Shirin Aliabadi
Iranian female artist (1973–2018) From Wikipedia, the free encyclopedia
Iranian female artist (1973–2018) From Wikipedia, the free encyclopedia
Shirin Aliabadi (10 March 1973 – 1 October 2018; Persian: شیرین علیآبادی) was anIranian 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]
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 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]
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]
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