With Land of Dreams, the intention was that while we are following the life of this woman who’s haunted by these two worlds – Iran and US, dream and reality – we are also really understanding the malice of a society that is spying on people’s subconscious for whatever selfish reasons. There is definitely a question of collecting data on people, but also there’s a lot of references to racism, bigotry, political injustice, poverty.
— Shirin Neshat
In Land of Dreams, Iranian multimedia artist Shirin Neshat turns her focus to the American West. With more than 100 photographs, a two-channel video installation, and a feature film, Neshat creates a multilayered, nuanced look at contemporary America through the eyes of a fictionalized artist.
Monumental black-and-white photographs are transformed through Neshat's use of Farsi text and images that have been hand drawn onto the picture. The texts represent her interpretation of the dreams of the sitter, with references to ancient myths and ideologies. Throughout her practice, Neshat experiments with the mediums of photography, video and film, which she imbues with highly poetic and politically charged images and narratives that question issues of power, religion, race, gender, and the relationship between past and present, occident and orient, the individual and the collective through the lens of her personal experiences as an Iranian woman living in exile.
Land of Dreams accompanies Neshat's solo show at SITE Santa Fe (October 7, 2022-January 13, 2023).
With Land of Dreams, the intention was that while we are following the life of this woman who’s haunted by these two worlds – Iran and US, dream and reality – we are also really understanding the malice of a society that is spying on people’s subconscious for whatever selfish reasons. There is definitely a question of collecting data on people, but also there’s a lot of references to racism, bigotry, political injustice, poverty.
— Shirin Neshat
In Land of Dreams, Iranian multimedia artist Shirin Neshat turns her focus to the American West. With more than 100 photographs, a two-channel video installation, and a feature film, Neshat creates a multilayered, nuanced look at contemporary America through the eyes of a fictionalized artist.
Monumental black-and-white photographs are transformed through Neshat's use of Farsi text and images that have been hand drawn onto the picture. The texts represent her interpretation of the dreams of the sitter, with references to ancient myths and ideologies. Throughout her practice, Neshat experiments with the mediums of photography, video and film, which she imbues with highly poetic and politically charged images and narratives that question issues of power, religion, race, gender, and the relationship between past and present, occident and orient, the individual and the collective through the lens of her personal experiences as an Iranian woman living in exile.
Land of Dreams accompanies Neshat's solo show at SITE Santa Fe (October 7, 2022-January 13, 2023).
Drink wine and look at the moon and think of all
the civilizations the moon has seen passing by…
— Omar Khayyam, 11th-century mathematician and poet
Thirty-Six Views of the Moon is a meditative collection of nighttime exposures. For this project, Ebtekar found and tore out pages from volumes spanning the last thousand years—ranging from poetry and science fiction to religious texts and philosophy—that reference the moon and night sky. He then worked with a photographic glass plate negative of the moon from the Lick Observatory archives in Northern California, treating each book page with Potassium ferricyanide and Ammonium ferric citrate to make their surfaces light-sensitive. Finally, Ebtekar would leave the sheets outside from dusk until dawn, using the UV-light emitted by the moon to create a contact cyanotype print layered with the cosmological texts on the found book pages.
In addition to the thirty-six cyanotypes, this volume features essays by Kim Beil, Alexander Nemerov, and Ladan Akbarnia, as well as an annotated index for this selection of images and a comprehensive bibliography of sources Ebtekar has used throughout the various iterations of this project.