désirée. "Unsaying Life Stories: The Self-Representational Art of Shirin Neshat and Ghazel." Journal of Aesthetic Education 41, no. 2 (July 1, 2007): 39–66. http://dx.doi.org/10.2307/4140194.

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12

Choron-Baix, Catherine. "Des voix, des images. L’œuvre de Shirin Neshat entre Téhéran et Luang Prabang." Cahiers d'anthropologie sociale N° 12, no. 2 (2015): 66. http://dx.doi.org/10.3917/cas.012.0066.

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13

Tomić, Tatjana. "Affirmation of Islamic artists on the example of Shirin Neshat and Mona Hatoum." Zbornik Akademije umetnosti, no. 9 (2021): 253–70. http://dx.doi.org/10.5937/zbaku2109253t.

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The role of women in Islamic countries is very different from the notion of women in Europe, because the religious worldview has been dominant for centuries so much that it has subdued all other spheres of society. The struggle for equality, which has been going on for decades in the so-called Western world, in Islamic countries is just getting started. Consequently, it is not surprising that the portrayal of women and everything related to them in the art and literature of Islamic countries is limited in relation to the West. Islam is a very strict religion and forbids the display of objects that lead to fetishism, such as human figures and cult images, because it represents a threat to the creative power of Allah. In the past, Islamic women did not have the opportunity to affirm themselves in the arts, because despite the fact that Islam does not support "discrimination" between men and women, at the same time it does not defend the idea of "equality". However, the postmodern era brings a revival, and today they are finally enjoying their rights and are greatly represented on the world art scene. By presenting historical themes, the artists in a special way convey emotional messages about the suffering of individual members of the Islamic faith, and in addition define and reexamine patriarchy, feminism and fundamentalism through their works. The themes of suffering are best depicted in the work of two Islamic women, Shirin Neshat and Mona Hatoum, so this paper will talk about their opus and the way in which Muslim women are affirmed in the modern age through historical-artistic and sociological approach.
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14

Valdés Piñeiro, Reynier. "A veinte años de un desencuentro intelecutal y afectivo. Sobre la entrevista de Arthur C. Danto a Shirin Neshat en BOMB." Revista de Arte Ibero Nierika, no. 20 (July 2, 2021): 214–25. http://dx.doi.org/10.48102/nierika.vi20.50.

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A veinte años de la publicación de la entrevista que le hiciera Arthur C. Danto a la artista Shirin Neshat en la revista BOMB, resulta oportuno preguntarse por el papel que esta desempeñó para la comprensión de su propuesta artística, desde determinados ángulos y paradigmas interpretativos. Dicha entrevista puede asumirse como un punto climático en el proceso de legitimación, por parte de la crítica de arte estadounidense, de la creadora de origen iraní; no exento de contradicciones y esencialismos como aquí pretendo demostrar.
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15

Valdés Piñeiro, Reynier. "Contra las identidades primordiales: las encarnaciones de Shirin Neshat en <em>Women of Allah</em> (1993-1997)." Estudios de Asia y África 57, no. 2 (April 21, 2022): 319–53. http://dx.doi.org/10.24201/eaa.v57i2.2750.

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Entre 1993 y 1997, la artista de origen iraní Shirin Neshat (Qazvín, 1957) produjo en Estados Unidos la serie fotográfica Women of Allah, con la cual alcanzó amplio reconocimiento internacional. En ella reflexiona sobre el universo afectivo e identitario de las mujeres musulmanas iraníes que participaron en defensa de la nación en el contexto de la guerra Irán-Iraq (1980-1988). Neshat utiliza su propia imagen para encarnar, críticamente, el cliché de la mujer velada con chador que ha obsesionado a los medios de comunicación hegemónicos occidentales y que también responde al modelo de “mujer virtuosa” que ha construido el discurso oficial de la República Islámica de Irán. El objetivo principal de este estudio consiste en analizar cómo, a través de la autorrepresentación y de la poesía iraní escrita por mujeres, la artista subvierte estos modelos de representación.
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16

Sieglohr, Ulrike. "Sonic Hybridity and Visual Dualism in the Work of Sussan Deyhim and Shirin Neshat." Music, Sound, and the Moving Image 1, no. 1 (June 2007): 73–93. http://dx.doi.org/10.3828/msmi.1.1.8.

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17

CHUNG, Heewon. "A Genealogy of Modern Iranian Women Artists: Forugh Farrokhzād, Shahrnush Parsipur, and Shirin Neshat." In/Outside: English Studies in Korea 53 (November 15, 2022): 296–325. http://dx.doi.org/10.46645/inoutsesk.53.13.

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18

Aydın, Hatice Dönmez. "Conceptual Art in the Context of the Iranıan Revolution and the Art of Shirin Neshat." Strategy International Journal of Middle East Research 2, no. 2 (May 15, 2020): 68–79. http://dx.doi.org/10.29329/ijmer.2020.245.6.

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19

Rifeser, Judith. "Feminine Desire in Claudia Llosa’s "The Milk of Sorrow" and Shirin Neshat’s "Women Without Men" in Dialogue with Irigaray’s Philosophy of the Caress." Comparative Cinema 8, no. 15 (December 14, 2020): 25–40. http://dx.doi.org/10.31009/cc.2020.v8.i15.03.

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An exploration of feminine desire through the lens of Luce Irigaray’s caress is afforded here through the feminist film-philosophical analysis of Claudia Llosa’s The Milk of Sorrow (La teta asustada, 2009) and Women Without Men (Zanan-e Bedun-e Mardan, 2009), by Shirin Neshat. Drawing on key scholarship (Watkins 2000; Bainbridge 2008; Bolton [2011] 2015; Quinlivan [2012] 2014), this article offers a novel contribution through its emphasis on the Irigarayan caress. Despite important limitations and silences in Irigaray’s work (Rifeser 2020; Ingram 2008; Bloodsworth-Lugo 2007; Deutscher 2003; Jones, 1981), here the usefulness of Irigaray’s caress is discussed. An exploration of the narrative, formal and aesthetic strategies of Llosa’s and Neshat’s feature films attune the viewer to the embodied, lived experiences of the main women characters, sothat we can envision the Irigarayan caress and the lived experience of feminine desire as woman with oneself, as well as the desire for the other.
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20

Antic, Marija. "Beyond the Voice of Egypt: Reclaiming Women’s Histories and Female Authorship in Shirin Neshat’s Looking for Oum Kulthum (2017)." European Journal of Life Writing 10 (September 8, 2021): WLS169—WLS189. http://dx.doi.org/10.21827/ejlw.10.37918.

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By drawing on postcolonial feminist discourse and Hamid Naficy’s (2001) notion of ‘accented’ cinema, in particular his approach of combining the interstitial position of exilic and diasporic filmmakers with concepts of authorship and genre, this paper explores the intersection between biographical film, gendered rewriting of history, and self-narrative as a site of resistance to nationalist and patriarchal ideologies in Shirin Neshat’s Looking for Oum Kulthum (2017). I argue that Neshat’s authorial style and her position as an exilic artist inflect the biographical film in its traditional form, showcasing an innovative perspective on the genre, restructuring it to reveal the constructedness of not only a cinematic process, but also of history and historical figures. Blending the stories of a present-day Iranian woman filmmaker and the professional life of the legendary Egyptian singer Oum Kulthum, Neshat displaces the biopic from its Western-centric roots by explicitly opening it up to a discourse of contemporary gender politics in the Middle East. In doing so, she exposes the social forces that shape the production of the biopic in relation to the notion of female authorship in the context of the transcultural circuits and feminist reclaiming of Oum Kulthum’s international stardom.
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21

Schaber, Bennet. "Fabrics of Dislocation." Feminist Media Histories 3, no. 1 (January 1, 2017): 103–39. http://dx.doi.org/10.1525/fmh.2017.3.1.103.

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This photo essay is an attempt to register the complex political valences of certain shared formal preoccupations in the cinematic, photographic, videographic, and new media works/interventions of Shirin Neshat, Lalla Essaydi, Mona Hatoum, Ana Lily Amirpour, Amina Sboui, and Nadia El Fani. What is contested here is the so-called readability of images, especially those by Middle Eastern women, as these coalesced during the late colonial and postcolonial periods and as they continue today. The “photo-grams” that constitute the essay function neither as illustrations nor as counter-readings, but as frames of a lost or imagined film these filmmaker-photographer-new media activists might have made—despite or perhaps because of their political-geographical-temporal dispersion—as a kind of collective.
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22

Khanna, Ranjana. "Touching, unbelonging, and the absence of affect." Feminist Theory 13, no. 2 (August 2012): 213–32. http://dx.doi.org/10.1177/1464700112442649.

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This article argues that psychoanalytic notions of affect – including ideas of anxiety and melancholia, as well as deconstructive concepts of auto-affection – offer a feminist ethico-politics and a notion of affect as interface. Beyond the confines of the experiential and the positivist, both psychoanalysis and deconstruction provide insights into affect as a technology that understands the subject as porous. I consider works by Derek Jarman and Shirin Neshat to demonstrate the importance of the ethico-politics of affect as interface in contemporary cultural production. Both artists, in the process of considering the spectacular nature of notions of feminist and queer, use images of interface as a way of delimiting the spectacular nature of being and demonstrating the singularity of the event, the desire to fix through framing, and the parergonal nature of framing. The presence of the subject is questioned even as an auto-affection is suggestive of a spectral demand of the ethico-political. In the case of Jarman’s Blue, the denial of image as face in favour of the screen as interface is interrupted by sound and voice, which gesture toward representation as impossible but necessary. In the case of Neshat, the persistence of the photographic – the highly aesthetic self-portrait as mugshot – foregrounds face as interface, as one that questions presence through the insistence of a representational apparatus.
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23

Dadi, Iftikhar. "Shirin Neshat’s Photographs as Postcolonial Allegories." Signs: Journal of Women in Culture and Society 34, no. 1 (September 2008): 125–50. http://dx.doi.org/10.1086/588469.

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24

Min, Kyungso. "이란 이슬람 공화국 시각문화에서 베일 쓰기의 재현 : 쉬린 네샤와 자파르 파나히의 영상 작품을 중심으로." Korean Association for Visual Culture 41 (December 31, 2022): 41–64. http://dx.doi.org/10.21299/jovc.2022.41.3.

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25

Ceuterick, Maud. "Walking, Haunting, and Affirmative Aesthetics: The Case of Women without Men." Aniki : Revista Portuguesa da Imagem em Movimento 7, no. 1 (January 22, 2020): 96–114. http://dx.doi.org/10.14591/aniki.v7n1.564.

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Walking and ‘haunting space’ have become means of political and aesthetic resistance to the invisibility or inhospitality that women face in the public sphere. Power imbalance in spatial habitation—‘power-geometry’ in Doreen Massey’s terms— negatively affects women, just as shown in an Iranian context in Shirin Neshat’s film Women without Men (2009) and through feminist social movements such as #mystealthyfreedom. As these women wilfully assert themselves against their exclusion from certain places, they challenge the binaries public/private, men/women, and mobility/stasis both politically and aesthetically. Ghost characters and haunting narratives disrupt the linearity between dead and alive, virtual and actual (following the works of Jacques Derrida and Gilles Deleuze respectively), and open up possibilities that challenge the status quo. Through a micro-analysis of Women without Men, this article reveals that shapes, structures and lights participate to dismantling gendered norms, expectations, and power-geometries. Both the magical realism of the film and an affirmative analytical approach invite to seeing beyond the negativity of narratives and unveilalternative conceptions of space, gender and power.
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26

"Shirin Neshat: facing history." Choice Reviews Online 53, no. 02 (September 17, 2015): 53–0599. http://dx.doi.org/10.5860/choice.192765.

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27

Choron-Baix, Catherine. "Shirin Neshat et les cours d’amour au Laos (Film projeté en avant-première)." Les actes de colloques du musée du quai Branly, no. 2 (November 13, 2009). http://dx.doi.org/10.4000/actesbranly.455.

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28

Akbari, Ehsan. "Rumi: A Cosmopolitan Counter-Narrative to Islamophobia." Journal of Cultural Research in Art Education 33, no. 1 (September 1, 2016). http://dx.doi.org/10.2458/jcrae.4896.

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I present the poetry and life of the influential Sufi scholar Rumi in order to counter the prevalent Islamophobic images of Muslims in the media. Rumi’s philosophy epitomizes a cosmopolitan sensibility that embraced cultural diversity. One of Rumi’s most important legacies for our contemporary world is how his work creates bridges between Western and Islamic cultures. I suggest that the true cosmopolitan value of Rumi’s poetry can be realized if Rumi’s poems and philosophy are situated within their specific cultural and historical context, and are appreciated alongside the works of contemporary artists from the Islamic world who carry on Rumi’s legacy. As such, the artwork of Iranian-America artist Shirin Neshat is also discussed in relation to Rumi. I argue that art educators can play an important role in combatting bigoted perceptions of Muslims by incorporating the art of significant artists from the Islamic world, both past and present – such as Rumi and Neshat –in their curriculum.
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29

Onsal, Mahpeyker. "SHIRIN NESHAT’S WOMEN DREAMING OF THEIR FREEDOM." Idil Journal of Art and Language 8, no. 57 (May 30, 2019). http://dx.doi.org/10.7816/idil-08-57-05.

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30

Zahedi, Farshad. "Adapting a Persian Magic Realist Novel on Screen: The Case of Women Without Men." Adaptation, July 22, 2022. http://dx.doi.org/10.1093/adaptation/apac010.

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Abstract This paper will explore Shirin Neshat’s adaptation of Shahrnush Parsipur’s novel Women Without Men (1989). A primary focus will be on Neshat’s aesthetic choices related to the creation of space and the depiction of bodies and the extent to which they reflect her exilic condition. Another distinctive aspect to be explored concerns the dialectical relations in the film that visually depict gendered spaces inside homes and in public spaces. A related area here is the representation of an orchard as a heterotopian third space that gives shelter to wounded women. While both the novel and the film portray this orchard as a place of becoming, the film’s garden contains allegorical relations that portray it as a place of imaginary exile. Finally, the paper will argue that the portrayal of wounded female bodies is a political sign and a metaphor for women’s traumatic experiences of patriarchal culture.
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