Entertainment | Visual Arts
Shattering myths the Iranian way
Iranian artists seek to debunk the stereotypes formed by the West and the rest of the world about the people and the country at the Iranian Art Festival at Qanat Al Qasba.
- By Vinita Bharadwaj, Special to Weekend Review
- Published: 00:00 May 24, 2007
- A photograph titled Wing by Ali Zare, who is interested in documenting lives and people, particularly the youth.
- Image Credit:
Could it be that the cultural diktats in Iran have actually helped enhance the country's creativity quotient? A group of Iranian artists, photographers and filmmakers gathered as part of the Iranian Art Festival at Sharjah's Qanat Al Qasba agreed and disagreed, but agreed to disagree with all the fine graces of Persian etiquette that are world-renowned, but rarely talked about in the mainstream anymore.
"I would be bold to say that it is not so much a result of censorship or restrictions, but over the years, through our civilisations, Iranians have acquired this ability to convey things through double meanings. There can always be another interpretation to anything we say," says Raana Farmoud, an artist and member of the Dena Group.
The group was set up by eight female artists at the start of the millennium, not so much to make a feminist statement in their own country, but to act as a voice outside Iran.
"It's actually the outside world, where we need to have more collective power and voice to be heard and exhibit," says painter Maryam Shirinlou. "Women in every country need to show this sort of unity if they want to be heard, but if you take Iran, I find that people outside have a very small and negative understanding of the women, so I think it's essential to show another face. To show that we can work with authorities and with the government without being related, and that we can work without being dependent on men."
Dismissing the tag of feminism instantly, the women say they admire some facets of the movement but make it clear that they are not proponents of it.
Within Iran, the women say their gender does not make them an instant target for the culture custodians, adding that they enjoy the same privileges — or lack of — as the men. "Artists are looked at as artists, man or woman, doesn't matter," says Yasmin Sinia, a sculptor who uses her works to "criticise women in Iranian society".
"I think outsiders instantly associate Iran with women in chadors. But, really, what we hope is that they start looking below that — not literally — but sort of draw open the curtains that their media have created to colour their perceptions of Iran," says Shirinlou.
There is an admitted temptation to make statements through art. However, contrary to popular belief, they are not political. "We prefer to make statements, if at all we do, on society or social trends and issues," says Farmoud. However, it is the apparent refusal by external powers to go beyond the politics in Iran that peeves the Iranians the most.
Mehrdad Osskuei, a filmmaker, explains how Orientalism, or the West's interpretation of the East to suit its agenda, is very much alive and thriving. "Today, the Orientalist still looks at Iran and finds things that sell well in their markets and flatters the Western image in the eyes of his own audience," he says.
The other members of his group agreed with this theory of a manufactured image of Iran that compares and contrasts the West with their country, without presenting an Iran as Iranians see it.
"What is going on in Iran now," says photographer Ali Zare, "is a phase." Interested in documenting lives and people, particularly the youth who, Zare says, are the same as anywhere else in the world, he finds it a never-ending battle to have to deal with the stereotyping that all Iranians are a reflection of the goings-on in the country's political sphere. As a result, the artists find themselves acting as underground journalists — except that they are not going against their own government but reaching out to the people governed by opponents of Iran.
"It is so important to make that contact with the layman.
Journalists and the media understand us. They are sure to have a better knowledge of Iran's history and what the country has been through, historically, politically and socially. But communicating that to the common man is necessary so they can see beyond a few political statements," says Naghmeh Ghassemlou, also a photographer, whose series of works depicts shorn and worn-out identity cards being washed out by soap suds.
The identity card, she says is a vital part of Iranian day-to-day life. "You lose it and it can be quite difficult to get around," she says.
Her photographs revolve around the concept of identity, its importance and how if one is careless, the identity can be washed away, could be misinterpreted as a political statement against Iran. "It's not. It's by no means a criticism of the concept or need for the card itself. It is a comment on society. But unfortunately in the West, it is the political comments that get more publicity and more attention."
But, because politics and society are so closely intertwined in today's scenario, the artists admit to being questioned occasionally on the nature of their works.
"Once you explain [to the authorities], it's all fine," Sinia says.
The sculptor's pieces are her critique of the opportunities open to Iranian women, but what she perceives are wasted, as there is no contribution to society from them.
"It's a situation of women going to university, studying and even doing well enough to earn degrees. But then a lot of them just end up getting married and discussing make-up possibilities. The material side of life is doing very well, but there needs to be a spiritual awakening of individuals as well," she says.
Acknowledging that it is difficult to escape an atmosphere of intense politics, it is also widely believed amongst the Iranian public — particularly the artistic community — that the political climate change in Iran is a result of global warnings.
"Political art is a trend. In the history of fine art, the masterpieces are remembered for their techniques, their foresight and their creativity. Political moods will definitely change, but how many are really remembered?" ask the women of the Dena Group.
For Iranian artists, who chose to remain in their country, or even returned after a period spent away, there is a great sense of displeasure towards their counterparts, who have settled in other nations and attack Iran from a more powerful platform.
"I don't want to name them but to flee your homeland and take on another identity and then use art to criticise politics is the best way to gain publicity," Farmoud says.
And so groups such as the Dena end up exhausting valuable reserves of energy in fighting for space in the international art world. Having exhibited in Europe, the group is now finalising details of a show in the US, which, needless to say, they are delighted about. "We hope the American exhibition will be received well.
There is a huge interest there. It's access that becomes a challenge. As for art, it must go beyond the realm of politics. While politics is limited, real original art is continuous," members of Dena said.
The Iranian Art Festival is on until May 30 at the Qanat Al Qasba in Sharjah. The festival also features music and
theatre performances and art workshops in addition to the exhibition of paintings, photographs and sculptures.
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