historyВЕСТНИК РГГУ. Серия «Литературоведение. Языкознание. Культурология»RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series2073-6355RSUH10.28995/2686-7249-2023-2-119-136history-1312Research Article«НОВОЕ ИСКУССТВО» И КУЛЬТУРА XX В.“THE NEW ART” AND CULTURE OF THE 20TH CENTURYТелесное в видеоинсталляциях ирано-американской художницы и режиссераThe corporeal in the video installations of Iranian-American artist and filmmakerКазуроваН. В.KazurovaN. V.

Наталья В. Казурова - кандидат исторических наук.

199034, Санкт-Петербург, Университетская наб., д. 3

Natalia V. Kazurova - Cand. of Sci. (History), Peter the Great Museum of Anthropology and Ethnography (Kunstkamera).

Bld. 3, Universitetskaya Emb., Saint Petersburg, 199034

kazurova@inbox.ruТрушкинаЕ. Ю.TrushkinaE. Yu.

Екатерина Ю. Трушкина - кандидат философских наук.

125047, Москва, Миусская пл., д. 6

Ekaterina Yu. Trushkina - Cand. of Sci. (Philosophy).

bld. 6, Miusskaya Sq., Moscow, 125047

e.trushkina@gmail.comМузей антропологии и этнографии им. Петра Великого (Кунсткамера) РАНРоссияPeter the Great Museum of Anthropology and Ethnography (Kunstkamera), Russian Academy of SciencesRussian FederationРоссийский государственный гуманитарный университетРоссияRussian State University for the HumanitiesRussian Federation20232103202302119136Copyright © Казурова Н.В., Трушкина Е.Ю., 20232023Казурова Н.В., Трушкина Е.Ю.Kazurova N.V., Trushkina E.Y.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://history.rsuh.ru/jour/article/view/1312

Авторы статьи анализируют творчество известной американской художницы и режиссера иранского происхождения Ширин Нешат. Признание таланта Нешат по всему миру и востребованность ее работ свидетельствуют об актуальности вопросов, которые затрагиваются в ее творчестве; видеоинсталляции Ширин Нешат стали классикой современного искусства и предметом научного изучения для искусствоведов, востоковедов, культурологов, философов и широкого круга исследователей. Сегодня художественные произведения Нешат для многих синоним современного иранского искусства, в котором нашли свое отражение непростые политические события истории Ирана. В фокусе внимания авторов настоящей работы – телесные практики в произведениях художницы, рассмотренные на примере ключевых работ. Среди них видеоинсталляции «Беспокойный» (1998), «Восторг» (1999), «Монолог» (1999), «Страсть» (2000), «Шествие» (2001). В статье приводится последовательный и детальный анализ практик работы с телесным (мимика, пластика тела, вибрации голоса и т. п.) и телом как инструментом, посредством которого автор выстраивает пространство художественного высказывания. Авторы статьи впервые проводят классификацию исследования телесного в творчестве Нешат через концепты «политического тела», «поэтического тела» и «автобиографического тела».

The article studies the art of the famous Iran-American artist and director Shirin Neshat. The recognition of Neshat’s talent around the world and the demand for her works show to the relevance of the issues spotlighted in her works. Shirin Neshat’s video installations have become classics of modern art and the subject of scientific study for art historians, orientalists, cultural scientists, philosophers and a wide range of researchers. The artwork by Neshat is wildly known as the symbol of modern Iranian art. It reflects all the painful political events of the modern Iran history. The article focuses on corporeal practices considered on the example of key works of the artist. The video installations “Turbulent” (1998), “Rapture” (1999), “Soliloquy” (1999), “Fervor” (2000), “Passage” (2001). The article provides a consistent and detailed analysis of corporeal practices (facial expressions, gestures, body plasticity, voice vibrations, etc.) and the body itself as a tool through which the author constructs the space of an artistic statement. The article presents the new classification of the corporeal through the concepts of “political body”, “poetical body” and “autobiographical body” in the art of Shirin Neshat.

телотелесноегендерчадорхиджабвидеоинсталляциясовременное искусствоисламИранШирин Нешатbodycorporeal practicesgenderchadorhijabvideo installationcontemporary artIslamIranShirin NeshatReferencesBehiery 2013 – Behiery V. Veiled Muslim woman as subject in contemporary art. The role of location, autobiography, and the documentary image // Implicit Religion. 2013. Vol. 16 (4). P. 417–442.Behiery, V. (2013), “Veiled Muslim woman as subject in contemporary art. The role of location, autobiography, and the documentary image”, Implicit Religion, vol. 16, no. 4, pp. 417–442.Cherem 2016 – Cherem Y. The absent subversion, the silent transgression. The voice and the silence of the body in some contemporary Iranian and Arab artists // Journal of Art History. 2016. Vol. 85 (4). P. 1–28.Cherem, Y. (2016), “The absent subversion, the silent transgression. The voice and the silence of the body in some contemporary Iranian and Arab artists”, Journal of Art History, vol. 85, no. 4, pp. 1–28.Dabashi 2019 – Dabashi H. Contemporary art, world cinema, and visual culture. L.; N.Y.: Anthem Press, 2019. 374 p.Dabashi, H. (2019), Contemporary art, world cinema, and visual culture. Anthem Press, London, UK, New York, USA.Dönmez-Colin 2007 – Dönmez-Colin G. Women, Islam and cinema. L.: Reaktion Books, 2007. 208 p.Dönmez-Colin, G. (2007), Women, Islam and cinema, Reaktion Books, London, UK.Gibbons 2007 – Gibbons J. Contemporary art and memory. Images of recollection and remembrance. L.; N.Y.: I.B. Tauris, 2007. 189 p.Gibbons, J. (2007), Contemporary art and memory. Images of recollection and remembrance, I.B. Tauris, London, UK, New York, USA.Grigor 2014 – Grigor T. Contemporary Iranian art. From the street to the studio. L.: Reaktion Books, 2014. 293 p.Grigor, T. (2014), Contemporary Iranian art. From the street to the studio, Reaktion, Books, London, UK.Honarbin-Holliday 2010 – Honarbin-Holliday M. Becoming visible in Iran. Women in contemporary Iranian society. L.; N.Y.: I.B. Tauris, 2010. 205 p.Honarbin-Holliday, M. (2010), Becoming visible in Iran. Women in contemporary Iranian society, I.B. Tauris, London, UK, New York, USA.Isaak 1996 – Isaak J.A. Feminism and contemporary art. The revolutionary power of women’s laughter. L.; N.Y.: Routledge, 1996. 247 p.Isaak, J.A. (1996), Feminism and contemporary art. The revolutionary power of women’s laughter, Routledge, London, UK, New York, USA.Keshmirshekan 2007 – Keshmirshekan H. Contemporary Iranian art. The emergence of new artistic discourses // Iranian Studies. 2007. Vol. 40 (3). P. 335–366.Keshmirshekan, H. (2007), “Contemporary Iranian art. The emergence of new artistic discourses”, Iranian Studies, vol. 40, no. 3, pp. 335–366.Keshmirshekan 2010 – Keshmirshekan H. The question of identity vis-à-vis exoticism in contemporary Iranian art // Iranian Studies. 2010. Vol. 43 (4). P. 489–512.Keshmirshekan, H. (2010), “The question of identity vis-à-vis exoticism in contemporary Iranian art”, Iranian Studies, vol. 43, no. 4, pp. 489–512.Keshmirshekan 2011 – Keshmirshekan H. Contemporary or specific. The dichotomous desires in the art of early twenty-first century Iran // Middle East Journal of Culture and Communication. 2011. Vol. 4. P. 44–71.Keshmirshekan, H. (2011), “Contemporary or specific. The dichotomous desires in the art of early twenty-first century Iran”, Middle East Journal of Culture and Communication, vol. 4, pp. 44–71.MacDonald 2004 – MacDonald S. Between two worlds. An interview with Shirin Neshat // Feminist Studies. 2004. Vol. 30 (3). P. 620–659.MacDonald, S. (2004), “Between two worlds. An interview with Shirin Neshat”, Feminist Studies, vol. 30, no. 3, pp. 620–659.McCabe 2005 – McCabe J. Feminist film studies. Writing the woman into cinema. L.; N.Y.: Wallflower Press, 2005. 144 p.McCabe, J. (2005), Feminist film studies. Writing the woman into cinema, Wallflower Press. London, UK, New York, USA.Millner, Moore 2022 – Millner J., Moore C. Contemporary art and feminism. L.; N.Y.: Routledge, 2022. 256 p.Millner, J. and Moore, C. (2022), Contemporary art and feminism, Routledge, London, UK, New York, USA.Mottahedeh, Saljoughi 2012 – Mottahedeh N., Saljoughi S. Rethinking gender in contemporary Iranian art and cinema // Iranian Studies. 2012. Vol. 45 (4). P. 499–502.Mottahedeh, N. and Saljoughi, S. (2012), “Rethinking gender in contemporary Iranian art and cinema”, Iranian Studies, vol. 45, no. 4, pp. 499–502.Navab 2007 – Navab A.D. Unsaying life stories. The self-representational art of Shirin Neshat and Ghazel // The Journal of Aesthetic Education. 2007. Vol. 41 (2). P. 39–66.Navab, A.D. (2007), “Unsaying life stories. The self-representational art of Shirin Neshat and Ghazel”, The Journal of Aesthetic Education, vol. 41, no. 2, pp. 39–66.Nelson 2006 – Nelson S. Diaspora. Multiple practices, multiple worldviews // A companion to contemporary art since 1945. Malden, Oxford: Wiley-Blackwell, 2006. P. 296–316.Nelson, S. (2006), “Diaspora. Multiple practices, multiple worldviews”, in A companion to contemporary art since 1945, Malden, Wiley-Blackwell, Oxford, UK, pp. 296–316.Newman 2018 – Newman E.L. Female body image in contemporary art. L.; N.Y.: Routledge, 2018. 196 p.Newman, E.L. (2018), Female body image in contemporary art., Routledge, London, UK, New York, USA.Ross 2006 – Ross Ch. The paradoxical bodies of contemporary art // A companion to contemporary art since 1945. Malden, Oxford: Wiley-Blackwell, 2006. P. 378–400.Ross, Ch. (2006), “The paradoxical bodies of contemporary art”, in A companion to contemporary art since 1945, Wiley-Blackwell, Malden, Oxford, UK, pp. 378–400.Rounthwaite 2008 – Rounthwaite A. Veiled subjects. Shirin Neshat and non-liberatory agency // Journal of Visual Culture. 2008. Vol. 7 (2). P. 165–180.Rounthwaite, A. (2008), “Veiled subjects. Shirin Neshat and non-liberatory agency”, Journal of Visual Culture, vol. 7, no. 2, pp. 165–180.Saadi-Nejad 2009 – Saadi-Nejad M. Mythological themes in Iranian culture and art. Traditional and contemporary perspectives // Iranian Studies. 2009. Vol. 42 (2). P. 231–246.Saadi-Nejad, M. (2009), “Mythological themes in Iranian culture and art. Traditional and contemporary perspectives”, Iranian Studies, vol. 42, no. 2, pp. 231–246. Sayre, H.M. (2006), “1990–2005.Sayre 2006 – Sayre H.M. 1990–2005. In the clutches of time // A companion to contemporary art since 1945. Malden, Oxford: Wiley-Blackwell, 2006. P. 107–124.In the clutches of time”, in A companion to contemporary art since 1945, Wiley-Blackwell, Malden, Oxford, UK, pp. 107–124.Shaw 2001 – Shaw W.M. Ambiguity and audience in the films of Shirin Neshat // Third Text. 2001. Vol. 15 (57). P. 43–52.Shaw, W.M. (2001), “Ambiguity and audience in the films of Shirin Neshat”, Third Text, vol. 57, no. 15, pp. 43–52.Skurvida 2015 – Skurvida S. Iranian or not. DisLocations of contemporary art and its histories // Art Journal. 2015. Vol. 74 (3). P. 73–77.Skurvida, S. (2015), “Iranian or not. DisLocations of contemporary art and its histories”, Art Journal, vol. 74, no. 3, pp. 73–77.Torshizi 2012 – Torshizi F. The unveiled apple. Ethnicity, gender, and the limits of interdiscursive interpretation of Iranian contemporary art // Iranian Studies. 2012. Vol. 45 (4). P. 549–569.Torshizi, F. (2012), “The unveiled apple. Ethnicity, gender, and the limits of inter-discursive interpretation of Iranian contemporary art”, Iranian Studies, vol. 45, no. 4, pp. 549–569.Traficante 2016 – Traficante A. Shirin Neshat. Soliloquy (exhibition review) // The Senses and Society. 2016. Vol. 10 (3). P. 390–393.Traficante, A. (2016), “Shirin Neshat. Soliloquy (exhibition review)”, The Senses and Society, vol. 10, no. 3, pp. 390–393.Turim 2017 – Turim M. Experimental women filmmakers // Cinema and Gender. L.; N.Y.: Routledge. 2017. P. 184–193.Turim, M. (2017), “Experimental women filmmakers”, in Cinema and Gender. Routledge, London, UK, New York, USA, pp. 184–193.Vitali 2004 – Vitali V. Corporate art and critical theory. On Shirin Neshat // Women. A cultural review. 2004. Vol. 15 (1). P. 1–18.Vitali, V. (2004), “Corporate art and critical theory. On Shirin Neshat”, Women. A cultural review, vol. 15, no. 1, pp. 1–18.

The authors declare that there are no conflicts of interest present.