Click here to download

Ciador Art: neo-Orientalism and repression
Journal Title: MONDI MIGRANTI 
Author/s: Anna Vanzan 
Year:  2014 Issue: Language: Italian 
Pages:  14 Pg. 207-220 FullText PDF:  106 KB
DOI:  10.3280/MM2014-001012
(DOI is like a bar code for intellectual property: to have more infomation:  clicca qui   and here 


The contemporary Iranian artists have long been very popular in Occident, where they were initially introduced by the performance of Shirin Neshat, their compatriot self-exiled in the United States and made famous thanks to his photos of women veiled and covered in Persian-Arabic characters . This aspect of ' exotic ' , however, sharply criticized in Iran, where this current neooriental is ciador is branded as art. It is the absolute protagonist of the research by critics, gallery owners and exhibition organizers in Europe, United States and Gulf countries (the latter real engine promotion of Iranian art abroad ). It offers space to artists who express themselves only through coordinates ethnically recognizable; and penalizing, in this way, those who want to use more universal language without necessarily resorting to veiled women, Arab- Persian calligraphy, or images that confirm the stereotypes rooted in the West compared to the company of Iran, especially with regard to its female segment .The article explores the limits of gender and ethnic markets within which compel the western of which is successful contemporary art Persian, working, in fact, a real cultural colonization .
Keywords: Contemporary Persian art; ciador art, neo-Orientalism; veiled women

  1. Di Genova A. (2010). Rivolta femminile nelle foto proibite. Il Manifesto 24 aprile 2010, versione online: http://rete-eco.it/2011/fr/documenti/35-riflessioni/12986-rivolta-femminile-nelle-foto-proibite.html.
  2. Foxtrot C. (2009). ‘Like Everyday’ (2000-2001) and ‘Ghajar’ (1998-2001) Series by Shadi Ghadirian at ‘Unveiled’. Interface: Testo disponibile al sito:􀀃 http://www.a-n.co.uk/interface/reviews/single/505083.
  3. Hildebrand K. (2006). Woman: Self-Portrait. Testo disponibile al sito: http://www.kashyahildebrand.org/newyork/currentexhibition/index.html.
  4. Rounthwaite A. (2008). Veiled Subjects: Shirin Neshat and Non-liberatory Agency. Journal of Visual Culture, 7, 2: 165-80,, 10.1177/1470412908091936DOI: 10.1177/1470412908091936
  5. Said E. (1979). Orientalism. New York: Vintage Books.
  6. Vanzan A. (2012). Posht-e pardeh, Behind the Painting: Women as Art Gallery Managers in Contemporary Iran. Testo disponibile al sito: http://persiangender network.org/content?IDVIEW=186.
  7. Vanzan A. (2011). Naso e libertà. L’ossessione per la rinoplastica nell’Iran contemporaneo. Genesis, 1, 10: 99-110.
  8. Vanzan A. (2007). Le rose di Persia all’estero danno solo spine? Sguardo alla letteratura della diaspora femminile iraniana. Dossier ‘Narrative di migrazioni, diaspore ed esili’. Afriche/orienti, 2: 51-67.

Anna Vanzan, Ciador Art: neo-Orientalism and repression in "MONDI MIGRANTI" 1/2014, pp. 207-220, DOI:10.3280/MM2014-001012

   

FrancoAngeli is a member of Publishers International Linking Association a not for profit orgasnization wich runs the CrossRef service, enabing links to and from online scholarly content