DOI Artikel:
Inglot, Joanna: Trans-cultural dialogues in the art of Iranian Diaspora: Shirin Neshat and Parastou Forouhar
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34225#0090
84
JOANNA INGLOT
12. Parastou Forouhar. F/T&ry. 2003. digitai print on Aiudibond, four panels, each 170 x 86 cm.
Courtesy and copyright of Parastou Forouhar
13. Parastou Forouhar. FYa-y/hng, 2009, digital print on Aludibond. 47 x 70 cm.
Courtesy and copyright of Parastou Forouhar
power dynamics between the so-cahed First and the Third World-instead, they create new representations
that exist on the borders of these deeply entrenched dividing culturai boundaries. While in their photographs
and instaiiations they disciose muitiple tensions and coiiisions framing their Musiim subjects, they also
persistentiy highiight intersections of their diverse cuitural articuiations, forging what Homi Bhabha caiis
a iiminai "third space."
In his seminal coiiection of essays Тося/Тэн o/ (1994), Homi Bhabha argued for a move
away from the exploration of authentic and originai culture and identity in the contemporary postcoloniai
worid. Rejecting the idea of cultural homogeneity, he contends that aii states, cultures, and ethnicities exist
in a continuous process of hybridity. According to Bhabha, hybridity is not just a synthesis of oid and
JOANNA INGLOT
12. Parastou Forouhar. F/T&ry. 2003. digitai print on Aiudibond, four panels, each 170 x 86 cm.
Courtesy and copyright of Parastou Forouhar
13. Parastou Forouhar. FYa-y/hng, 2009, digital print on Aludibond. 47 x 70 cm.
Courtesy and copyright of Parastou Forouhar
power dynamics between the so-cahed First and the Third World-instead, they create new representations
that exist on the borders of these deeply entrenched dividing culturai boundaries. While in their photographs
and instaiiations they disciose muitiple tensions and coiiisions framing their Musiim subjects, they also
persistentiy highiight intersections of their diverse cuitural articuiations, forging what Homi Bhabha caiis
a iiminai "third space."
In his seminal coiiection of essays Тося/Тэн o/ (1994), Homi Bhabha argued for a move
away from the exploration of authentic and originai culture and identity in the contemporary postcoloniai
worid. Rejecting the idea of cultural homogeneity, he contends that aii states, cultures, and ethnicities exist
in a continuous process of hybridity. According to Bhabha, hybridity is not just a synthesis of oid and