Shirin Abedinirad is a conceptual, multimedia and performance artist from Iran currently residing in the United States. I came across her work few years ago while doing research on Instagram for a project on women empowerment by female artists expanding beyond the limitations of their own medium and into the Metaverse. At that time, I was the strategic curatorial director of an art & tech start-up advising artists on the power of tech and innovative solutions to authenticate the work, extending it beyond their lifetime. I was blown away by Shirin’s poetic and iconic images: they were absolutely both captivating and elusive.
In a world that was experiencing trauma, uncertainties, closure and xenophobia, her work represented a breath of fresh air. ALMA caught my attention, a powerful video practice of self-reflection and self-portraiture exploring themes of identity, autonomy, and the complexities of cultural representation.
All Are Courtesy of the Artist & Kates-Ferri Projects.
Micaela Giovannoti: How did you conceive ALMA? What was the inspiration?
Shirin Abedinirad: “ALMA emerged from my deep engagement with women’s rights in Iran. The concept evolved as I grappled with the constraints imposed on Iranian women, specifically the mandatory hijab laws. The decision to perform in front of the camera was pivotal, representing a personal and political act of defiance, challenging societal norms and expressing the collective frustration and yearning for autonomy among Iranian women.”
MG: You posted the video on social media in support of Mahsa Amini’s protest after her death for not wearing a hijab. What does it mean for you to be politically active? To speak up?
SA: “Being politically active, for me, means standing in solidarity with those who fight for their rights daily. Publishing ‘Alma’ was an act of solidarity and a means to vocalize the suppressed emotions and struggles of Iranian women. It was essential to not just showcase art but to echo the voices of the unheard and contribute to a movement for change.”
MG: How does performance germinate in your practice? How do you relate to it?
SA: “Performance art for me is a cathartic process—a means to excavate and articulate deep-seated emotional experiences. It’s not something I engage in lightly; it is reserved for moments when I need to confront and process significant personal or societal issues. The healing power of performance became particularly clear to me during a difficult time in my mother’s illness, where performing helped me manage profound personal pain.”
MG: ALMA was created in 2014 when you were still in Iran and only exhibited and performed in 2019. There is not available recording of that. On April 20th at Kates-Ferri Projects we were fortunate to witness a unique and special activation: it was moving, heartbreaking, enraging. I was honored to conclude it reading your words… How did it feel?
SA: “Reflecting on ‘Alma’ over the years, especially as the situation in Iran worsens, the piece has grown in significance. It represents a persistent and escalating struggle. Exhibiting and performing ‘Alma’ after all these years felt like a renewal of my commitment to advocating for freedom and justice through my art, making the ongoing struggles visible and felt.”
MG: Reflection and self-reflection is a recurring motif in your work. When did you start working with mirrors and why?
SA: “I began working with mirrors early in my artistic career, initially using the camera as a reflective tool to capture and convey my inner self to the audience. Mirrors have since become a central element in my art, serving not only as physical objects but as metaphors for introspection and the multiple layers of human experience.”
MG: Do mirrors carry a particular meaning in islamic culture? What other elements of your culture you intersperse in your work?
SA: “Mirrors have profound symbolic meanings in many cultures, including Islamic. They reflect light and truth and are often used to symbolize clarity. In my work, I blend these cultural symbols with elements from Persian literature and history, enriching the narratives and connecting them to broader human experiences.”
MG: I read that you see land art as a collaboration between Mother Nature and the Artist….your father has been also your collaborator.
SA: “Indeed, land art for me is a profound dialogue with nature, where the environment and the artist co- create. My father’s involvement in some of my projects has added a deeply personal dimension.”
MG: You are proud to refer to Abbas Kiarostami as your mentor and inspiration and you worked with him closely.
SA: “Working with Abbas Kiarostami was an extraordinary chapter in my career. His meticulous approach to blending simplicity and depth left a lasting impression on me.”
MG: Your work seems to expand from the infinite grandeur of Nature to the most intimate and personal narrative, from the purest element of Mother Earth to the high tech of virtual reality, up to the miniature form of domesticity and labor expressed by the maquettes.
SA: “My artistic endeavors span the spectrum from the immensity of nature’s tapestry to the profound subtleties of personal storytelling. I weave together elements as disparate as the raw, organic beauty of our planet with the cutting-edge realms of virtual reality, crafting a narrative that traverses both the macro and the micro. In the dialogue between the ancient and the futuristic, I seek to juxtapose the elemental with the digital, to reflect the human condition.
This dynamic interplay also extends to the realm of the maquette, where I distill the essence of expansive land art into the intimate scale of miniature form. This not only challenges my creative process but also allows viewers to engage with the concepts of my larger installations in a more personal, tactile manner. During my residency, in collaboration with curator Micaela Giovannotti and gallerist Natalie Kates, we explored avenues to transpose the immersive experiences of my land art and installations into the constrained space of the gallery. This discussion blossomed into the creation of four maquettes, miniature echoes of my larger works, facilitating a unique and introspective viewer experience that is both domestic and profound.”
MG: What did you like best from your residency experience in NY? How do you think it might affect your work?
SA: “The residency in New York invigorated my practice by exposing me to a dynamic artistic community and diverse cultural perspectives. Engaging directly with people during studio visits provided invaluable feedback and new ideas, likely steering my future projects toward more interactive and socially engaged art. Hope more visitors will stop by the gallery and experience my work in person! It will be up until May 5th.”
Shirin Abedinirad work is on view at KATES-FERRI PROJECTS until May 5th
563 Grand Street Nyc 10002
Hours of operation:
Thursday to Saturday 12noon – 6pm
Sunday 12noon – 5pm and/or by appointment
Micaela Giovannotti is a curator and writer based in New York and London. Former US editor of Tema
Celeste magazine, she has curated extensively for international organizations, museums and art fairs and
nurtured the career of many well known artists. She was Curator-in-Residence for Art Omi and curator
and board member for More Art . She is a member of IKT International Associations of Curators of
Contemporary Art and AICA International Associations of Art Critics.