Shirin Neshat ( Persian : شیرین نشاط ; born March 26, 1957) is an Iranian visual artist who lives in New York City , Berninahaus primarily for re work in film, video and photography. Her artwork centers on the Contrasts tussen Islam and the West, femininity and Masculinity, public life and private life, antiquity and modernity, and bridging the spaces tussen synthesis subjects.  Neshat has leg honored countless times for re work, from winning the International Award of the XLVIII Venice Biennale in 1999,  to winning the Silver Lion for best director at the 66th Venice Film Festival in 2009,  to being named Artist of the Decade at Huffington Post critic G. Roger Denson . 
Neshat is the fourth of five children of wealthy parents, brought` up in the religious town of Qazvin in north-western Iran  under a “very warm, supportive Muslim family environment”,  where she learned traditional religious values through re maternal grandparents. Neshat’s Father was a physician and re mother a home maker. Neshat zegt dat re father “fantasized about the West, romanticized the west, and langzaam rejected all of his own values; zowel re parents did. What happened, I think, was dat hun identity langzaam Dissolved, they ‘exchanged it for comfort. It served hun class “.  As a part of Neshat’s” Westernization “she was enrolled in a Catholic boarding school in Tehran. Through re Father’s acceptance of Western ideologies cameramen an acceptance or a form of western feminism. Neshat’s Father encouraged lycra or his daughters to “be an individual, to take risks, to learn, to see the world”, and he cent his daughters as well as his sons to college not to receive hun higher education. 
After graduating school, she moved to New York and married a Korean curator, Kyong Park,  who was the director and founder of Store Front for Art and Architecture , a nonprofit organization.  Neshat helped Park Run the Store Front, in the process Exploring the ideological and concepts therein mention anything later Become integral to re artwork. 
During this time, she did not make any serious attempts at customizing art, and the few attempts ulcers subsequently DESTROYED. In 1990, she Returned to Iran. “It was then probably one of the musts shocking experiences dat I Have ever had. The difference tussen what I had Remembered from the Iranian culture and what I was witnessing was enormous. The change was zowel frightening and exciting, I had never leg in a country that was so ideologically based. Most notice loveable, or course, was the change in people’s physical appearance and public behavior.  ”
In 1975, Neshat left Iran to study art at UC Berkeley and COMPLETED re BA , MA and MFA . 
Neshat’s EARLIEST works ulcers photographs, zoals the Unveiling (1993) and Women of Allah (1993-97) series, welke explore notions of femininity in relatie to Islamic fundamentalisme and militancy in her home country.  As a way of coping with the discrepancy tussen de culture dat she was are experiencing and therein of the pre-revolution Iran welke she was raised, she Began re first mature body of work, the Women of Allah series, portraits of women entirely overlaid by Persian calligraphy.
Her work refers to the social, cultural and religious codes of Muslim societies and the complexity or certainement Oppositions, zoals man and woman. Neshat of or in emphasizes this theme showing two or more coordinated films concurrently, customizing stark visual Contrasts through motifs zoals light and dark, black and white, male and female. Neshat has made’ll be more traditional narrative short films, zoals Zarin .
The work of Neshat addresses the social, political and psychologische dimensions of women’s experience in contemporary Islamic societies. Hoewel de Neshat actively resists stereotypical representations of Islam, re artistic objectives are not explicitly polemical. Rather, re work onderkent the complex intellectual and religious forces shaping the identity of Muslim women gehele world. Using Persian poetry and calligraphy she Examined concepts zoals martyrdom, the space or exile, the issues of identity and femininity.
In 2001-02, Neshat collaborated with singer Sussan Deyhim and created Logic of the Birds , welke was produktie by curator and art historian RoseLee Goldberg . The full length multimedia production premiered at the Lincoln Center Summer Festival in 2002 and toured to the Walker Art Institute in Minneapolis and to Artangel in London. In this collaboration, as well as re other projects dat incorporate music, Neshat uses music to help create an emotionally evocative and beautiful piece therein will resonate with viewers or bone Eastern and Western cultures. In an interview with Bomb magazine in 2000, Neshat revealed: “Music Becomes the soul, the personal, the INTUITIVE, and neutralizes the sociopolitical aspects of the work. This combination of image and music is Meant to create an experience dat moves the audience. ” 
Neshat was profiled in The New Yorker magazine on October 22, 2007. 
When Neshat first cameramen to use film, she was Influenced by the work of Iranian director Abbas Kiarostami .  She directed verschillende videos, onder Them Anchorage (1996) and, Projected on two Opposing walls: Shadow under the Web (1997), Turbulent (1998), Rapture (1999) and Soliloquy (1999).  Neshat’s recognition became more international in 1999-when she was awarded the International Award of the XLVIII Venice Biennale with Turbulent and Rapture ,  a project Involving almost 250 extras and produktie at the Galerie Jérôme the Noirmont welke with with critical and public success after zijn worldwide avant-premiere at the Art Institute of Chicago in May 1999. with Rapture , Neshat with You for the first time to make pure photography with the intent or customizing an Aesthetic, poetic, and emotional shock. Games of Desire , a video and still-photography piece was displayed tussen September 3 and October 3 at the Gladstone Gallery in Brussels voordat moving in November to the Galerie Jérôme the Noirmont in Paris. The film welke is based in Laos, centers on a small group of elderly people who sing folk songs with sexual lyrics – a practice welke had leg nearing obsolescence. 
In 2009 she was awarded the Silver Lion for best director at the 66th Venice Film Festival for re directorial debut Women Without Men ,   based on Shahrnush Parsipur ‘s novel of the assembly names. She zegt about the movie: “This has leg a labor of love for six years. (…) This film speaks to the world and to my country.”  The film gekeken the 1953 British-American-backed coup, welke supplanted Iran’s democratically elected government with a Monarchy. 
In July 2009 Neshat took part in a three-day hunger strike at the United Nations Headquarters in New York in protest of the 2009 Iranian presidential election by . 
Exhibitions and film festivals
Since re first solo exhibition, at Franklin Furnace in New York in 1993, Neshat has leg featured in solo exhibitions at the Museo de Arte Moderno, Mexico City; Contemporary Arts Museum , Houston; Walker Art Center , Minneapolis (2002); Castello di Rivoli , Turin; Dallas Museum of Art (2000); Wexner Center for the Arts , Columbus; the Art Institute of Chicago ; the Serpentine Gallery , London; Museo de Arte Contemporáneo de Castilla y Leon , Leon; and the Hamburger Bahnhof , Berlin (2005). In 2008, re solo exhibition “Women Without Men” opened at the ARoS Aarhus Art Museum , Denmark, and traveled to the National Museum of Contemporary Art , Athens, and to the Kulturhuset , Stockholm. She was included in Prospect.1 , the 2008 New Orleans Biennial, documenta XI , the 2000 Whitney Biennial , and the 1999 Venice Biennale . In 2012 Shirin Neshat had a Solo Exhibition in Singapore Game of Desire at Art Plural Gallery .  A major retrospective of Neshat’s work, organized by the Detroit Institute of Arts , was Scheduled to open in 2013. 
Since 2000 Neshat has ook participated in film festivals, zoals the Telluride Film Festival (2000), Chicago International Film Festival (2001), San Francisco International Film Festival (2001), Locarno International Film Festival (2002), Tribeca Film Festival (2003) , Sundance Film Festival (2003), and Cannes Film Festival (2008). 
In 2013 she was a member of the jury at the 63RD Berlin International Film Festival . 
Neshat was artist in residence at the Wexner Center for the Arts (2000) and at MASS MOCA (2001). In 2004 she was Awarded an honorary professorship at the Universität der Künste , Berlin.  In 2006, she was Awarded The Dorothy and Lillian Gish Prize , one of the Richest great prizes in the arts, bepaald annually to “a man or woman who has made an outstanding contribution to this club to the beauty of the world and to Mankind’s enjoyment and understanding of life. ” 
In 2010 Neshat was named Artist of the Decade at Huffington Post critic G. Roger Denson , for “the degree to welke world events port morethan with the artist in making art re chronically relevant to an getting more global culture,” for reflecting “the Levensbeschouwelijke war being waged tussen Islam and the Secular world on matters of gender, religion, and democracy, “and Because” the impact or re work far transcends the realms of art in reflecting the musts vital and far-reaching struggle to assert human rights. ” 
In 2015 Neshat was selected and photographed by Annie Leibovitz as part of the 43rd Pirelli Calendar welke celebrated some of the world’s most inspiring women. 
Cindy Sherman was the first person to buy Neshat’s work, at Annina Nosei Gallery in 1995. 
- Turbulent , 1998. Two channel video / audio installation.
- Rapture , 1999. Two channel video / audio installation.
- Soliloquy , 1999 Color video / audio installation with artist as the protagonist.
- Fervor , 2000. Two channel video / audio installation.
- Passage , 2001 Single channel video / audio installation.
- Logic of the Birds , 2002 Multi-media performance.
- Tooba , 2002. Two channel video / audio installation based on Shahrnush Parsipur’s novel Women Without Men .
- Mahdokht , 2004 Three channel video / audio installation.
- Zarin , 2005 Single channel video / audio installation.
- Munis , 2008. Color video / audio installation based on Shahrnush Parsipur’s novel Women Without Men .
- Faezeh , 2008. Color video / audio installation based on Shahrnush Parsipur’s novel Women Without Men .
- Possession , 2009. Black & white video / audio installation.
- Women Without Men , 2009. Feature film based on Shahrnush Parsipur’s novel Women Without Men .
- Illusions & Mirrors , 2013. Film commissioned by Dior and featuring Natalie Portman.
- First International Prize at the Venice Biennale (1999)
- Grand Prix at the Kwangju Biennale (2000)
- Visual Art Award from the Edinburgh International Film Festival (2000)
- Infinity Award from the International Center of Photography in New York (2002)
- ZeroOne Award from the Universität der Künste Berlin (2003)
- Hiroshima Freedom Prize from the Hiroshima City Museum of Art (2005)
- Dorothy and Lillian Gish Prize in New York (2006)
Film and video
- Expressing the inexpressible: Shirin Neshat. 2004, 42 minutes, Color. Princeton, NJ: Films for the Humanities & Sciences. Originally produktie at Westdeutscher Rundfunk in 2000.
- ^ Jump up to:a b c d Elaine Louie (January 28, 2009). “A Minimalist Loft, accessorized Like Its Owner” . The New York Times .
- Jump up^ Claudia La Rocco (November 14, 2011). “Shirin Neshat’s Performa Contribution” . The New York Times . Retrieved February 8, 2012 .
- Jump up^ Müller, Katrin Bettina. “Away been overseas” . Shirin Neshat artist portrait . Retrieved March 5, 2016 .
- ^ Jump up to:a b c Susan Horsburgh (March 26, 2001). “The Great Divide” . Time .
- ^ Jump up to:a b Homa Khaleeli (June 13, 2010). “Shirin Neshat: A long way from home” . The Guardian .
- ^ Jump up to:a b Denson, G. Roger, “Shirin Neshat: Artist of the Decade” , Huffington Post , January 20, 2010.
- ^ Jump up to:a b c Suzie Mackenzie (July 22, 2000). “An Unveiling” . The Guardian .
- ^ Jump up to:a b MacDonald, Scott (September 22, 2004). “Between two worlds: an interview with Shirin Neshat” . Highbeam.com . Retrieved March 29, 2012 .
- Jump up^ Eleanor Heartney, Helaine Posner, Nancy Princenthal, and Sue Scott,After the Revolution: Women Who Transformed Contemporary Art.
- Jump up^ “Shirin Neshat in Conversation with Carol Becker and Phong Bui” . Brooklyn Rail. September 2009.
- Jump up^ Excerpt from interview tussen de artist and Linda Weintraub, author orin the Making: Creative Options for Contemporary Art.
- Jump up^ Heartney, Eleanor (2007). After the Revolution: Women Who Transformed Contemporary Art . Munich: Prestel. pp. 230-231. ISBN 9783791337326 .
- ^ Jump up to:a b Shirin Neshat Guggenheim Collection.
- Jump up^ Danto, Arthur C.”Shirin Neshat”,Bomb, Fall 2000. Retrieved June 27, 2012.
- Jump up^ “The Woman Behind the Screen” . The New Yorker . October 22, 2007.
- ^ Jump up to:a b c Orden, Erica. “Snapshot of a Song” , Modern Painters , November 2009.
- Jump up^ Livia Bloom (January 23, 2010). “Women Without Men’s Shirin Neshat” . Filmmaker .
- Jump up^ Sabina Castelfranco (September 13, 2009). “Shirin Neshat Profit Best Director Award at Venice Film Festival” . Payvand.com .
- Jump up^ “Games of Desire to be exhibited at Art Plural Gallery”,Singapore Business Review, October 9, 2012. Retrieved October 2013.
- Jump up^ Shirin Neshat: The Book of Kings, January 13 – February 11, 2012,Gladstone Gallery, New York.
- Jump up^ “The International Jury 2013” . Berlinale . January 28, 2013 . Retrieved January 28, 2013 .
- Jump up^ Shirin Neshat, 1 October – 4 December 2005,Hamburger Bahnhof, Berlin.
- Jump up^ “The Dorothy and Lillian Gish Prize” . Gishprize.com . 2006.
- Jump up^ London, Bianca (November 30, 2015). “Pirelli with fewer Nudes: Serena Williams, Patti Smith and Amy Schumer pose for Iconic calendar if it abandons naked supermodels for ‘women of achievement ‘ ‘ . Daily Mail .
- Jump up^ Ted Loos (February 21, 2012),Art Becomes Her: In Honor of Cindy Sherman’s MoMA Retrospective, Five tastemakers Reflect on Her Influence Vogue .