Iranian Artist Shirin Neshat: A Life in Self-Imposed Exile

‘In this Western world that we have, culture risks being [only] a form of entertainment.’

-Shirin Neshat, ‘Art in Exile’ (2010)
The experience of being caught between two cultures is very much at the forefront of Shirin Neshat’s work. Neshat left Iran to study art in Los Angeles around the time of the Iranian Revolution, having been brought up to accept Western values by her father. In 1990 she returned to her home country greeted by enormous changes, both in people’s mental attitudes and physical appearances, which she described as both ‘frightening and exciting’. Not only did she experience being trapped between two different cultures, (American and Iranian) but she also found she was wrestling with the sense of nostalgia for the pre-revolutionary Iran of her childhood. Her creative work is dominated by political, social and religious motifs which continue to shape her identity.
Neshat’s photographs often explore stark contrasts and polar opposites: black and white, male and female, life and death. On each photograph she inscribes calligraphic poetry by contemporary Iranian women, superimposed on the (often female) bodies of her subjects. These verses cover topics such as the role of women in the Revolution, exile and martyrdom, topics particularly close to Neshat’s heart having seen and experienced first-hand the struggles faced by Iranian women in contemporary Islamic societies.

Neshat’s challenging photographs, videos and multimedia installations have been well received with many galleries and curators of major international art exhibitions, including the Venice Biennale, where she won the top prize in 1999. 2014 saw three solo exhibitions of Neshat’s work, beginning in January of that year with Shirin Neshat: Our House is on Fire, at the Rauschenberg Foundation Project Space, New York. This was followed by a solo show at Mücsarnok Kunsthalle, Budapest 27th March – 17th May, and finally, Shirin Neshat, at the National Museum of Modern and Contemporary Art, Seoul, South Korea. This last exhibition was particularly significant to the artist, as it is a mid-career retrospect presenting the last 20 years, and includes a series of early photographs and three famous black and white films; Rapture (1998), Turbulent (1999) and Fervor (2000).
Neshat’s work is not lacking in passion. The artist’s experience of exile is deeply woven into the fabric of her art practice, raising questions about displacement, power, and paradox. ‘My work is always navigating between issues that I face as one woman, one Iranian, one artist –and issues that are far larger than me.’ Intent on sharing her history and personal experience of displacement and identity, she strives to foster justice, and humanity to bring about an awareness of one’s own identity in the face of change.