|
Cannes 2023 :: Killers of the Flower Moon :: Martin Scorsese’s Bitterest Crime Epic Martin Scorsese triumphs yet again. A story about greed, corruption, and the mottled soul of a country that was born from the belief that it belonged to anyone callous enough to take it.. |
|
Berlinale 2023 :: Full Winners List This year’s jury, headed by Kristen Stewart, gave
the Golden Bear award to the French documentary “On the Adamant..” The Silver Bear for
Best Lead Performance notably went to child star Sofia Otero for “20,000 Species of Bees.”
Philippe Garrel's “The Plough” was.. |
|
BAFTA 2023 :: ‘All Quiet on the Western Front’
Dominates BAFTA Awards With Seven Wins “All Quiet on the Western Front” dominated the BAFTA Awards in London on
Sunday night with a record-breaking seven wins for a film not in the English languag,
including for Best Director.. |
|
Berlinale 2023 :: Golshifteh Farahani :: Talks Role Of
Art In Iran “In A Dictatorship Like
Iran, Art Is Essential, It’s Like Oxygen.” Iranian actress Golshifteh Farahani, who is at the
Berlin Film Festival as a member of Kristen Stewart’s jury, has talked passionately about the
importance of art.. |
|
SIFF 2023 :: Shirin Ebadi :: Until We Are Free
This is the amazing, at times harrowing,
simply astonishing story of a woman who would never give up, no matter the risks. The first
Muslim woman to receive the Nobel Peace Prize, Shirin Ebadi has inspired millions around
the globe.. |
|
IFFR 2023 Awards :: 'Le spectre de Boko Haram' and
'Endless Borders' are the victors Cyrielle Raingou’s documentary took home the Tiger Award, whilst Abbas
Amini’s feature won the VPRO Big Screen Award, as the Dutch gathering celebrated its in-
person comeback.. |
|
Winners of the 2022 ‘Sepanta Awards’ :: 15th Annual
Iranian Film Festival This year, the
festival presented 50 films from Iran, USA, Italy, France, Luxembourg, Greece, UK, Canada,
Australia, and Denmark…, ranging from fiction, documentary, short, animation…. to the
music video.. |
|
Opinion :: Will Venice Protests Help or Hurt filmmakers
in Iran? As the Venice Film Festival
celebrates Iranian cinema — with four Iranian films screening at the 79th Biennale — back
home in Tehran, Iranian filmmakers and artists are facing the harshest crackdown in
decades.. |
|
Biennale Cinema 2022 :: Awards Ceremony
Official Awards of the 79th Venice Film Festival.
Announced by the five international Juries, chaired by Julianne Moore, during the Awards
Ceremony that was held on Saturday 10th September at 7:00 pm..
|
|
Coming: 15th Annual Iranian Film Festival! : San
Francisco: Sep. 17-18 This year, the
festival presents 50 films from Iran, USA, Italy, France, Luxembourg, Greece, UK, Canada,
Australia, and Denmark…, ranging from fiction, documentary, short, animation…. to the
music video. We are happy and proud to.. |
|
Welcome to Online Film Home! |
|
|
Neshat, Shirin |
Date of birth
26 March 1957, Ghazvin, Iran
Shirin Neshat (March 26, 1957 in Qazvin, Iran)
Shirin Neshat is a contemporary Iranian visual artist who lives in New York. She is known primarily for her work in film, video and photography.
Neshat's parents were upper middle-class. Her father was a well-respected physician and her mother a homemaker.
She grew up in a westernized household that adored the Shah of Iran and his ideologies. Neshat has stated about her father, “He fantasized about the west, romanticized the west, and slowly rejected all of his own values; both my parents did. What happened, I think, was that their identity slowly dissolved, they exchanged it for comfort. It served their class” (Mackenzie 3).
“My only advice is to spend less time on thinking about success and put all the energy in making art itself. Otherwise your relationship to your art changes. It becomes less genuine and honest. Art should not be born from a pressure of becoming successful but something deeper. This is always a danger and the cause for mediocrity in art.”
As a part of Neshat’s “Westernization” she was enrolled in a Catholic boarding school in Tehran. She found the environment cold and hostile in comparison to her caring family.
Through her father’s acceptance of Western ideologies came an acceptance of a form of western feminism. Neshat’s father encouraged his daughters to “be an individual, to take risks, to learn, to see the world” (MacDonald 3), and he sent his daughters as well as his sons to college to receive their higher education.
Neshat left Iran to study art in Los Angeles. It was about this time that the Iranian Revolution occurred. As an effect of the political restructuring after the revolution, her father who had been financially secure and about to retire was left without benefits and a meager salary (MacDonald 4).
Once the revolution was over and the society was restructured as a traditional Islamic nation, her family was no longer able to enjoy the comfortable life to which they had grown accustomed.
About a year after the revolution, she moved to the San Francisco Bay area and began studying at Dominican College. Eventually, she enrolled in UC Berkeley and completed her BA, MA and MFA.
After graduate school, she moved to New York and began to work for a non-profit organization called Storefront Art and Architecture. This multidisciplinary organization exposed her to many different ideologies, and would become a place where she received much needed experience with and exposure to concepts that would later become integral to her artwork.
During this time, she did not make any serious attempts at creating art, and the few attempts that were made were subsequently destroyed.
In 1990, she returned to Iran. As a way of coping with the discrepancy between the culture that she experienced and that of the pre-revolution Iran in which she was raised, she began her first mature body of work, the Women of Allah series.
Her work refers to the social, cultural and religious codes of Muslim societies and the complexity of certain oppositions, such as man and woman. Neshat often emphasizes this theme with the technique of showing two or more coordinated films concurrently, creating stark visual contrasts through such motifs as light and dark, black and white, male and female. Neshat has also made more traditional narrative short films, such as her recent work, Zarin.
The work of Shirin Neshat addresses the social, political and psychological dimensions of women's experience in contemporary Islamic societies. Although Neshat actively resists stereotypical representations of Islam, her artistic objectives are not explicitly polemical. Rather, her work recognizes the complex intellectual and religious forces shaping the identity of Muslim women throughout the world.
As a photographer and video-artist, Shirin Neshat was recognized for her brilliant portraits of women entirely overlaid by Persian calligraphy (notably through the Women of Allah series). She also directed several videos, among them Anchorage (1996) and, projected on two opposing walls: Shadow under the Web (1997), Turbulent (1998), Rapture (1999) and Soliloquy (1999).
Neshat's recognition became more international in 1999, when she won the International Award of the XLVIII Biennial of Venice with Turbulent and Rapture, a project involving almost 250 extras and produced by the Galerie Jérôme de Noirmont which met with critical and public success after its worldwide avant-première at the Art Institute of Chicago in May 1999. With Rapture, Neshat tried for the first time to make pure photography with the intent of creating an aesthetic, poetic, and emotional shock.
In 2001-02, Neshat collaborated with singer Sussan Deyhim and created Logic of the Birds, which was produced by curator and art historian RoseLee Goldberg. The full length multimedia production premiered at the Lincoln Center Summer Festival in 2002 and toured to the Walker Art Institute in Minneapolis and to Artangel in London.
Shirin Neshat has become one of the most well known Persian artist within the Western artistic world. While she lives in New York City, she addresses a global audience. Her earlier work was symbolic of her personal grief, anxiety and the pain of separation from her home country. It took a neutral position on Islam. As time progressed and the Islamic regime of Iran became more intrusive and oppressive, Neshat's artwork became more boldly political and subversively critical against it.
She seeks to, according an article in Time, "untangle the ideology of Islam through her art." Her current cinematic work continues to express the poetic, philosophical, and metaphorical as well as complex levels of intellectual abstraction.
In 2009 Neshat won the Silver Lion for best director at the 66th Venice Film Festival for her directional debut "Women without Men". She said about the movie: "This has been a labour of love for six years.(...) This film speaks to the world and to my country." [1]
Shirin was profiled in The New Yorker magazine in October 22, 2007
Works
* Turbulent, 1998. Two channel video/audio installation. * Rapture, 1999. Two channel video/audio installation. * Soliloquy, 1999. Color video/audio installation with artist as the protagonist. * Fervor, 2000. Two channel video/audio installation. * Passage, 2001. Single channel video/audio installation. * Logic of the Birds, 2002. Multi-media Performance. * The Last Word, 2003. Single channel video/audio installation. * Mahdokht, 2004. Three channel video/audio installation. * Zarin, 2005. Single channel video/audio installation. * Munis, 2008. Color video/audio installation based on Shahrnush Parsipur’s novel Women Without Men. * Faezeh, 2008. Color video/audio installation based on Shahrnush Parsipur’s novel Women Without Men.
Film and Video
* Expressing the inexpressible [videorecording DVD] : Shirin Neshat. c 2004, 42 minutes, Color. Princeton, NJ: Films for the Humanities & Sciences. Originally produced by Westdeutscher Rundfunk in 2000. (Summary from Wikipedia)
Selected filmography of
Neshat, Shirin
2021
Land of Dreams (2021)
2017
Looking for Oum Kulthum | Szukaj±c Oum Kulthum (2017)
2009
Women Without Men | Zanan bedun-e mardan (2009)
1998
Turbulent | Motalatem | Bigharar (1998)
|
|
|
|
Choose an item to go there!
|
| |
|
|
| | | |