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Art of Protest in Five Acts

Published online by Cambridge University Press:  03 August 2023

Extract

The world's first encounter with the tragic murder of the 22-year-old Mahsa Amini by Iran's “morality police” was through her image. As millions around the world browsed through news and social media, they were shocked by the image of the unconscious Amini hooked up to ventilators—her punishment for showing some hair through a loosely worn scarf (Fig. 1). The photograph was so influential that a week after its release, its brave photographer, journalist Niloofar Hamedi, was imprisoned. Despite government pressure, artists began reproducing this horrific image. In stylized reiterations, the portrait of Amini was at times coupled with mourning songs or counterrevolutionary music, as in the colorful animation by Belgium-based Iranian artist Niknaz Khalouzadeh that went viral overnight.

Type
Round Table
Copyright
Copyright © The Author(s), 2023. Published by Cambridge University Press on behalf of the Association for Iranian Studies

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References

1 Daftari, Fereshteh, Persia Reframed: Iranian Visions of Modern and Contemporary Art (London: I. B. Tauris, 2019), 148Google Scholar.

2 Karimi, Pamela, Alternative Iran: Contemporary Art and Critical Spatial Practice (Stanford, CA: Stanford University Press, 2022)CrossRefGoogle Scholar.

3 Michelle Langford, Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance (London: Bloomsbury Academic, 2019), 2.

4 Mottahedeh, Negar. Displaced Allegories: Post-Revolutionary Iranian Cinema (Durham, NC: Duke University Press, 2008).

5 Pamela Karimi, “The Many Shades of Iran's Protest Art,” Hyperallergic, October 11, 2022, https://hyperallergic.com/768539/the-many-shades-of-iran-protest-art.

6 Ibid.

7 Statement extracted from the social media platform of a well-known musician whose identity is kept secret for security.

8 In early February 2023 several professors from Tehran's University of Art published letters from high-ranking administrators, which officially terminated or suspended their contracts.

9 Official Instagram account of Black Fish Voice (BFV) Group, @blackfishvoice.

10 Elaine Velie, “Iranian Artists Criticize Berlin Museum's Display of Shirin Neshat Banner: Some Have Questioned Whether Neshat's Famous Images of Women Wearing the Hijab Represent the Struggles of Iranian Women Today,” Hyperallergic, November 17, 2022, https://hyperallergic.com/780221/iranian-artists-criticize-berlin-museums-display-of-shirin-neshat-banner.

11 Walter Benjamin, “Theories of German Fascism: On the Collection of Essays War and Warrior.” New German Critique 17 (1979): 120–28.

12 Raymond Williams, Marxism and Literature (Oxford, UK: Oxford University Press, 1977), 121–27, 132.

13 Rebecca Coleman, “Social Media and the Materialization of the Affective Present,” in Affect and Social Media: Emotions, Mediation, Anxiety, and Contagion, ed. Tony D. Sampson, Stephen Madison, and Darren Ellis, 67–75 (London: Rowman and Littlefield International, 2018).

14 Ibid.

15 Jacques Rancière, Dissensus: On Politics and Aesthetics, trans. Steven Corcoran (London: Continuum, 2010).

16 Commentary by anonymous user on the footage seen on Masih Alinejad's personal Instagram platform. The translation, with slight modification, is mine.

17 For further discussion of these challenges faced by scholars, particularly feminists, see Éléonore Lépinard, Feminist Trouble: Intersectional Politics in Postsecular Times (Oxford, UK: Oxford University Press, 2020).

18 Glissant, Édouard, Poetics of Relation, trans. Wing, Betsey (Ann Arbor, MI: University of Michigan Press, 1997), 194CrossRefGoogle Scholar.

19 Dash, J. Michael, Édouard Glissant (Cambridge, UK: Cambridge University Press, 1995), 143CrossRefGoogle Scholar.

20 Bahareh Hedayat, “‘Revolution is Inevitable’: Bahareh Hedayat's Letter from Evin Prison in Tehran, Iran,” December 2022, Jadaliyya, January 4, 2023, https://www.jadaliyya.com/Details/44720.

21 Patricia Cohen, “Yale Press Bans Images of Muhammad in New Book” New York Times, August 12, 2009, https://www.nytimes.com/2009/08/13/books/13book.html.

22 Official Instagram account of Khaneh Cinema (The House of Cinema), @khnecinema. For further information on the demands of politically active artists and the future of the arts in Iran, see the Radio Zamaneh conversation with prominent artists Parastoo Forouhar and Jinoos Taghizadeh, January 31, 2023, https://www.radiozamaneh.com/751659/?tg_rhash=0ceb6994783a68.