Shirin Neshat
出生 : 1957-03-26, Qazvin, Iran
略歴
Shirin Neshat ( شیرین نشاط, born March 26, 1957 Qazvin) is an Iranian visual artist who lives in New York City, known primarily for her work in film, video and photography. 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.
Since Iran has undermined basic human rights, particularly 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.”
Neshat has been recognized countless times for her work, from winning the International Award of the XLVIII Venice Biennale in 1999, to winning the Silver Lion for best director at the 66th Venice Film Festival in 2009, to being named Artist of the Decade by Huffington Post critic G. Roger Denson. Neshat is a critic in the photography department at the Yale School of Art.
Director
In a highly fictionalized and stylized way, Neshat’s new film addresses the sexual exploitation of female political prisoners by the Islamic Republic’s regime in Iran. Subjected to severe torture, sexual assault, including rape, it is commonly known that even after being released, many of the women are unable to recover emotionally from the trauma experienced in prison, and often commit suicide. The video traces the psychological and emotional journey of a young Iranian woman, who, although now lives freely in the United States, remains traumatized by her memories in captivity. [Overview Courtesy of Gladstone Gallery]
Director
Simin is an Iranian woman on a journey to discover what it means to be a free American. She works for the Census Bureau which, in an effort to control its citizens, has begun a program to record their dreams. Unaware of this devious plot, Simin is torn between her compassion for those whose dreams she is recording and a truth she must find within.
Self
Four female artists have been politicized by experiences with war, violence and suppression and integrated them into their work, using their most personal tool: their own bodies.
Director
The Colony, which shares the screen and the character of Shirin Neshat's Land of Dreams, is about an immense research institute devoted to recording and archiving the dreams of the local population.
Director
This film is a rumination on cultural identity told through the viewpoint of a female photographer from Iran, traveling across the western US.
Director
Artist Shirin Neshat explains the film: "I was interested in how female singers are universally treated as objects of desire. At first, Cate looks gorgeous, but when she sings it's a [masculine] voice. The audience heckles her, and she becomes confrontational. When the music comes back on, she does a seductive dance but her face is evil. For her final act of subversion, she takes off her hair and makeup and walks away. That part was Cate's idea. Fuck the beauty."
Writer
A film within a film, "Looking for Oum Kulthum" is the plight of an Iranian woman artist/filmmaker living in exile, as she embarks on capturing the life and art of the legendary female singer of the Arab world, Oum Kulthum. Through her difficult journey, not unlike her heroine's, she has to face the struggles, sacrifices and the price that a woman has to pay if she dares to cross the lines of a conservative male dominated society.
Director
A film within a film, "Looking for Oum Kulthum" is the plight of an Iranian woman artist/filmmaker living in exile, as she embarks on capturing the life and art of the legendary female singer of the Arab world, Oum Kulthum. Through her difficult journey, not unlike her heroine's, she has to face the struggles, sacrifices and the price that a woman has to pay if she dares to cross the lines of a conservative male dominated society.
Director
Roja is drawn from Neshat’s own recurring dreams, memories and desires. The work traces a young woman’s disquieting attempts to connect with American culture while reconciling her identification with her home country of Iran.
Director
In Sarah, 2016, it is a forest environment that becomes a site of haunting; mysterious and unknowable. The protagonist Sarah is played by Sara Issakharian, an Iranian-born artist.
Director
ILLUSIONS and MIRRORS is about the futile attempt of chasing a shadow that wanders through the dunes of an empty beach. When it finally comes to an encounter in a deserted house, the young woman experienced a disturbing surprise.
Director
Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.
Screenplay
Against the tumultuous backdrop of Iran's 1953 CIA-backed coup d'état, the destinies of four women converge in a beautiful orchard garden, where they find independence, solace and companionship.
Director
Against the tumultuous backdrop of Iran's 1953 CIA-backed coup d'état, the destinies of four women converge in a beautiful orchard garden, where they find independence, solace and companionship.
Director
The story of a young woman who has been working as a prostitute since childhood. The film traces her slow disintegration into psychic delirium. Wracked by both guilt for her actions and a strong desire for salvation, her madness manifests itself in her perception of the world around her. Chronicling the course of her breakdown with imagery that is both graphic and beautiful, Neshat evokes the torment of one so tortured by her subjugated role in society that she feels completely powerless. As the men Zarin encounters appear without faces, horror, shame, and guilt overwhelm her. Viewing this as her punishment from God, she flees the brothel for a bathhouse. Scrubbing her skin raw and bloody, she attempts to make amends with her past; however, she descends deeper in madness as she strives for redemption.
Director
Her poetic two-channel video installation Tooba is based on the Koran, in which Tooba, the sacred tree of paradise, offers shelter and sustenance to those in need. Neshat's video places a woman within a groove in the trunk of a large fig tree, symbolising its soul. They stand, alone, in a stone-walled garden set in a mountainous landscape. Men and women draw near and enter the enclosure, seeking refuge, as the Tooba-woman disappears into the Tooba-tree. The piece is ambiguous. Who has agency? Is it the crowd, who 'invade' the garden or the tree-woman who draws them towards her like a magnet? Tooba is dedicated to Iranian writer Shahrnush Parsipour, whose novel Women without Men concerns five women sojourning in a garden, one of whom is transformed into a tree.
Director
In Possessed, a seemingly mad woman in an Islamic village evokes questions of social acceptability.
Director
Produced in collaboration with the American musical composer Philip Glass, Neshat’s narrative follows a procession of men as they carry a body through the desert to a grave that has been hand dug by women.
Director
Two-channel video installation by Shirin Neshat
Director
The installation features two black-and-white projections. One depicts a group of men dressed in Western suits and the other captures a group of women veiled in chador. In the work, Neshat takes on entrenched gender stereotypes by placing the men in a structured, architectural fortress and the women in a wild, natural desert. The viewer is positioned between these dichotomies, with the videos displayed on opposite walls, and is forced to shift attention from one to the other. The installation shows how established beliefs and presumptions can flourish in social and religious systems, emphasizing that these deep-rooted dynamics profoundly impact all people, indiscriminate of gender.
Two screens face each other in a dark room, only a bench off to the side interrupting the space between them. Settling into this interstitial expanse of Shirin Neshat’s Soliloquy (1999), viewers become mediators, with the series of scenes on each screen flowing not past, but through this audience – asking them, perhaps, to act as witnesses to the ensuing visual dialogue. The titles begin, in English and Persian; then, the sole character appears, clad in black robes and played by Neshat herself. She is looking out of two different windows: one in Albany, New York; the other in Mardin, Turkey, not far from the artist’s native Iran.
Director
Two screens face each other in a dark room, only a bench off to the side interrupting the space between them. Settling into this interstitial expanse of Shirin Neshat’s Soliloquy (1999), viewers become mediators, with the series of scenes on each screen flowing not past, but through this audience – asking them, perhaps, to act as witnesses to the ensuing visual dialogue. The titles begin, in English and Persian; then, the sole character appears, clad in black robes and played by Neshat herself. She is looking out of two different windows: one in Albany, New York; the other in Mardin, Turkey, not far from the artist’s native Iran.
Director
On one wall, a singer delivers a passionate love song to a group of men. He is faced away from his audience, secure that his performance will be accepted and adored. On the opposite wall, a woman in a black chador stands silently throughout his song. Then something stunning happens…
