Al voltear la vista al arte producido en Oriente Medio, me topé con las fantásticas imágenes del artista visual iraní Ramin Haerizadeh. Aunado a la evocación de los tapetes árabes tanto en el garigoleado como en la composición de las figuras, me encanta la sutil transgresión de las figuras, esa forma en que me hacen acercarme para leerles en el rostro la sonrisa o el gesto malicioso y la pose ambigua mediante las que Haerizadeh subvierte nuestros conceptos de nación y sexualidad.
Fotografía o diseño gráfico...
"In Men Of Allah (05) Haerizadeh reworks the codes of gender, body, and sexuality. Intimately grouped and provocatively posed, the figures gather in a perverse harem; their bodies mutating in contorted forms, neither male nor female, but something much more epicurean and exotic. Haerizadeh approaches his photos with the luxuriance of painting, allowing the rich tones and textures to carry the image into near abstraction. The angular layered segments of his digital alterations create a reference to cubism, while the folded and mutated skin mirrors the drapery effect of the sumptuous clothes."

"One of the key characteristics of Taaziye theatre is that plays are performed exclusively by men, even the lead female roles; in Iran women are discouraged from entering the acting profession. Casting himself in the place of every character, Haerizadeh uses his self-portrait as a means of social critique. Adopting the roles of both villains and victims, Haerizadeh’s bearded face becomes an uncomfortable mediator, transgressing gender, political, and religious boundaries through his highly sensuous images."
Texto e imágenes de Saatchi Gallery.
Fotografía o diseño gráfico...
"In Men Of Allah (05) Haerizadeh reworks the codes of gender, body, and sexuality. Intimately grouped and provocatively posed, the figures gather in a perverse harem; their bodies mutating in contorted forms, neither male nor female, but something much more epicurean and exotic. Haerizadeh approaches his photos with the luxuriance of painting, allowing the rich tones and textures to carry the image into near abstraction. The angular layered segments of his digital alterations create a reference to cubism, while the folded and mutated skin mirrors the drapery effect of the sumptuous clothes."

"One of the key characteristics of Taaziye theatre is that plays are performed exclusively by men, even the lead female roles; in Iran women are discouraged from entering the acting profession. Casting himself in the place of every character, Haerizadeh uses his self-portrait as a means of social critique. Adopting the roles of both villains and victims, Haerizadeh’s bearded face becomes an uncomfortable mediator, transgressing gender, political, and religious boundaries through his highly sensuous images."
Texto e imágenes de Saatchi Gallery.