The Others: the Colonized and the Iranian Queers

Summaries:
“From Homoerotics of Exile to Homopolitics of Diaspora by Sima Shakhsari”: The Internet and the post war on terror environment foster an intellectual environment for the digital presence of Iranian queers.
Contemporary Art by Taylor: Colonization led to artistic appropriation of “subordinate” cultures and enforced the “other” identities

Blog:
In Contemporary Art, Taylor explores various identities of otherness affected by colonialism and historical appropriation. The identity crisis of these individuals contrasts with the “other” experience of queers from the Iranian diaspora as explained in Sima Shaksari’s “From Homoerotics of Exile to Homopolitics of Diaspora by Sima Shakhsari.” The Iranian diaspora belongs to a country which lacks a history of colonialism and is affected by its national identity rather than historical appropriation. In the motherland, the national identity promotes a heterosexual narrative and persecutes those who identify as homosexuals. Hence, Iranian queers exist as the “other” of their accepted national identity. Like the identities affected by colonialism, queers of the Iranian diaspora are affected by the West. On a visit to Columbia University in September 2007, Iranian President Mahmoud Ahmadinejad stated in response to a question about execution of Iranian homosexuals that “[I]n Iran we don’t have homosexuals like in your country.” He expressed a common belief in Iran that homosexuality is associated with Western culture. This is perpetuated by a history of conflict with the United States and the West. Recent sanctions and declarations, including Bush’s labeling of Iran as an “axis of evil” in 2002, against the country worsen the relationship of Iran with the West and the relationship of Iran with its queers.
Taylor explains how the “others” affected by colonialism purposely use appropriation to express their identities. Whereas Iranian queers, as stated by Shaksari, are conveying their narrative via outlets of the Internet, such as blogs and online magazines. Iranian gay activists and bloggers, such as Arsham Parsi, utilize cyberspace as a haven to articulate perspective, network with other queers, and depict visibility. Although examples of Parsi mark great strides, online homophobic hate speech claiming a purpose of freedom counteracts the progress. Also, a need for diverse voices exists in online Iranian queer forums. Like identities affected by colonialism, Iranian queers still face obstacles in defending their rights in their claimed forms of expression.

Fraser: Bridging the Gaps

The Museum Highlights selections really opened my eyes to the art world and its boundaries.  Many people, myself included, fail to realize how divisive the arts have become at the hand of professionalism and academia.  This is extremely important to note and I believe that groups like Kontext Kunst and artists like Andrea Fraser that dedicate themselves to bridging the gaps between writing, thinking, and making presented in the art world are admirable.  Fraser is able to do this through the interconnectedness of her writing, and performances.

One thing that stood out to me about Frasers project art is the way in which it critiques aspects of the culture of art oftentimes simply through representation.  Understanding these cultural tendencies is something that I came to learn through Fraser’s work.  For example, while reading chapter 9 of a performance where Jane Castleton leads a tour group through the Philadelphia Museum of Art, it became undoubtedly apparent to me who and what the Museum deemed important, as well as what type of people the Museum preferred and catered to.  Fraser sums up this notion beautifully in her description of Jane in the end notes where she states:

“as a volunteer, she expresses the possession of a quantity of the leisure and the economic and cultural capital that defines a museum’s patron class.  It is only a small quantity – indicating rather than bridging the class gap that compels her to volunteer her services in the absence of capital…yet it is enough to position her in identification with the museum’s board of trustees and as the museum’s exemplary viewer” (Fraser, 110)

Fraser:  Through the interconnectedness of her writing and performances, Fraser attempts to bridge the division between ‘writing’, ‘thinking’, and ‘making’ that the professionalization of the artist and intellectual created.

Taylor:  Taylor outlines the history of performance art and highlights artists significant to the genre including Abramovic, and Scheemann.