A Surreal Relation with Otherness in Shirin Neshat’s Land of Dreams

Abstract

Since her early photographic series Women of Allah (1993−1997), the Iranian-American artist Shirin Neshat has been either praised for her alternative representations of veiled Muslim women or criticised for practising self-Orientalisation. This article reflects on Neshat’s Land of Dreams (2019) where the artist turns her lens towards American people and landscapes, investigating how her aesthetic and dialogic search for the Other within a demographically diverse state in the US, New Mexico, challenge the pre-conditioned expectations of her works as art from the Middle East. Engaging with Neshat’s surreal interactions with her sitters in this photographic and video installation, the focus is how she becomes a mediator to show a dynamic of Relation, in Édouard Glissant’s sense of the term, and the complexity of the individuals’ minds and life experiences through blurring the lines between dream and waking life, fiction and reality, past and present. The analysis further explores Neshat’s viewpoint as a diasporic artist manifested in her visual strategies to facilitate a nuanced and fluid understanding of the artist’s own sense of identity, belonging and homeland.