A Gaze through the Veil:
A Gaze through the Veil: A Gaze through the Veil:
Fig 10: Shirin Neshat, Fervor, Still from Video Installation, 2000.In this piece Neshat shows the restrictions imposed on both men and women.Contrasting to ‘Rapture’ and ‘Turbulent’ she addresses on issue that effects bothsexes. In this installation, two screens are placed side by side creating a “mirroredeffect.” (Macdonald, 2004, p.16) By doing this she illustrates that both sexes areunder the same restrictions and effected equally by his strict policy.She once again contrasts spaces by using the desert and a man-made environment. Inthe desert the couple exchange glances, aware of the rules but allowing temptation totake hold, but in the public space they are aware of their wrong doing and areashamed, they are unable to make eye contact as the curtain blocks their view. Doesthis curtain symbolize the barrier that the Islamic policy and society imposes? “Neshatcaptures the tension between human nature and cultural codes. She contrasts thesimplicity and openness of the natural landscape where the couple initially meet andthe claustrophobic atmosphere of the public lecture.” (Tenaglia, 2002, p.7)
Shirin Neshat’s work deals with issues that are prominent in Iran today, but theimages and films that she creates display these issues in such a way that they are nowobvious to the Western viewer. She stresses particular subjects and shows these sothat the viewer can understand and draw their own conclusions from her work. Shehas established that an “artist who comes from and remains interested in the resourcesof another culture can make work that contributes to a broader culture.” (Milani,2001, p.13)
- Page 4 and 5: Introduction“In any society, the
- Page 6 and 7: Chapter One: The Oppressed and the
- Page 8 and 9: fundamentalist values. Khomeini sta
- Page 10 and 11: In June 1993, sixty Hezbollahis att
- Page 12 and 13: depicted wearing the chador and eve
- Page 14 and 15: the Shah and it was also seen as a
- Page 16 and 17: Fig.2. Persepolis, Film Still, 2007
- Page 18 and 19: Chapter Two: Repressed or PowerfulI
- Page 20: the men.” (Tenaglia, 2002, p.97)
- Page 25 and 26: Chapter Three: Structures of Oppres
- Page 27 and 28: One would agree with this viewpoint
- Page 29 and 30: oundaries. They pray, beat drums an
- Page 31: Iran. It shows us the separation of
- Page 36 and 37: Reference ListBalaghi, S. (2002)
- Page 38: Tenaglia, S. (2002) ‘The Power of
Shirin Neshat’s work deals with issues that are prominent in Iran today, but <strong>the</strong>images and films that she creates display <strong>the</strong>se issues in such a way that <strong>the</strong>y are nowobvious to <strong>the</strong> Western viewer. She stresses particular subjects and shows <strong>the</strong>se sothat <strong>the</strong> viewer can understand and draw <strong>the</strong>ir own conclusions from her work. Shehas established that an “artist who comes from and remains interested in <strong>the</strong> resourcesof ano<strong>the</strong>r culture can make work that contributes to a broader culture.” (Milani,2001, p.13)
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