Nagar Gorji Biography
“Negar Alemzadeh Gorji”, who has been working as a lawyer for many years and now with her art about women’s rights, points out the fact that today’s changes in Iran are not separated from today’s world affairs.
In today’s society of Iran, gender has to be understood in the context of repetition and predefined role play, what we shows among the crowd and the views of others, far from what we are.
In other words, this ambiguous event, this uprising or struggle, can be a scene of a congress for a new comprehension of feminism in Iran, which is not only a physical issue, but also influenced by the community and an old patriotic culture. This uprising has defined discrimination and social pressures, not being a woman.
“Congress” is a story like a screen reading, the story of the demands which are gained or lost, the story of a young population. The story of today’s Iran, “Congress” is a folk neither western nor eastern.
It is the tale of the thirst for stability, thirst for being and equality.
A fabric in which Muslims burn their dead ones
In the routine of my work on the shroud (a fabric in which Muslims burn their dead ones), I try to show the growth and transformation of the Iranian society.
A society whose tradition is trying to define predefined roles Impose on gender. And I’m looking for a balance. In my opinion, contemporary humans, living in big cities get involved in a fight for survival. We have to pay a high price to follow a delusional future which I am doing my best not to be absorbed in. This is why I use shroud as a context for my paintings to show humans’ transformation and their start-over in deathbed.
Art makes life worth living
Evangol or warning?
This artwork puts us in front of the scene of unvelling an ambiguous event. The messenger is hidden in the image. Is this event happened or happening? Who is the messenger and what is the message? What is clear is that the artist in her routine works on cerement deals with uprising, birth, growth and transformation of the community.
"Negar Alemzadeh Gorji"
In early days of my work as a young lawyer, I worked as a volunteer adviser in the Bar Association’s Legal Assistance room in court . One day a woman with an infant in her arms and two daughters , 14 and 15 years old respectively entered the room.
The girl’s father had left a few years before and accepted no responsibility for his daughters. The two daughters were so troublesome that police came a couple of times to ask for them.
She had gone to an orphanage to surrender the girls but they were not accepted. Now the mother was going to her second husband’s hometown and decided to abandon her two daughters in a rented house by themselves and go.
What would be these two girls’ perception of a safe place as home? This sort of narrative can frequently be observed in various social environments such as family , folks, tribes and even between two friends, partners or coworkers.
This subject reminds me of Freud’s famous phrase of “Heim und unheimlich”, which means home is not a safe place. It could be interpreted as how early familiar insecure relations and places due to being familiar might be mistaken as security.
As a whole, this inspired me to construct this artwork, called “Heim “. Additionally, for expressing the contradiction of this situation, constructed it with different materials like shroud, iron, thread and acrylic pink color and also contradictory forms.
Art makes life worth living
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