'By framing certain issues that are political, it doesn’t necessarily make you an activist, it just makes you a communicator,' says Shirin Neshat.
Ala Dehghan, Oh, this sun is so lazy, and it is still cold. 2010. Courtesy Center for Human Rights in Iran., the exhibition opens at High Line Nine in New York City on November 7. The works, mostly paintings and drawings, a few sculptures and one video, will all be put up for auction via Artsy, the proceeds of which will benefit the CHRI’s arts, culture and disability rights programs.
Nothing in the show feels, as Neshat puts it, like it has a loudspeaker attached to it. She felt pulled towards work rich in symbolism, allegory and metaphor. Paintings by Roya Farassat feature anonymous and mythical figures, while watercolors and drawings by Sepideh Salehi and Hadieh Shafie employ repetitive calligraphed letters and washes of pigment. Bahar Sabzevari utilizes traditional stylistic techniques and religious imagery in portraits reminiscent of Frida Kahlo and Cindy Sherman.
Wary of her own experience of having her personal narrative dominate the public discourse, Neshat wants the focus to be squarely on the work, not only out of respect for the women as artists but out of concern for their privacy due to their immigration status. “It’s not something of the past. It’s really very present, how vulnerable they are politically and personally, with a future that is really uncertain. There’s so much anxiety,” she says.
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