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拍品專文
In Shadi Ghadirian's Qajar series, the models pose with modern props in Iranian dress and against backgrounds which recall the Qajar era in nineteenth century Iran . The images appear to depict a conscious choice on the part of the women. What we see are constructed images of her own gender, at a particular moment in history, created by a young Iranian woman. They explore the notion of the 'western image of eastern woman' and their personal alienation.
"Perhaps the only mentality of an outsider about the Iranian woman is a black chador; however I try to portray all the aspects of the Iranian women. The duality and contradiction of life provides the motive for me to display this contrast: a woman who one cannot say to what time she belongs; a photograph from two eras; a woman who is dazed; a woman who is not connected to the objects in her possession. It was very natural that after marriage, vacuum cleaners, pots and pans find their way into my photographs. The woman, here, is convicted of a daily repetitive routine and for this reason I named the series "Like Every Day. The photographs are not authentic documentations but deal with current social issues." (Shadi Ghadirian)
"Perhaps the only mentality of an outsider about the Iranian woman is a black chador; however I try to portray all the aspects of the Iranian women. The duality and contradiction of life provides the motive for me to display this contrast: a woman who one cannot say to what time she belongs; a photograph from two eras; a woman who is dazed; a woman who is not connected to the objects in her possession. It was very natural that after marriage, vacuum cleaners, pots and pans find their way into my photographs. The woman, here, is convicted of a daily repetitive routine and for this reason I named the series "Like Every Day. The photographs are not authentic documentations but deal with current social issues." (Shadi Ghadirian)