Shadi Ghadirian: The Voice of the Resilient
This piece was written for my Islamic Art History course at Loyola University Chicago
When comparing lives from around the world, it is clear they are entirely disparate to one another; however, there is a stark shared bond of the human experience. Within this experience there is happiness, laughter, pain, and suffering. More specifically, all individuals are born within societies constructed of meaning systems creating restrictive boundaries for gender, race, religion, and more. The faults within the bias of the Western lens when gazing East are undeniable and must progress in order to solve the issues of friction. A shift of perspective and understanding must occur for any advancements to take place. In order to break the glass ceiling of corrupt Western thinking, artists must work twice as hard. Specifically, female Iranian and Arab photographers have achieved extreme success in spreading their philosophy along with empowering individuals worldwide. Shadi Ghadirian targets a variety of crucial issues including gender inequality and the faults of Western ethnocentrism in her constructed images which challenge the relationship between Islamic and Western worlds more effectively than any other contemporary artist.
Shadi Ghadirian, a Tehranian born and raised artist, challenges the void between the realm of traditional and modern societal ideology. Ghadirian was born in 1974 and later became one of the first to graduate from Azad University in Tehran achieving her Bachelor of Arts in Photography.[1] When analyzing Ghadirian’s life, there is not a surplus amount of knowledge in regard to her early experiences before her academic studies at Azad. The renowned photographer is currently forty five years old working as a photo editor for the online platform, Women In Iran, along with her career at the Museum of Photography, Akskhaneh Shahr, in Tehran. Along with both of those jobs, she also manages an Iranian focused photography website known as fanoosphoto.com.[2] Ghadirian’s lack of nomadic experience sets her apart from many other female Iranian artists. Numerous experienced exile and complete their work in distant regions from where they were raised. Ghadirian challenges the ideologies of her home base while still being entirely connected to it through her inhabitation. Pursuing a career of photography was not always respected in Iranian culture especially as a female. It was incredibly recently, during 2011, that revolutionary actions were being taken to progress change within artists’ freedom to express not only their social commentary, but campaign for gender equality. This multidimensional movement was creating a “battle waged on two fronts: one for their creative intellectual freedom, and the other against discrimination”.[3] Ghadirian’s portfolio is combined with a variety of works conveying her voice, the voice of freedom, targeting such subject matter. Within a time span of just the past two decades, artists like Ghadirian have been making extremely remarkable strides improving the corruption in society’s view on women. Although there is a focus of life as an Iranian woman, she wants her work to have a connection with women all around the world. The exhibition, She Who Tells A Story: Women Photographers from Iran and the Arab World, was made up of around one hundred photographs coupled with two videography pieces in the Museum of Fine Arts in Boston.[4] The twelve female photographers included in the exhibition turned tradition upside down on its head. Artists along with Ghadirian included were Lalla Essaydi, Shirin Neshat, Jananne Al-Ani, and more. Artists commented on how they repeatedly received ridicule and were belittled for their pursuit in photography. Creating a career out of the field had even been argued to solely be a hobby from a male narrative to artist, Boushra Almautawakel.[5] All of the incredible women send their messages loud and clear with pure sophistication, but Ghadirian communicates with the most impact by far. Many of her works not only bring the discussion of gender roles to life, but also life in war. Nil, Nil, specifically, is a great example of her coupled mission in society progression from an Iranian perspective.
In her remarkable series, Nil, Nil, she creates anonymous, everyday scenes of ordinary items with a twist. The eighteen images have creatively placed objects to create a percussion of war through the image whether it be through weaponry or gender ideals. Ghadirian produced the series in 2008. Nil, Nil shares the name as her husband’s short story on war. The meaning of Nil translates to nothing. This creates an entire mental stimulation when analyzing the truth of nothing. If there is two of nothing, there must be something. A theme throughout this series is the strength of danger infiltrating unrecognizably,[6] a coupled series to complement one another’s messages. Each image has distinct approaches tied together with the shared human experience of fear, instability, and routine. Nil, Nil #11 is a photograph of a woman’s black handbag with bead embellishments on its side and pearls to close at its clasp.[7] The shining, classic gold chains hang freely on its side. As one analyzes the countertop it is sitting on top of, there is a pair of glasses juxtaposed as if someone was in a hurry and tossed them on the counter. The notebook far in the left corner also holds the same characteristics. As the viewer’s eyes gaze throughout the full purse of lipsticks, rings, powder, and a singular watch, there is a striking presence found. Within the crevices of tchotchkes and materialistic items, are upright gold bullets. The nine hidden bullets catch the viewer by surprise and are a great exemplar of how Nil, Nil showcases the immense fear when war interrupts ordinary life. The brushed metal bullets are complementary metal tones to the claps, chain, and nail polish incorporated with the handbag.[8] Another outstanding image of the series is Nil, Nil #10.[9] In the setting of a home’s dining room table, there is a fruit basket filled with perfectly ripe grapes, oranges, apples, peaches, and pears. In a central position of them all, a hand grenade is naturally resting within the bunch. The creases of the army green hand grenade have fruit like cuts. The essence of a pineapple resides with the surface of the grenade because of the repeating pattern. The object's ability to fit perfectly in is the issue being targeted from the image. The anonymity of the settings adds elements of emptiness which indescribably impacts the image. The message is sent louder with the eeriness to of a lack of a human presence. It creates a platform to show the constructs of society and how impactful the tools individuals use around, in what they believe to be, ordinary lives. For many, living in a peaceful country is often taken for granted. People are quick to be ignorant and assume if they are living in harmony that all get such privilege. Ghadirian’s choice to show items of war infiltrated into objects that can be found in any home speaks volumes to the audience. The symbolic objects of war almost seem to belong when one gazes at the image long enough. It is this emotion that overwhelms the viewer with fear. The “weapons have completely besieged familial intimacy and invaded the household” in a way no other artist has been able to portray before. The initial photo of the Nil, Nil series speaks louder than the rest. Two pairs of shoes are placed at specific angles next to an ajar door in Nil, Nil #1 .[10] Not only does this photograph encapsulate war, but also gender roles on an extreme scale. Specifically, the shoes resting with such a curated design causes the shoes to come to life even though they are lacking any human presence. A concurrent myth within American culture is that one’s shoes, or feet rather, will point to their desires. There is no relevant research to support such theory, but it should be considered when breaking down Nil, Nil #1. Ghadirian has placed vibrant red high heels pointed with one foot out the door directed towards the light flooding in while the military-like army boots sit heel to heel cornering the high-heels to stay. The pair of heels is a head-nod to the female perspective, while the combat boots represent masculinity. Ghadirian brings these shoes to life with emotions, desires, and power. The combat boots indicate violence due to the inclusion of a blood stain on the right big toe region. Ghadirian’s commentary is saying there is a duality of war experiences occurring: both in the outside in the real world and behind closed doors of a home.[11] This photograph honing on male to female power struggles, gender stereotypes, and in-home conflict reiterates the eeriness and fear of the unknown. The photographs making up the Nil, Nil series exposes people of the West to understand anyone can be put in the situation of war and that they are not, and should not be, untouchables. It provides the tools to better the flaws of Western ethnocentrism. All individuals deserve to experience life in an environment of peace. Being “surrounded by countries at war and threatened daily by imminent conflict, young Iranians have learned how to deal with the culture of war.”[12] Nil, Nil encapsulates the tragic, yet true reality of war culture.
As aforementioned, Ghadirian is from Tehran and continues to live in Tehran. A major component of analyzing Ghadirian’s work is to remember that she has built endless pieces about the home while being at home herself. This ties a deeper bond to her roots and creates a fabulous parallel between her reality and her works. Ghadirian also ensures her audiences that she takes photographs within the home to connect her work to truth. Ghadirian continues to tackle gender roles within earlier works such as Like EveryDay.[13] In her series, Like EveryDay, she focuses on a woman’s life as a domesticated housewife in seventeen images completed in 2000.[14] Ghadirian claims her “series is exactly a mirror of [her] life and other woman like [her]-- [her] sisters, [her] friends], the women who live in this country” in reference to Iran.[15] Each fifty by fifty centimeter image is what is to be inferred a human figure, specifically a woman, while holding an object of the home in front of their face. Objects in the series range from a teapot, coffee mug, iron, grater, broom, and more. Ghadirian, using her undeniable wit, creates images coupling a woman’s identity to the tools they are to use in the role as a housewife. This series in particular runs a very close parallel to the life experiences she was going through at the time making this an autobiographical piece. Ghadirian had very recently married her husband.[16] Her commentary on the cookie-cutter stigma around what women are restricted to within their gender roles as laborers of the home is communicated loud and clearly through Like EveryDay. The human figures in the series are wearing chadors.[17] When wearing a chador, one’s entirety of the face is to be exposed leaving a circular round frame. Rather than having the women wear a burka and have the domesticated objects solely placed in front of the face, the objects are actually taking place of a woman’s external identity in the series. Ghadirian’s usage of colorful, vibrant chadors complement the specific household item to create a tasteful aesthetic. The entire series is done with extremely serious intent and tackling turbulent issues, in regard to, female’s limitations within society, but there is a twist of wit incorporated. Ghadirian’s talent shines through series, such as Like EveryDay, due to her ability to have multifaceted approaches to complex issues. Her choice to tackle such problems with different perspectives and slightly a bit of humor is what allows her ideology to be communicated more effectively than her fellow contemporary artist peers. Two images in particular stands out slightly more than rest not only due to the chosen object, but aesthetics as well. In Like EveryDay #16, it is the only curated image incorporating the human hand.[18] Although the hand is only in active use because the highlighted object is the glove, a subtle statement is communicated through its placement. Having the hand limply placed on the forefront of her face, shows a physical manifestation of the coverage in her identity. Another statement image of the series is Like EveryDay #7.[19] The chosen object being a knife gives a sense of danger and an extreme amount of energy.[20] Again the usage of anonymity, as she did in Nil, Nil, creates an effect of eeriness. Scholars have described her series to be humorous, strangely enough, along with authentic panache in the execution. Ghadirian’s impressive panache is very apparent in this work, but especially in her series, Qajar, that sparked controversy and conversation worldwide.
A prime example of the limitations one has an artist in Iran or even within the press would be Ghadirian’s experience with the Hamshari. This newspaper was held close to Ghadirian’s heart because not only did she work there, but her husband and renowned Peyman Houshmandzadeh worked alongside her as well. This publication was repeatedly banned and ran into many controversial disputes based on the content it was sharing.[21] The newspaper is representative to of the different experiences individual’s, specifically females, have under censorship. Utilizing the Hamshari as a focal point of Qajar #4, is symbolic to how valuable authentic freedom of speech truly is.[22] Ghadirian’s choice to stay in Tehran is a powerful message within itself because the connections and experiences she has along the way in her artistic career.[23] Ghadirian chose to incorporate a ‘tip of the hat’ to Hamshari in Qajar. Scholars discuss and take into consideration that she does not have the same freedoms occasionally in her artistic expression as other artists.[24] James’ Yood describes the conversation of tradition as entirely omnipresent in Iranian life. In this perspective how tradition should be practiced, Ghadirian still was able to bring a fresh modern take along with staying bound to tradition in her works.[25] Scholars discuss and take into consideration that she does not have the same freedoms occasionally in her artistic expression as other artists.[26] Ghadirian’s irony in subject matter is a complete parallel to her life as “a modern artist in a repressive culture”.[27] Qajar is a series of studio portraits focusing on combining Iranian women with pop culture items. This cross-cultural and piece reigns as one of Ghadirian’s most beloved works. Thirty-three female subjects make up the series that was completed in 1998. The usage of quaint, European influenced backdrops is to represent painted backdrops which were popular at the end of the Qajar era. Persian elements are incorporated into the background through the use of hanging textiles in images such as Qajar #24. The twenty-five image series creates a strange sense of incongruity between the relationship through objects with a pop culture and modern energy surrounding it. Such objects range from Pepsi to a boombox. It imposes the question of: why should such objects ‘fit’ into this image? Each object seems as though it is foreign given that they are completely Western cosmopolitan objects. Posing a traditional portrait with objects that are perceived to be modern should not have anything surprising about; yet, Ghadirian creates a tension within the image. For the average and ignorant Western viewer, it seems incongruent and it pauses the gaze as if objects are out of place. The entirety in one pausing and questioning the objects included showcases the entire issue Ghadirian is establishing. The stigma and communication system Western society has established around modernity in the East goes back entirely to colonialism. The ripple effects of colonialism have created immense divides between cultures, and it will take work such as Ghadirian to remind all around the world to understand the truths in her philosophy. The series is a collective of “Figures posed in historical studio settings with deliberately anachronistic youthful accessories” that were restricted for numerous years in Iran.[28] The women’s clothing was more revealing than what was considered acceptable Iranian public society at the time in the series causing The Ministry of Culture to kick her out of a competition when showcasing.[29] After refusing to give proof and reasoning to why she was disqualified, they later admit it was because of their disagreements based on how the women were being represented.[30] The most empowering pieces of art will always be the most dangerous towards the source of the problem because it inspires audiences by allowing everyone to believe in a shared vision. Quite wittingly, the message resides with the Western viewer louder than before, due to them being caught slightly off guard.
The Nil, Nil, Like EveryDay, and Qajar series are clear examples of how impactful Ghadirian’s work has been on the world and its progression towards gender equality. Ghadirian is changing social norms that have been untouched for too long. Works of hers, including Qajar, have been utilized to help empower immigrant, young girls narratives through using visual ethnography in an urban primary school. Studies have been made that such use of visual narratives has helped empower the young students in Barcelona by instilling a much more positive perspective to discovering their own identities and being inspired as well. [31] The usage of Ghadirian’s work in an educational space not only represents the impact her art has had throughout the world, but also is a prominent reminder to what the true purpose of art overall is. Ghadirian’s demystification of realities as an Iranian female artist entirely proves Western ethnocentrism wrong. Her career has been admired from around the world and it can be proven when analyzing what museums, she is featured in. Museums such as the Pompidou in Paris, Museum Moderner Kunst Stiftung Ludwig of Vienna, the Los Angeles County Museum of Art, and many more.[32] Shadi Ghadirian lifelong commitment to raising awareness and challenging crucial issues such as gender inequality and the faults of Western ethnocentrism through her camera lens has truly sparked the attention more effectively than her contemporary artist peers attempting to approach similar concepts. The glass ceiling of the East, West, North, and South have officially been shattered entirely and the stage has been set for gender equality worldwide. Artists who dedicate their lives, such as Ghadirian has, are the true catalysts of positive change and her works prove such ideals by themselves.
[1] Kristen Gresh, Michket Krift, and Museum of Fine Arts, Boston. She Who Tells A Story: Women Photographers from Iran and the Arab World. (Boston: MFA Publications, 2013), pg. 85
[2] Judith Brodsky, Ferris Olin, and Mason Gross School of Arts Galleries. The Fertile Crescent: Gender, Art, and Society. (New Brunswick: D.A.P / Distributed Art Publishers, Inc.) pg. 112
[3] Gresh, Krift, and Museum of Fine Arts, Boston. pg. 9
[4] Vicki Goldberg. “Islamic World Through Women’s Eyes”. (New York Times Art Review, 2013)
[5] Goldberg
[6] Ellen Feldman "Photography: Foreign Objects."(2010) pg. 18
[7] Shadi Ghadirian, Nil, Nil #11, 2008, Photograph, 76 x 76 cm
[8] Gresh and Krift pg. 90
[9] Shadi Ghadirian, Nil, Nil #10, 2008, Photograph, 76 x 76 cm
[10] Shadi Ghadirian, Nil, Nil #1, 2008, Photograph, 76 x 76 cm
[11] Gresh and Krift pg. 86
[12] Gresh and Krift pg. 16
[13] "Pictured, Shadi Ghadirian: Like Every Day." Foreign Policy, no. 196 (Slate Group, LLC. 2012) pg. 41
[14] Ghadirian
[15] "Pictured, Shadi Ghadirian: Like Every Day." pg. 41
[16] Gresh, Krift, and Museum of Fine Arts, Boston. pg. 16
[17] Gresh and Krift pg. 85
[18] Shadi Ghadirian, Like EveryDay #16, 2000, Photograph, 50 x 50 cm
[19] Shadi Ghadirian, Like EveryDay #7, 2000, Photograph, 50 x 50 cm
[20] Gresh and Krift pg. 16
[21] Gresh and Krift pg. 27
[22] Shadi Ghadirian, Qajar #4, 1998, Photograph, 30 x 40 cm
[23] Judith Brodsky, Ferris Olin, and Mason Gross School of Arts Galleries. pg. 112
[24] Gresh and Krift pg. 16
[25] James Yood "Persian Visions: Contemporary Photography From Iran." Aperture, no. 187 (2007): pg. 14
[26] Gresh and Krift pg. 16
[27] Feldman pg. 18
[28] Gresh and Krift pg. 16
[29] Gresh and Krift pg. 85
[30] Judith Brodsky, Ferris Olin, and Mason Gross School of Arts Galleries. pg. 211
[31] Montserrat Rifà-Valls, Montserrat. "Deconstructing Immigrant Girls' Identities through the Production of Visual Narratives in a Catalan Urban Primary School." (2009): 671-88.
[32] Judith Brodsky, Ferris Olin, and Mason Gross School of Arts Galleries. pg. 211
Works Cited
Brodsky, Judith K., Ferris. Olin, and Mason Gross School of the Arts Galleries. The Fertile Crescent: Gender, Art, and Society. New Brunswick, N.J. : New York, N.Y.:
Rutgers University Institute for Women and Art ; Distributed by D.A.P./Distributed Art Publishers 2012.
Feldman, Ellen. "Photography: Foreign Objects." The Women's Review of Books 27, no. 3 (2010): 18-19. http://www.jstor.org/stable/27869715.
Ghadirian, Shadi. Shadi Ghadirian, Dynamic Grids & Raad Studio, 2009, shadighadirian.com/index.php?do=photography.
Goldberg, Vicki. "Islamic World Through Women's Eyes." The New York Times (New York N.Y), 2013.
Gresh, Kristen, Michket Krifa, and Museum of Fine Arts, Boston. She Who Tells A Story: Women Photographers from Iran and the Arab World. MFA Publications, Museum Of
Fine Arts, 2013.
"Pictured, Shadi Ghadirian: Like Every Day." Foreign Policy, no. 196 (Slate Group, LLC. 2012): 41.
Rifà-Valls, Montserrat. "Deconstructing Immigrant Girls' Identities through the Production of Visual Narratives in a Catalan Urban Primary School." Gender and Education 21,
no. 6 (2009): 671-88.
Yood, James. "Persian Visions: Contemporary Photography From Iran." Aperture, no. 187 (2007): 14. http://www.jstor.org/stable/24473250.