Ciador Art: neo-Orientalism and repression

Journal title MONDI MIGRANTI
Author/s Anna Vanzan
Publishing Year 2014 Issue 2014/1
Language Italian Pages 14 P. 207-220 File size 106 KB
DOI 10.3280/MM2014-001012
DOI is like a bar code for intellectual property: to have more infomation click here

Below, you can see the article first page

If you want to buy this article in PDF format, you can do it, following the instructions to buy download credits

Article preview

FrancoAngeli is member of Publishers International Linking Association, Inc (PILA), a not-for-profit association which run the CrossRef service enabling links to and from online scholarly content.

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, DOI: 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 Orientalismo e repressione in "MONDI MIGRANTI" 1/2014, pp 207-220, DOI: 10.3280/MM2014-001012