A Quote by Shirin Neshat
Magical realism allows an artist like myself to inject layers of meaning without being obvious. In American culture, where there is freedom of expression, this approach may seem forced, unnecessary and misunderstood. But this system of communication has become very Iranian.
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The Americans only like things they can label, even if it kills them. Think of those poor Latin American writers. Some of them are very good. But the "magical realism" label has absolutely ruined them. The critics are like tourists who return from a trip saying they've "done" Machu Picchu: "Okay, we've done magical realism," so now we can throw it out.
I think being raised within a Mexican Catholic family made magical realism a very natural part of who I am as a person and as a writer. My parents always told us great stories that often had magical elements and roots within Mexican folklore. Also, I remember my father reading a book to me, when I was very young, about the lives of saints. Those were crazy scary stories! Maybe he was trying to scare me into being a good person. In the end, magical realism offers me untethered freedom to explore human frailty and the way we clumsily cobble together our lives on this strange planet.
I grew up thinking of myself as an American but also, because of my parents and the Iranian culture that was in our home, as an Iranian. So if there's any such thing as dual loyalty, then I have it - at least culturally.
The Iranian leaders describe the American government exactly the way American analysts describe the Iranian one, as an opaque, factionalized system with competing power centers, over which the president exercises very limited authority.
I very purposely have an open communication culture, where I encourage employees to approach me with their ideas without dominating them.
I was born in Iran, left at a very young age-less than a year old-and grew up and was educated in the West. I grew up thinking of myself as an American but also, because of my parents and the Iranian culture that was in our home, as an Iranian. So if there's any such thing as dual loyalty, then I have it-at least culturally.
I think of myself, an Iranian/American artist, and wonder what would I want if I'm ever imprisoned by the Iranian government for the work that I make? I answer: I would hope that the United States government comes to my rescue.
How it shaped my perception is this: I have become so indelibly identified as a character in pop culture that it has forced me to go deeply within myself to get a very very rock solid sense, to myself, of who I am.
All manners of freedom, including freedom of expression, freedom of conscious, freedom of thought...it accepts tolerance. But it is not an atheist society. Religion is the private affair of an individual...be present in the public domain, but state has to be clearly separated from religion. When I'm speaking, I'm speaking only for myself. At the same time, I know that these ideas have wide support among the Iranian population.
Before Gutenberg, there was this really very strong oral storytelling culture where being able to relay stories from person to person was sufficient. And then, with the introduction of printing and mass communication, suddenly somebody had a lot of authority invested in the idea of a single canonical expression of a document or a piece of communication.
I have a theory about American men -- I think they think women are boys who don't know how to throw a ball very well. American women are forced into the role of being men without penises, of being men who haven't quite been able to make it. If women don't want to be pussycats, then they get forced into the role of being almost as good as men. Which is lousy.
We do not have an American culture. We have a white American culture and a black American culture. So when those two groups try to get together, [it's] very difficult because they each feel like they have the right to their culture.
The paradox of the culture wars is that they have made celebrities out of some artists who would otherwise vanish. Censorship has become a growth industry. This may be the best argument, in the end, for unfettered freedom of expression.
We [The United States] believe the Iranian people want a future of freedom and human rights: the right to vote, to run for office, to express their views without fear and to pursue political causes. We would welcome the progress, prosperity and freedom of the Iranian people.
In India, we are forced to choose our specialisation very early, whereas in some other countries, this can be done much later in life. While the British have abandoned this approach, we in India seem to be struggling with the old British system of education.
An artist requires the upkeep of creative solitude. An artist requires the healing of time alone. Without this period of recharging, our artist becomes depleted. Until we experience the freedom of solitude, we cannot connect authentically. We may be enmeshed, but we are not encountered. Art lies in the moment of encounter. We meet our truth and we meet ourselves and we meet our self-expression.
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