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{{Short description|Iranian female artist (1973–2018)}} |
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{{Infobox artist |
{{Infobox artist |
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| name = Shirin Aliabadi |
| name = Shirin Aliabadi |
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| image = Photo of Shirin Aliabadi.jpg |
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| image = <!-- just the pagename, without the File:/Image: prefix or [[brackets]] --> |
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| alt = Photo of Shirin Aliabadi |
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| native_name = |
| native_name = شیرین علیآبادی |
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| native_name_lang = fa |
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| birth_name = <!-- only use if different than name --> |
| birth_name = <!-- only use if different than name --> |
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| birth_date = {{birth date|df=y|1973|3|10}} |
| birth_date = {{birth date|df=y|1973|3|10}} |
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| birth_place = [[Tehran]], Iran |
| birth_place = [[Tehran]], Iran |
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| death_date = {{Death date and age|2018|10|1|1973|3|10|df=y}} |
| death_date = {{Death date and age|2018|10|1|1973|3|10|df=y}} |
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| death_place = [[Tehran]], Iran |
| death_place = [[Tehran]], Iran |
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| resting_place_coordinates = <!-- {{Coord|LAT|LONG|type:landmark|display=inline}} --> |
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| education = |
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| alma_mater = [[University of Paris]] |
| alma_mater = [[University of Paris]] |
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| style = |
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| movement = |
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| spouse = [[Farhad Moshiri (artist)|Farhad Moshiri]] |
| spouse = [[Farhad Moshiri (artist)|Farhad Moshiri]] |
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'''Shirin Aliabadi''' (10 March 1973 – 1 October 2018) was an |
'''Shirin Aliabadi''' (10 March 1973 – 1 October 2018; [[Persian language|Persian]]: شیرین علیآبادی) was an Iranian contemporary multidisciplinary visual artist. Her artistic oeuvre primarily addressed themes related to women's issues, gender representation, and the beauty industry.<ref>{{Cite news|url=https://www.nytimes.com/2018/10/19/obituaries/shirin-aliabadi-dead.html|title=Shirin Aliabadi, Iranian Artist With a Focus on Women, Dies at 45|last=Seelye|first=Katharine Q.|date=2018-10-19|work=The New York Times|access-date=2019-03-29|language=en-US|issn=0362-4331}}</ref><ref name="deutsche">{{cite web |date=2013 |title=The Subversive Potential of Hermès Scarves: Shirin Aliabadi discloses the desires of young Iranian women |url=http://db-artmag.com/en/77/feature/the-subversive-potential-of-hermes-scarves-shirin-aliabadi-discl/ |archive-url=https://web.archive.org/web/20211105004321/https://db-artmag.com/en/77/feature/the-subversive-potential-of-hermes-scarves-shirin-aliabadi-discl/ |archive-date=2021-11-05 |work=ArtMag |publisher=Deutsche Bank AG}}</ref> Aliabadi's work is widely recognized for its exploration of the complexities surrounding these subjects within Iranian society. Notably, she gained acclaim for her photographic series ''Girls in Cars'' and ''Miss Hybrid'', which vividly portray rebellious Iranian women, challenging societal norms and expectations. Her contributions to contemporary art have been significant in highlighting and questioning the cultural constructs of femininity and beauty in Iran.<ref>{{Cite web|url=http://theartnewspaper.com/news/shirin-aliabadi-known-for-depicting-rebellious-iranian-women-is-dead|title=Shirin Aliabadi, known for depicting rebellious Iranian women, has died|last=Bekhrad|first=Joobin|website=theartnewspaper.com|date=3 October 2018 |access-date=2019-03-29}}</ref> |
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==Biography== |
==Biography== |
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| ⚫ | Aliabadi was born in [[Tehran]], Iran |
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| ⚫ | Shirin Aliabadi was born on March 10, 1973, in [[Tehran]], Iran, to parents Maymanat and Iraj Aliabadi. Her mother, Maymanat, was an artist and taught at Tehran University, while her father, Iraj, was a poet who also worked for an insurance company. Growing up, Aliabadi was mentored by her older brother, who introduced her to art, music, and pop culture.<ref name=":2">{{Cite news |last=Seelye |first=Katharine Q |date=October 21, 2018 |title=Shirin Aliabadi, 45, Artist Who Captured Paradoxes of Iranian Women, Dies. |work=New York Times |via=Gale Group}}</ref> She was raised in an environment rich with artists and intellectuals, enjoying a high standard of living until the [[Iranian Revolution]] in 1979. Following the revolution, her parents lost their jobs but managed to support her education abroad. Aliabadi went on to study art history at the [[University of Paris]], where she earned a master's degree in the subject.<ref name="ModernEd">{{cite web|title=Contemporary Middle Eastern art - new Islamic art and photography|url=http://www.modernedition.com/art-articles/new-arabic-art/middle-eastern-art.html|website=www.modernedition.com|publisher=Modern Edition|access-date=1 March 2017}}</ref> |
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Aliabadi married [[Farhad Moshiri (artist)|Farhad Moshiri]], another artist in 1993. She commuted between Paris and Tehran for most of her career, but was primarily based in Tehran where she was represented by [[The Third Line]] gallery in [[Dubai]] for more than ten years.<ref name="deutsche" /><ref name=":0">{{Cite news|url=https://madmimi.com/p/4ed5fc?fe=1&pact=732334-147484339-4277843480-c3698b66f092ea135f853a2240d835f10a68c452|title=In Loving Memory of Shirin Aliabadi|work=Mad Mimi|access-date=2018-10-02}}</ref><ref>{{Cite web|url=http://artasiapacific.com/News/ObituaryShirinAliabadi19732018|title=ArtAsiaPacific: Obituary Shirin Aliabadi19732018|last=Chung|first=Julee WJ|date=|website=artasiapacific.com|archive-url=|archive-date=|dead-url=|access-date=2019-03-29}}</ref> |
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In 1993, Shirin Aliabadi married fellow artist [[Farhad Moshiri (artist)|Farhad Moshiri]]. Throughout her career, she commuted between Paris and Tehran, although she was primarily based in Tehran. For over a decade, Aliabadi was represented by The [[Third Line gallery]] in [[Dubai]].<ref name="deutsche" /><ref>{{Cite web|url=http://artasiapacific.com/News/ObituaryShirinAliabadi19732018|title=ArtAsiaPacific: Obituary Shirin Aliabadi19732018|last=Chung|first=Julee WJ|website=artasiapacific.com|access-date=2019-03-29}}</ref><ref name=":0">{{Cite news|url=https://madmimi.com/p/4ed5fc?fe=1&pact=732334-147484339-4277843480-c3698b66f092ea135f853a2240d835f10a68c452|title=In Loving Memory of Shirin Aliabadi|work=Mad Mimi|access-date=2018-10-02}}</ref> Her work gained significant recognition, allowing her to maintain a strong presence in both Iranian and international art scenes. |
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Her work has appeared in solo exhibitions in Dubai, Tehran, London, Switzerland and Denmark and in group exhibitions at the {{Interlanguage link multi|Institut des cultures d'Islam|fr}} in Paris, the [[Gallery of Modern Art, Glasgow|Gallery of Modern Art]] in Glasgow, at Frieze New York, at the [[Chelsea Art Museum]], in Monaco, in [[Rio de Janeiro]], in [[Copenhagen]], in Italy, in Norway, in Estonia, in Germany, in Switzerland and in Spain.<ref name="thirdline">{{cite web|url=http://www.thethirdline.com/media/49101/TTL%20BIO_Shirin%20Aliabadi_2015.pdf|title=Shirin Aliabadi|publisher=Third Line}}</ref> Her work is held in the collections of [[Deutsche Bank]] AG in [[Germany]], the [[Bristol City Museum and Art Gallery]] and the Farjam Collection in Dubai.<ref>{{cite web|url=https://suitcasemag.com/photo-journals/miss-hybrid-series-shirin-aliabadi/|title=The New Iranian Woman – Miss Hybrid Series|date=26 January 2016|publisher=SUITCASE Magazine|accessdate=1 March 2017}}</ref><ref name="thirdline" /> |
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Shirin Aliabadi's work has been featured in solo exhibitions across various locations, including Dubai, Tehran, London, Switzerland, and Denmark. Additionally, her art has been showcased in numerous group exhibitions at prestigious venues such as the [[:fr: Institut des cultures d'Islam|Institut des cultures d'Islam]] in Paris, the [[Gallery of Modern Art, Glasgow|Gallery of Modern Art]] in Glasgow, Frieze New York, and the [[Chelsea Art Museum]]. Her work has also been exhibited in Monaco, Rio de Janeiro, Copenhagen, Italy, Norway, Estonia, Germany, Switzerland, and Spain. |
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| ⚫ | Shirin Aliabadi |
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Aliabadi's pieces are part of several notable collections, including those of [[Deutsche Bank]] AG in Germany, the [[Bristol Museum & Art Gallery|Bristol City Museum and Art Gallery]], and the Farjam Collection in Dubai.<ref>{{cite web|url=https://suitcasemag.com/photo-journals/miss-hybrid-series-shirin-aliabadi/|title=The New Iranian Woman – Miss Hybrid Series|date=26 January 2016|publisher=SUITCASE Magazine|access-date=1 March 2017}}</ref><ref name="thirdline">{{cite web |title=Shirin Aliabadi |url=http://www.thethirdline.com/media/49101/TTL%20BIO_Shirin%20Aliabadi_2015.pdf |publisher=Third Line}}</ref> Her international exhibitions and the inclusion of her work in prominent collections underscore her significant impact on the contemporary art world. |
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| ⚫ | Shirin Aliabadi passed away on October 1, 2018, in Tehran, Iran, after battling cancer.<ref name=":2" /><ref name=":0" /><ref>{{cite web |last1=Bekhrad |first1=Joobin |title=Shirin Aliabadi, known for depicting rebellious Iranian women, has died |url=https://www.theartnewspaper.com/news/shirin-aliabadi-known-for-depicting-rebellious-iranian-women-is-dead |website=The Art Newspaper |access-date=5 October 2018 |date=3 October 2018}}</ref> |
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Aliabadi's art, which includes photographs and drawings, explores the competing effects on young urban Iranian women of traditional values, religious restrictions and globalized western culture.<ref name="deutsche" /> |
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| ⚫ | Aliabadi is |
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{{Quote box |
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| ⚫ | | quote = ''Banal as the symbols of consumer society may seem: Starbucks, bags by Goyard or iPods. In Iran they become a subliminal instrument of the so-called cultural invasion from the West, which the Iranian authorities equate with the 'great Satan'. For the young generation, in particular for the women, such fashion accessories become – in a beguiling manner – a kind of passive rebellion. This is the moment when fashion is not only fashion – in this context the message is not superficial.'' |
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| author = Shirin Aliabadi, 2011 |
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| source = <ref name="deutsche" /> |
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Shirin Aliabadi's art, encompassing both photographs and drawings, delves into the conflicting influences on young urban Iranian women. Her work examines the tension between traditional values, religious restrictions, and the pervasive impact of globalized Western culture. Through her unique visual narratives, Aliabadi highlights the complexities and challenges faced by women navigating these diverse and often contradictory cultural landscapes.<ref name="deutsche" /> |
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| ⚫ | Shirin Aliabadi is renowned for her photographic series ''Girls in Cars'' (2005), which depicted women riding around in cars, ready to party. Reflecting on this series in a 2013 article for Deutsche Bank,<ref name="deutsche" /> where her works were exhibited, Aliabadi recounted being stuck in traffic in an upscale part of Tehran. She observed, "We were surrounded by beautiful girls made up to go to a party or just cruising in their cars, and I thought then that this image of women chained by tradition and the hijab is not even close to reality here. They all had music on and were chatting to each other between the cars and making eyes and conversation with boys in other vehicles. Although respectful of the laws, they were having fun."<ref name="deutsche" /> |
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This series illustrates the contradiction between the stringent restrictions imposed by Iranian laws and the youthful exuberance of women who engage with Western-style fashion and accessories while enjoying themselves. Aliabadi's work is known for blending playful elements with more serious themes, effectively intertwining the political and the personal. This approach highlights the complexities and nuances of contemporary Iranian women's experiences. |
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In 2006, Shirin Aliabadi |
In 2006, Shirin Aliabadi collaborated with her husband, fellow artist [[Farhad Moshiri (artist)|Farhad Moshiri]], on a project titled ''Operation Supermarket''. This photographic series was exhibited at the 2008 Singapore Biennale and focused on packages and advertising images that were manipulated to include provocative phrases, providing a critical commentary on failed capitalism and consumerism.<ref name=":1">{{Cite book|title=Contemporary art in the Middle East|others=Sloman, Paul|year = 2009|isbn=9781906155568|location=London|oclc=271774974}}</ref> For instance, one image featured a chocolate bar labeled "intolerance," while a dishwasher soap label read "Shoot First."<ref name=":1" /> This series exemplified Aliabadi and Moshiri's innovative approach to art, using familiar consumer goods to question and critique societal values and economic systems. |
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Shirin Aliabadi's ''Miss Hybrid'' (2008) series presents young Iranian women in unconventional and striking ways. The photographs feature women with bleached blonde hair, blue contact lenses, flawless makeup, and brightly colored headscarves, contrasting sharply with the more traditional images of Muslim women in dull-colored chadors with no makeup and fully covered hair.<ref name=":1" /> A notable detail in many of these portraits is the presence of band-aids across the women's noses, referencing a fashion trend among Iranian youth that highlights the increasing prevalence of plastic surgery. |
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The portraits, reminiscent of studio photography, depict the women from the mid-torso against dark backgrounds, creating a stark visual impact. These images blend traditional attire with contemporary fashion trends, offering a commentary on artificial beauty and the sartorial limitations faced by some Muslim women. The ''Miss Hybrid'' series exemplifies Aliabadi's ability to merge playful and serious elements, addressing issues of gender, beauty, and cultural identity within the context of modern Iranian society.<ref name=":1" /> |
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Her ''Miss Hybrid (2008)'' series portrays young iranian women in somewhat unconventional ways. For example, some of the photographs in this series portray women with bleached blonde hair, blue contact lenses, perfect makeup, and brightly colored headscarves, in stark contrast to the more commonly projected images of Muslim women swathed in a dull colored [[chador]] with no makeup and no hair showing<ref name=":1" />. The women often have bandaids across their noses, a nod to a fashion statement among Iranian youth connoting the increasingly common incidence of plastic surgery. The photographs are depicted similar to studio portraits, portrayed from the mid-torso against dark backgrounds. The portraits are hybrids between traditional attire and contemporary fashion trends, commenting on artificial beauty and the sartorial confines of some Muslim women.<ref name=":1" /> |
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== See also == |
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* [[List of Iranian artists]] |
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As Aliabadi continued making artworks that balanced femininity, beauty standards, consumerism, and tolerance, she turned to drawing in her next series "Eye Love You" (2009) in which schoolgirl-esque drawings of exaggerated eye makeup in which brides are commonly adorned on their wedding day. The drawings are reminiscent of idle daydreams of school girls, with the eyes embellished with brightly colored eyeshadows, glitter, sticker gems, flowers, butterflies, swans, etc. Popular Iranian motifs are mixed with airbrush-style swirls and motifs reminiscent of American-style automobile bodywork. |
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* [[List of Iranian women artists]] |
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== References == |
== References == |
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[[Category:1973 births]] |
[[Category:1973 births]] |
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[[Category:2018 deaths]] |
[[Category:2018 deaths]] |
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[[Category:20th-century Iranian women artists]] |
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[[Category:21st-century Iranian women artists]] |
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[[Category:Iranian contemporary artists]] |
[[Category:Iranian contemporary artists]] |
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[[Category:Artists from Tehran]] |
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[[Category:People from Tehran]] |
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[[Category:University of Paris alumni]] |
[[Category:University of Paris alumni]] |
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[[Category:Iranian expatriates in France]] |
[[Category:Iranian expatriates in France]] |
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[[Category:Deaths from cancer in Iran]] |
[[Category:Deaths from cancer in Iran]] |
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{{Iran-artist-stub}} |
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Latest revision as of 09:31, 25 October 2024
Shirin Aliabadi | |
|---|---|
شیرین علیآبادی | |
 | |
| Born | 10 March 1973 Tehran, Iran |
| Died | 1 October 2018 (aged 45) Tehran, Iran |
| Alma mater | University of Paris |
| Spouse | Farhad Moshiri |
Shirin Aliabadi (10 March 1973 – 1 October 2018; Persian: شیرین علیآبادی) was an Iranian contemporary multidisciplinary visual artist. Her artistic oeuvre primarily addressed themes related to women's issues, gender representation, and the beauty industry.[1][2] Aliabadi's work is widely recognized for its exploration of the complexities surrounding these subjects within Iranian society. Notably, she gained acclaim for her photographic series Girls in Cars and Miss Hybrid, which vividly portray rebellious Iranian women, challenging societal norms and expectations. Her contributions to contemporary art have been significant in highlighting and questioning the cultural constructs of femininity and beauty in Iran.[3]
Biography
[edit]Shirin Aliabadi was born on March 10, 1973, in Tehran, Iran, to parents Maymanat and Iraj Aliabadi. Her mother, Maymanat, was an artist and taught at Tehran University, while her father, Iraj, was a poet who also worked for an insurance company. Growing up, Aliabadi was mentored by her older brother, who introduced her to art, music, and pop culture.[4] She was raised in an environment rich with artists and intellectuals, enjoying a high standard of living until the Iranian Revolution in 1979. Following the revolution, her parents lost their jobs but managed to support her education abroad. Aliabadi went on to study art history at the University of Paris, where she earned a master's degree in the subject.[5]
In 1993, Shirin Aliabadi married fellow artist Farhad Moshiri. Throughout her career, she commuted between Paris and Tehran, although she was primarily based in Tehran. For over a decade, Aliabadi was represented by The Third Line gallery in Dubai.[2][6][7] Her work gained significant recognition, allowing her to maintain a strong presence in both Iranian and international art scenes.
Shirin Aliabadi's work has been featured in solo exhibitions across various locations, including Dubai, Tehran, London, Switzerland, and Denmark. Additionally, her art has been showcased in numerous group exhibitions at prestigious venues such as the Institut des cultures d'Islam in Paris, the Gallery of Modern Art in Glasgow, Frieze New York, and the Chelsea Art Museum. Her work has also been exhibited in Monaco, Rio de Janeiro, Copenhagen, Italy, Norway, Estonia, Germany, Switzerland, and Spain.
Aliabadi's pieces are part of several notable collections, including those of Deutsche Bank AG in Germany, the Bristol City Museum and Art Gallery, and the Farjam Collection in Dubai.[8][9] Her international exhibitions and the inclusion of her work in prominent collections underscore her significant impact on the contemporary art world.
Shirin Aliabadi passed away on October 1, 2018, in Tehran, Iran, after battling cancer.[4][7][10]
Artwork
[edit]Banal as the symbols of consumer society may seem: Starbucks, bags by Goyard or iPods. In Iran they become a subliminal instrument of the so-called cultural invasion from the West, which the Iranian authorities equate with the 'great Satan'. For the young generation, in particular for the women, such fashion accessories become – in a beguiling manner – a kind of passive rebellion. This is the moment when fashion is not only fashion – in this context the message is not superficial.
Shirin Aliabadi, 2011, [2]
Shirin Aliabadi's art, encompassing both photographs and drawings, delves into the conflicting influences on young urban Iranian women. Her work examines the tension between traditional values, religious restrictions, and the pervasive impact of globalized Western culture. Through her unique visual narratives, Aliabadi highlights the complexities and challenges faced by women navigating these diverse and often contradictory cultural landscapes.[2]
Shirin Aliabadi is renowned for her photographic series Girls in Cars (2005), which depicted women riding around in cars, ready to party. Reflecting on this series in a 2013 article for Deutsche Bank,[2] where her works were exhibited, Aliabadi recounted being stuck in traffic in an upscale part of Tehran. She observed, "We were surrounded by beautiful girls made up to go to a party or just cruising in their cars, and I thought then that this image of women chained by tradition and the hijab is not even close to reality here. They all had music on and were chatting to each other between the cars and making eyes and conversation with boys in other vehicles. Although respectful of the laws, they were having fun."[2]
This series illustrates the contradiction between the stringent restrictions imposed by Iranian laws and the youthful exuberance of women who engage with Western-style fashion and accessories while enjoying themselves. Aliabadi's work is known for blending playful elements with more serious themes, effectively intertwining the political and the personal. This approach highlights the complexities and nuances of contemporary Iranian women's experiences.
In 2006, Shirin Aliabadi collaborated with her husband, fellow artist Farhad Moshiri, on a project titled Operation Supermarket. This photographic series was exhibited at the 2008 Singapore Biennale and focused on packages and advertising images that were manipulated to include provocative phrases, providing a critical commentary on failed capitalism and consumerism.[11] For instance, one image featured a chocolate bar labeled "intolerance," while a dishwasher soap label read "Shoot First."[11] This series exemplified Aliabadi and Moshiri's innovative approach to art, using familiar consumer goods to question and critique societal values and economic systems.
Shirin Aliabadi's Miss Hybrid (2008) series presents young Iranian women in unconventional and striking ways. The photographs feature women with bleached blonde hair, blue contact lenses, flawless makeup, and brightly colored headscarves, contrasting sharply with the more traditional images of Muslim women in dull-colored chadors with no makeup and fully covered hair.[11] A notable detail in many of these portraits is the presence of band-aids across the women's noses, referencing a fashion trend among Iranian youth that highlights the increasing prevalence of plastic surgery.
The portraits, reminiscent of studio photography, depict the women from the mid-torso against dark backgrounds, creating a stark visual impact. These images blend traditional attire with contemporary fashion trends, offering a commentary on artificial beauty and the sartorial limitations faced by some Muslim women. The Miss Hybrid series exemplifies Aliabadi's ability to merge playful and serious elements, addressing issues of gender, beauty, and cultural identity within the context of modern Iranian society.[11]
See also
[edit]References
[edit]- ^ Seelye, Katharine Q. (2018-10-19). "Shirin Aliabadi, Iranian Artist With a Focus on Women, Dies at 45". The New York Times. ISSN 0362-4331. Retrieved 2019-03-29.
- ^ a b c d e f "The Subversive Potential of Hermès Scarves: Shirin Aliabadi discloses the desires of young Iranian women". ArtMag. Deutsche Bank AG. 2013. Archived from the original on 2021-11-05.
- ^ Bekhrad, Joobin (3 October 2018). "Shirin Aliabadi, known for depicting rebellious Iranian women, has died". theartnewspaper.com. Retrieved 2019-03-29.
- ^ a b Seelye, Katharine Q (October 21, 2018). "Shirin Aliabadi, 45, Artist Who Captured Paradoxes of Iranian Women, Dies". New York Times – via Gale Group.
- ^ "Contemporary Middle Eastern art - new Islamic art and photography". www.modernedition.com. Modern Edition. Retrieved 1 March 2017.
- ^ Chung, Julee WJ. "ArtAsiaPacific: Obituary Shirin Aliabadi19732018". artasiapacific.com. Retrieved 2019-03-29.
- ^ a b "In Loving Memory of Shirin Aliabadi". Mad Mimi. Retrieved 2018-10-02.
- ^ "The New Iranian Woman – Miss Hybrid Series". SUITCASE Magazine. 26 January 2016. Retrieved 1 March 2017.
- ^ "Shirin Aliabadi" (PDF). Third Line.
- ^ Bekhrad, Joobin (3 October 2018). "Shirin Aliabadi, known for depicting rebellious Iranian women, has died". The Art Newspaper. Retrieved 5 October 2018.
- ^ a b c d Contemporary art in the Middle East. Sloman, Paul. London. 2009. ISBN 9781906155568. OCLC 271774974.
{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
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