计划娜沙特
נשאט תכנית
программа Нешат

source: denoirmont

Née en 1957 à Qazvin en Iran. Vit et travaille à New York.

Shirin Neshat part aux Etats-Unis en 1974, où elle suit une formation artistique.

Women of Allah, une série d’autoportraits photographiques traitant du thème du “martyr” en liaison avec la Révolution Islamique (1979), constitue le premier corpus de son oeuvre. L’artiste réalise cette série à la suite de plusieurs voyages en Iran dans les années 1990, après 10 ans d’absence. En allusion à la spectaculaire transformation de son pays par la Révolution Islamique, Neshat traite de questions devenues primordiales dans notre compréhension des concepts idéologiques et philosophiques qui sous-tendent la révolution, en particulier la situation des femmes en Iran qui incarnent la transformation politique et religieuse dans leur vie publique et privée.

En 1997, Shirin Neshat se met à la vidéo. Turbulent, sa première installation vidéo majeure créée en 1998, met en scène deux projections face à face, confrontant un homme à une femme dans une même narration, et lui vaut de remporter en 1999 le Lion d’Or de la 48ème Biennale de Venise.

De 1999 à 2003, elle réalise plusieurs nouvelles séries : Rapture, Fervor, Soliloquy, Passage, Tooba et The Last word. Chacune se compose d’une vidéo et d’un groupe de photographies créées en parallèle.

De 2003 à 2009, Shirin Neshat s’intéresse au roman Women without men de l’iranienne Shahrnush Parsipur. Ecrit dans un style typique du réalisme magique, ce roman se compose de cinq nouvelles, mettant en scène cinq personnages féminins différents, autour desquels l’artiste crée 5 vidéos et de nouvelles photographies : Mahdokht (2004), Zarin (2005), Munis, Faezeh et 
Farokh Legha (2008).
Toujours dans le cadre de ce projet Women without men, Shirin Neshat réalise son 1er long-métrage. Achevé en 2009, sélectionné dans de nombreux festivals internationaux, il lui vaut notamment de remporter le Lion d’Argent – Prix de la Meilleure Réalisation à la Mostra de Venise.

Par ailleurs en 2008/09, elle part au Laos dans le cadre du programme The Quiet in the Land et crée Games of Desire, sa première série sans rapport direct avec l’Islam et la culture Moyen-Orientale.

En 2011/12, après les événements politiques qui ont secoué le Monde Arabe, elle se penche sur les problèmes d’une censure et d’une justice soumises au pouvoir et au fondamentalisme religieux, dans un style lyrique mêlant histoire contemporaine et ancienne de l’Iran. Elle crée ainsi l’installation vidéo OverRuled, tirée de la performance théâtrale qu’elle réalise à New York dans le cadre du Festival Performa 11, et la nouvelle série de photographies The Book of Kings, des portraits figurant the Masses, the Patriots, the Villains.

En 2013, elle crée une nouvelle vidéo, Illusion and Mirrors, avec Natalie Portman dans le rôle principal.
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source: homepagedaily

Shirin Neshat is an artist who both in her life and her work reflects the global transformations that took place in the last decades of the 20th century. Never before has the number of inter-cultural art-ists employing their works to embark on a dialogue on sex, race, nationality, ethnicity, religion and language, been so great.

With her photographs, films and video installations, Shirin Neshat has been able to place herself in the foremost rank, and today she belongs to the absolute elite on the interna-tional artistic stage. Shirin Neshat was born in 1957 in the old cultural centre of Qazvin a good 100 kilometres north-west of the Iranian capital of Teheran. It is a town of classical, Islamic architecture close to the Silk Road – the trade route that formerly linked China with Europe. The Neshat family, in which the father was a doctor, supported the Shah of Iran, Reza Pahlavi, in his efforts to modernise and westernise Iran. They were sufficiently affluent and receptive to the idea of sending the family´s five children to the West to be educated.

At the age of 17, Shirin Neshat was sent for a period of study in the USA. Her goal was the University of Berkeley near San Francisco, where she took an MFA in painting in 1983. Ayatolla Khomeini´s Islamic revolution in Iran in 1979, which deprived the Shah of power and in-troduced a theocratic government by clerics, prevented Shirin Neshat from returning home. During the 1980s she moved to New York and according to her own account quickly dropped painting.

Her status as an Iranian exile in the USA was at that time filled with conflict and allowed no room for creativity or artistic activity. So she took on the directorship of the alternative, non-profit-making “Storefront for Art and Architecture” gallery in SoHo, New York, which was owned by her then husband, the Korean-born architect and concept artist Kyong Park. Not until 1990 – after the death of Khomeini – was Neshat again able to visit Iran. And it was a shocking and merciless experience. In the 1970s she had left a secular, relatively westernised soci-ety. But a decade of political, social, religious and cultural change had left a closed land with a war-torn, divided population, and with women in an increasingly marginalised position. The public arena now belonged to the men and the clerics, while the women´s world had largely been limited to the private sphere – the home.

When women moved outside the walls of their home it was an indis-pensable requirement that they should be dressed in the traditional Iranian chador – the black dress that only leaves the face, hands and feet visible. During the following years, Neshat returned to Iran on several occasions, and in 1993 – after a break of almost ten years – she again felt ready to work as an active creative artist.

This time, however, she did not turn to painting, but to the media with which she has subsequently made her worldwide reputation, that is to say photography and later film. The physical and mental distance from her na-tive land has exerted a great influence on her potential for placing a thematic focus on conflict-filled, complex subjects such as feminism, identity and Islam. Iran´s historically speaking enor-mously rich Islamic culture has formed the basis of Neshat´s work, but her many years in the West have also left their traces.
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source: postsabeiramar

Shirin Neshat (nascida em 26 de março, 1957 em Qazvin, Irã) é uma artista iraniana dedicada a arte visual que vive em Nova York . Ela é conhecida principalmente por seu trabalho em cinema, vídeo e fotografia. Aqui algumas de suas obras emblemáticas em que coloca as mulheres muçulmanas como representantes de Alá, tendo em seus corpos frases do alcorão, o livro sagrado dos islâmicos.
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source: elrincondemisdesvarios

FOTÓGRAFA IRANÍ, SU OBRA SE REFIERE A LA MUJER EN LA SOCIEDAD ISLÁMICA EN SU CONTEXTO SOCIAL, POLÍTICO Y PSICOLÓGICO. Shirin Neshat evoca la separación tradicional entre ambos sexos con el lenguaje visual, rebelándose contra el conformismo y la soberanía del patriarcado, colocando a la mujer en primer plano como un velo, como un monumento. La utilización del blanco y el negro corresponde con su propia visión de las transformaciones que ha sufrido Irán hasta el momento actual en el que la heterogénea cultura persa se vuelve involuntariamente hacia la homogeneidad del extremo bicolor.
La mujer moderna desvela el discurso vital de una mujer musulmana que se rebela contra el Otro/Otra tanto en las partes de su cuerpo que el Otro/Otra puede ver como en aquellos lugares de su cuerpo desde los que irradia libertadbajo el velo que el observador en su otredad le impone.
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source: thepassengertimes

Shirin Neshat was born in Qazvin, Iran, a small city two hours from Tehran in 1957. In 1974, at the age of seventeen, she was sent to the United States to complete her education; the Islamic Revolution in 1979 would prevent her from returning to her country of origin for close to twenty years. After receiving a BA from the University of California at Berkeley in 1983, Neshat moved to New York, where she soon began working at the Storefront for Art and Architecture, an interdisciplinary alternative space in Manhattan. Though Neshat had studied art in college, her arrival in New York commenced a hiatus from art-making until 1993, when she made her first trip back to Iran.

Neshat’s earliest works were photographs, such as the Unveiling (1993) andWomen of Allah (1993–97) series, which explore notions of femininity in relation to Islamic fundamentalism and militancy in her home country. Her subsequent video works departed dramatically from overtly political content or critique, in favor of more poetic imagery and narratives. Her first video installations—the trilogy comprising Turbulent (1998), Rapture (1999), and Fervor (2000)—utilize dual video screens to portray abstract oppositions based around gender and society, the individual and the group. While these works hint at the restrictive nature of Islamic laws regarding women, they deliberately open onto multiple readings, reaching instead toward universal conditions. Other videos, such asSoliloquy (1999), Possessed (2001), Pulse (2001), and Tooba (2002), along with the film Passage (2001), have expanded upon this formula, presenting similarly ambiguous narratives. Collaboration has played an important role throughout Neshat’s career; singer and composer Sussan Deyhim and cinematographer Ghassem Ebrahimian have contributed to many of her works, while Passage was a joint project with the composer Philip Glass. In 2003 the Screenwriters Laboratory of the Sundance Institute helped Neshat to develop and begin production on the feature filmMahdokht (2004), an adaptation of Shahrnush Parsipur’s novel Women Without Men; the screenplay is a collaboration between Neshat and the author, and the cinematography is by Darius Khondji, who also shot Tooba. Since 2003 Neshat has continued to probe the central themes (religion, violence, madness, and gender) and characters in Women Without Men through photographic series likeZarin (2005) and the film Faezeh (2008).

Since her first solo exhibition, at Franklin Furnace in New York in 1993, Neshat has been featured in solo exhibitions at the Whitney Museum of American Art (1998), the Art Institute of Chicago (1999), Dallas Museum of Art (2000), Kunsthalle Wien in Vienna (2000), National Museum of Contemporary Art in Athens (2001), Walker Art Center in Minneapolis (2002), Hamburger Bahnhof, Museum Für Gengewart in Berlin (2005), Stedelijk Museum (2006), and National Gallery of Iceland in Reykjevik (2008). She has also participated in the Venice Biennale (1995 and 1999), Austrian Triennial on Photography in Graz (1996), Biennale of Sydney (1996 and 2000), Johannesburg Biennale (1997), Istanbul Biennial (1998), Carnegie International (1999), Whitney Biennial (2000), Moving Pictures at the Solomon R. Guggenheim Museum (2002), Documenta 11 (2002), ICP Triennial of Photography and Video at the International Center of Photography in New York (2003), and Lights Camera Action at the Whitney Museum of American Art in New York (2007).

Since 2000 Neshat has also participated in film festivals, including the Telluride Film Festival (2000), Chicago International Film Festival (2001), San Francisco International Film Festival (2001), Locarno International Film Festival (2002), Tribeca Film Festival (2003), Sundance Film Festival (2003), and Cannes Film Festival (2008). Among the many awards Neshat has won are the First International Prize at the Venice Biennale (1999), the Grand Prix at the Kwangju Biennale (2000), the Visual Art Award from the Edinburgh International Film Festival (2000), the Infinity Award from the International Center of Photography in New York (2002), the ZeroOne Award from the Universität der Künste Berlin (2003), the Hiroshima Freedom Prize from the Hiroshima City Museum of Art (2005), and the Lillian Gish Prize in New York (2006). She lives and works in New York.
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source: pogledajto

Multimedijska umjetnica Shirin Neshat, rođenjem iz Irana, na dvije će strane oglasnog prostora staviti dva različita rada: na jednoj će biti njena fotografija iscrtanih ruku koje se rukuju, što simbolizira jedinstvo i solidarnost, a na drugoj će strani biti fotografija oka, unutar koje je ispisan naslov pjesme iranske pjesnikinje Forough Farokhzad “I Feel Sorry for the Garden”. Neshat u svojim fotografskim i filmskim radovima često koristi poeziju.
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source: b177ru

Ширин Нешат (Shirin Neshat) – иранская фотохудожница и кинорежиссёр, живущая и работающая в США. Мировую известность ей принесла серия фоторабот «Женщины Аллаха» (Women of Allah), в которой автор исследует и разрушает стереотипы о жизни женщин в мусульманском мире.

Ширин Нешат родилась и выросла в Иране, но после окончания школы решила продолжать обучение в США. Разразившаяся в это время Исламская революция обернулась для Ширин изгнанием: вернуться на родину она смогла лишь в 1990 году. Женщина не узнала радикально изменившуюся за два десятилетия страну: «Раньше мы жили в открытом и свободном обществе, находясь где-то посередине между Западом и Востоком – и по внешнему виду, и по образу жизни. Когда я вернулась, то все стало другим. Стало меньше цвета: доминировали черный и белый. Все женщины носили чадру. Я была в шоке». Поэтому творчество Ширин Нешат, по ее же определению, это «наивный взгляд художника, живущего за рубежом, вернувшегося и очень искренне пытающего понять».
Хотя работы Ширин Нешат затрагивают важные политические и социальные аспекты жизни иранского общества, она считает себя в первую очередь художницей, а не активисткой. Ее произведения – это приглашение к диалогу и размышлениям, а не призыв к активным действиям. «Существует стереотип, что все восточные женщины – покорные жертвы, но ведь это не так. Я ниспровергаю это утверждение, как можно более тонко и искренне показывая, насколько они сильны», – говорит автор. В «Женщинах Аллаха» Ширин изображает традиционно одетых восточных женщин (позировала сама Нешат), на открытых участках тела которых персидской вязью нанесены цитаты на фарси из иранской феминистской эротической поэзии. Героини фотографий Ширин Нешат часто держат в руках оружие: так автор показывает невозможность отделить религию и духовность от политики и жестокости.
А самый большой парадокс произведений Ширин Нешат заключается в том, что, по мнению автора, лучше всего смысл ее «Женщин Аллаха» могут понять жители Ирана. Но увы, в самом Иране творчество Нешат запрещено.