Manifestation of self-exoticism in artworks of
contemporary Iranian photographers
SamineTabatabaei
My paper deals with
manifestation of self-exoticism in artworks of Iranian contemporary photographers.
Self exoticism, the recent trend, becomes the main character of most Iranian
photographers. Exoticism –rooted in postcolonial theory and in this case
in orientalism- frequently used to describe westernersÕ approach through
orient.
Today Iranian possesses mixed
and multifaceted identity like the other nations. Confliction of
modern/traditional in socio-cultural issues; in addition, the Islamic identity which
has been supported by political authority in contrast with the historical identity,
resonate fragments in IranianÕs identity.
Accepting that there can
be certain prevailing characteristics in artworks of the artists live in common
geographical locus in a spantime, I will discuss the picture that Iranian
photographers create most frequently use historical elements of Iranian culture.
The discursive point is that each and every historical reference has specific
origin of itÕs own in culture. But the majority of enumerated pictures set
aside the originality, textuality of Iranian motifs. The westerns popular and
prevalent clichˇs of Iran are inserted in these artworks. This happens as a
matter of response to western art market being formed mostly in Middle East.
These exotic products are produced to be consumed in another culture. Such art
pieces have certain characteristic in common, like: using calligraphy, clothing
(especially Chador for women), subjecting female (with emphasis on distinct
aesthetic), referring to certain historical eras (Hakhamaneshian, Qajar, and
Safavie), distinction between female and male, nostalgic approach through
historical monuments.
well-known photographers –owing
their reputation to the structure which is strengthen by their works-
consciously reproduce the images which are accepted by west as true image of
Iranian. These artworks are parole of stronger ideology which divide the world
in two, and takes itÕs consistency from condemning dispersion.
Stereotyping the
pre-established image of Iranian determines the westernersÕ taste for oriental images,
also responding the exotic demand of western market. Through postcolonial
discourse and cultural semiotic, with reliance on two case studies I will discuss
the image represented by Iranian photographers is self-exoticized and self-oriented
(somehow self-abjected). Besides, I will articulate how these photographers
represent themselves in international setting, and expressions of post-colonial
national identity through photography. Also I will outline three sort of
exoticism in these artworks.
Samineh Tabatabaei: Studying master of art studies
in Science and Culture university of Tehran.