Shoja azari biography of barack
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Shirin Neshat
On 20 January, the Iranian-born filmmaker and artist Shirin Neshat joined the Women’s March in New York to mark the anniversary of President Donald Trump’s first year in office. The week before, she was at a protest in Union Square in support of the people’s uprising in Iran. Shirin is politically engaged beyond the lyrical films she makes exploring the place of Muslim women in Middle Eastern societies. Her work has been widely lauded — from the Golden Lion she won at the Venice Biennale to the prestigious Praemium Imperiale awarded last year by the Japan Art Association.
More than any artist living today, Shirin has demonstrated the place and the power of art in confronting and reflecting on political crises.
One day in , when Shirin Neshat was 26, she walked out on her life. She left nearly all her belongings in the apartment in Marin County, north of San Francisco, that she shared with her then boyfriend – a person she was “in a hurry to get away from” – and boarded a flight to New York. In the process, she abandoned dozens of paintings, prints and collages she had made while studying at the University of California, Berkeley, where she had earned her bachelor’s and then her master’s degrees in fine art.
Shirin describes the works she left behi
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A scene from Shirin Neshat’s twelve-minute video-and-sound installation“Rapture.” Neshat herself in her video “Soliloquy.”LARRY BARNS © SHIRIN NESHAT, / GLADSTONE GALLERY
Shirin Neshat’s “Rapture” () is a twelve-minute video-and-sound installation, shot in black-and-white. On one screen, the viewer sees the silhouette of a seaside fortress; a second depicts a rock-littered wilderness. The sound of rushing wind gives way to strange music—guttural chanting, underlaid with ominous thrums. On the first screen, a corps of white-shirted men marches toward the camera; the other screen fills with a mass of women in black chadors. The men begin to move through the alleyways of a town toward the fortress and, arriving, prop ladders against its walls to ascend the ramparts. As some of their brethren, and the camera, watch from above, a group of the men break into a stylized brawl, their outstretched arms forming geometric patterns, like the cells of a honeycomb. Suddenly, on the other screen, the women erupt in a shrill lamentation. They pray and then, in birdlike configurations, cross the plain, eventually reaching a beach. Their chadors flap in the breeze as they push a rowboat toward the water. From the other screen, the men wave to them. The camera lingers on the boat, bobbing i