In my years as an arts observer, nothing I've seen comes close to the strong confrontational presentation of the antagonistic relationship between women and religion at Shirin Neshat's ink on photography series titled "Women of Allah". This series of photographs taken from 1993 to 1997 which mostly had arabic painted over by Shirin herself with ink demonstrate the complicated and often forceful nature of the abstract thing called religion imposed onto the body of women, particularly in Islam. However, viewing the series today in 2014, not only do these views of her's from two decades ago still stands, but I find it extends to other religions as well. From Buddhism to Hinduism to Christianity and other major/minor faiths around the world, religion are more often than not very patriarchal and expect the women to follow, blind with faith.
The images compiled and then edited by Shirin Neshat show a collection of black and white photography of concealed (either by textile or by the cropping of the camera lens) body parts of women - or models assumed to be women. The reason I argue that is because some images don't directly reveal the gender of the model hence provide an interesting layer of anonymity towards Shirin's subject, but at the same time informs us that while the main message she wants to put across concern mainly of women hood, other gender may also suffer from such impositions. This is evident in the artwork number 4 where the hands of a person formed in a prayer like gesture lacks the sleeves of a woman's burqa, where a woman under the strictest Islamic practice must cover up her aurat (or her nakedness) in order not to tempt Muslim men.
Shirin Neshat creates obvious visual tension in this series of work where in most photos she had her models carry a gun, the ultimate symbol of aggression and antagonism. The delicateness of women placed immediately next to something so hard draws the viewers into an uncomfortable and unsettling feeling. Yet she does not reveal the intention of the gun - but let viewers decide whether it’s an instrument of protection or destruction. In one of her photos she had her model stand very firmly looking straight into the camera holding a rifle pointing upwards in between her eyes. The model is expressionless yet her eyes convey a sense of seriousness. It is in this picture that you - the viewer - must decide whether she is to use this rifle - and by extension the religion - as a weapon to destroy or as a symbol of resolute or defiance. The power and role of the gun is questioned as well, as in some photos, the gun stands out in white among the black background, while in others are black when put against the skin of the models.
Another reason why I think that Shirin Neshat wants the viewer to feel uncomfortable, but yet not aggressively antagonistic is shown through the expressions of her models in the series. Not one of the models were shown or directed to portray emotions of suffering. There are no obvious physical signs of duress or injury. In fact, in pictures where the models' face are exposed, they show signs of acceptance and of a culture accustomed to. The only thing that betrays this notion is through the eyes of the models in certain pictures that almost quivers with fear.
The artist made the series of photography as a direct comment on women's role in the Iranian Revolution, 1979 as a result of her exposure towards wartime photojournalistic images of the Iran-Iraq war a few years earlier. One the few signs of a good art is how it can withstand the effects of time - and certainly I think that her comment in this series of photographs does that very well. Not only that looking at the photographs today shows how relevant and forward thinking an artist that she is, but it also inversely shows how little the world have moved forward when it comes to the notion of gender equality and the politics in the body of the woman.
Religion of the Abrahamic faith are told through the aeons to be led by men. Women are encouraged, sometimes told and instructed to follow men, sometimes blindly. Notwithstanding, other religions of the world treat women in almost the same way, requiring them to submit without question.
In our world today, some Malaysian communities (the Minangkabau and the Bidayuh culture for example) that have been traditionally matriarchal have been turn on its head, to be led by men in the society through the introduction of religion. Images and anecdotes of Malayan women in history have been whitewashed because supposedly it does not fit into the new image the current government that wants to portray as a moderate Islamic country.
Very recently, there was an article that went around the newswire where it disclosed the roles that muslim women play in the Syrian war, as comfort women, and as reported, Malaysian Muslimahs were part of this group of women. Looking at the series of photography by Shirin Neshat immediately brought to fore the role of women during war times, either as forced companions or as soldiers. It made me, and I hope the other viewers, question the motivation of these women.
Looking at Shirin Neshat's photos, I conclude very quickly that these photos will never be shown in Malaysia. Our leaders' fear of discourse on the topics of religion put everything to a halt. It freezes our advancement in society, in civilisation and of nationhood.
At the end of looking at Shirin Neshat's powerful images, I am left with these questions: Are they compelled to follow religion so blindly that they ignore their basic fundamental of what it is to be a woman, what it is to be human? What kind of power does religion have over us? What is the purpose of a religious war / jihad? Self preservation or expansion? What is the role of religion?
- Grey Yeoh
HOM Art Trans Workshop
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