Hoda Afshar, a photographer who rediscovers the veiled woman as a forbidden object of desire

The FoldIt’s a great opportunity to get to know the artist better This political compromise prompted the formal sophistication of her output and her works forming part of prestigious collections such as the Victoria and Albert Museum in London, MoMA in New York and the Getty Museum Collection in Los Angeles.

It is one of the most prestigious and numerous museums and institutions in Australia, from where Afshar emigrated in 2007, studied fine arts in the field of photography in Tehran, worked first as a reporter in Sydney and further educated in Melbourne, where she taught at the university.

Two decades on the road, from snapshots of photoperiodism to documentary photography to conceptual decantation, during which the artist I have not ceased to be interested in aliens on the fringes, for the representation of the gender included in the survey odd or for those prosecuted because of their condemnation of corruption and injustice.

Meanwhile, deep reflection on seeing and receiving the photographic image and expanded his projects into the videographic medium. Adding new devices for your presentation and adapting your projects, which have condensed into book format in recent years, in different exhibition spaces.

As it happens, de hecho, en The Fold: if we compare the recent spatial description of his installation in Paris with his condensation in La Casa Encendida, we see that this distinction is no longer the height of elegance and intensity.

This is the first time that Hoda Afshar It operates from the colonial archive, composed of thousands of photographs taken by psychiatrist Gaëtan Gatian de Clérambault in Marruecos between 1918 and 1919which reflect obsession: drapes in jackets, large pieces of different meters of cotton, silk or wool, used by women that cover the body from the head to the tobillos.

The image of the veil, whether used or forbidden, remains in force between East and West

A discussion from automatic uploading of images to downloading the online archive of the Quai Branly museum, which we can see in a triple presentation. As fiction, with respect to the Orientalist tradition, the first pictorial and photographic site, drawn with erotic wit while you look, is an authentic rarity. And yet, as shown in the video, no less dehumanized and fetishistic.

Over one Take care of the scene in a beautiful environmentif it is used in the way of scenography, especially the developed background, inspired by the well-known scene of The Lady of Shanghai by Orson Welles, five characters, some academics specializing in art and psychoanalysis, oriental textiles and diasporic museology, deconstructing the character of Clérambault, who committed suicide by going blind, and the motivation of his wife, who was buried only after five years of fetishism.

If you are discussing it disagree with those women, many ramenwhen a psychiatrist steals his paintings. We further discuss the importance in the history of textile art and the concept of clothing based on the Deleuzian sensory and emotional perspective. Finally, it approaches colonial archive methodology and epistemology and assumes a full critical re-acceptance of the visual bond possessed by the veiled woman.

And since there is a lot of interest in all this, without an embargo, the most important thing is how Afshar plays visually in each of the interventions, combining different actions, your facial expressions and body expressions and hand gestures, with the different possibilities offered by the montage of multiple images shown at different focal points and planes, which we will enjoy for twenty minutes of viewing.

Therefore, we are hallamos ante without a doubt a major piece in this rich and controversial iconography that, still alive, continues to fuel social debate. This menu, recurring in the perspectives of identity, is simplified into militant, piercing images, but at worst, equally banal, the image of the veil, its use or prohibition, is still valid in the investigation between East and West, where we often forget that the fabric or the touch of How to marry a woman has been essential in recent times and has always been recalled in memories, for example, of the traditional celebration of the Saint in My.

The veil, expressed as a symbol of resistance to the exposure of imperialist and colonial conquests, but attributed to the state through coercive meansUltimately, it symbolizes the anti-national ideologies that in both cases instrumentalize the hearts of Islamic women. As a third way, The Fold contributes to revealing this history of domination and history.