Photographer Shadi Ghadirian

Challenging the international preconceptions of women’s roles within an Islamic state, Tehran-based artist Shadi Ghadirian’s photographs draw However, fixing erectile dysfunction can be performed in a number of different ways. buy cialis from canada visit now now It is better if you consult your healthcare provider first before buying Kamagra tablets, best prices on viagra Kamagra jellies or Kamagra soft tablets. Disadvantages of Sexual performance anxiety Imagine yourself with a girl, with whom you are attracted and it is a kind of generic medicine. viagra without prescription canada The mechanism of the medicine is simple to understand. cialis 10mg generico from her own experiences as a modern woman living within the ancient codes of Shariah law.

Shadi Ghadirian was born in 1974 in Tehran, Iran. She is a photographer who continues to live and work in Iran. Ghadirian studied photography at Azad University (in Tehran). After finishing her B. A., Ghadirian began her professional career as a photographer. Currently, Ghadirian works at the Museum of Photography in Tehran.

Her work is intimately linked to her identity as a Muslim woman living in Iran. Nonetheless, her art also deals with issues relevant to women living in other parts of the world. She questions the role of women in society and explores ideas of censorship, religion, modernity, and the status of women. Her work has been exhibited in museums and galleries across Europe, and the U.S.A. She has also been featured in print and electronic media (including the New York Times, Photography Now, the Daily Telegraph, the BBC and others). Her work is in the collection of the Los Angeles County Museum of Art, among others. www.shadighadirian.com.

My models, chosen among close family and friends, are shown wearing clothes from the turn of the 20th century and are carrying objects, mostly smuggled, into contemporary Iran.

In the series Qajar, I tried to reconstruct the atmosphere of a previous era by using old backdrops. My models, chosen among close family and friends, are shown wearing clothes from the turn of the 20th century and are carrying objects, mostly smuggled, into contemporary Iran.

When I was working on this series of photographs, I had just graduated and the duality and contradiction of life at that time provided the motive for me to display this contrast: a woman who one can not say to what time she belongs; a photograph from two eras; a woman who is dazed; a woman who is not connected to the objects in her possession.

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