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Frayed Connections, Fraught Projections: The Troubling Work of Shirin Neshat.

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Frayed Connections, Fraught Projections: The Troubling Work of Shirin Neshat. / Moore, L. C.

In: Women: A Cultural Review, Vol. 13, No. 1, 01.01.2002, p. 1-17.

Research output: Contribution to Journal/MagazineJournal articlepeer-review

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Moore LC. Frayed Connections, Fraught Projections: The Troubling Work of Shirin Neshat. Women: A Cultural Review. 2002 Jan 1;13(1):1-17. doi: 10.1080/095740400210122959

Author

Moore, L. C. / Frayed Connections, Fraught Projections: The Troubling Work of Shirin Neshat. In: Women: A Cultural Review. 2002 ; Vol. 13, No. 1. pp. 1-17.

Bibtex

@article{ec3450dfd8944f77bdc19ee6052c6d7f,
title = "Frayed Connections, Fraught Projections: The Troubling Work of Shirin Neshat.",
abstract = "Moore discusses the work of visual artist Shirin Neshat exhibited at the Serpentine Gallery, London, from July to September 2000, which comprised the photographic series Women of Allah and the video installation trilogy Turbulent, Rapture and Fervor . Her emphasis is on the way in which Neshat's work addresses the critical issues of positioning, representation and cross-cultural reception. The exhibition was marketed as referring to 'the social, cultural, and religious codes of Muslim societies in general, and Iranian society in particular'. Moore argues, however, that the images tend to project a departicularized cultural context that encourages a neo-orientalist interpretation. She first analyses Women of Allah in terms of symbolic projections of womanhood during the Islamic revolution in Iran and in light of post-revolutionary gendered realities. A critique is also mounted of Neshat'snostalgic self-investment in the revolutionary scene. In a discussion of the later video trilogy, Moore disentangles gendered and cross-cultural binaries in order to theorize the space between the dual screens. Her conclusion is that this intermediate space figures the ambivalence of a displaced cultural perspective. As such, it forces a spectatorial enactment of the frayed or troubled connections that the artist makes between two cultural locales.",
keywords = "Ambivalence, Cross-CULTURAL Translation, Displaced Perspective, Iranian Women, Representations Of Islam, Shirin Neshat, Visual Arts",
author = "Moore, {L. C.}",
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year = "2002",
month = jan,
day = "1",
doi = "10.1080/095740400210122959",
language = "English",
volume = "13",
pages = "1--17",
journal = "Women: A Cultural Review",
issn = "0957-4042",
publisher = "Routledge",
number = "1",

}

RIS

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AU - Moore, L. C.

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N2 - Moore discusses the work of visual artist Shirin Neshat exhibited at the Serpentine Gallery, London, from July to September 2000, which comprised the photographic series Women of Allah and the video installation trilogy Turbulent, Rapture and Fervor . Her emphasis is on the way in which Neshat's work addresses the critical issues of positioning, representation and cross-cultural reception. The exhibition was marketed as referring to 'the social, cultural, and religious codes of Muslim societies in general, and Iranian society in particular'. Moore argues, however, that the images tend to project a departicularized cultural context that encourages a neo-orientalist interpretation. She first analyses Women of Allah in terms of symbolic projections of womanhood during the Islamic revolution in Iran and in light of post-revolutionary gendered realities. A critique is also mounted of Neshat'snostalgic self-investment in the revolutionary scene. In a discussion of the later video trilogy, Moore disentangles gendered and cross-cultural binaries in order to theorize the space between the dual screens. Her conclusion is that this intermediate space figures the ambivalence of a displaced cultural perspective. As such, it forces a spectatorial enactment of the frayed or troubled connections that the artist makes between two cultural locales.

AB - Moore discusses the work of visual artist Shirin Neshat exhibited at the Serpentine Gallery, London, from July to September 2000, which comprised the photographic series Women of Allah and the video installation trilogy Turbulent, Rapture and Fervor . Her emphasis is on the way in which Neshat's work addresses the critical issues of positioning, representation and cross-cultural reception. The exhibition was marketed as referring to 'the social, cultural, and religious codes of Muslim societies in general, and Iranian society in particular'. Moore argues, however, that the images tend to project a departicularized cultural context that encourages a neo-orientalist interpretation. She first analyses Women of Allah in terms of symbolic projections of womanhood during the Islamic revolution in Iran and in light of post-revolutionary gendered realities. A critique is also mounted of Neshat'snostalgic self-investment in the revolutionary scene. In a discussion of the later video trilogy, Moore disentangles gendered and cross-cultural binaries in order to theorize the space between the dual screens. Her conclusion is that this intermediate space figures the ambivalence of a displaced cultural perspective. As such, it forces a spectatorial enactment of the frayed or troubled connections that the artist makes between two cultural locales.

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KW - Cross-CULTURAL Translation

KW - Displaced Perspective

KW - Iranian Women

KW - Representations Of Islam

KW - Shirin Neshat

KW - Visual Arts

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