Women, Life, Freedom

The hijab, the scarf. A piece of clothing has become the central symbol for something that you could rather harmlessly call a “gender debate” elsewhere. In Iran, however, this piece of cloth stands for cultural history, political fight, oppression or, if left off, for resistance and rebellion. Is it tradition? Or not really? Should women be able to decide? Or may a religious police do? Does a society go back to carrying on as usual when a young woman whose scarf had slipped dies in prison? Or will this mean the beginning of the end of a regime of old men?

Can the famous slogan of Iranian women, “Women, Life, Freedom”, be erased again from memory? Or will it become a signal that creates new peace even in Iran?

Anyone working in Iran as photographer faces rather different circumstances from photojournalists in our countries. A different understanding of the tasks of the media. A different way of talking about photography. There it functions practically in translation, often into art projects. With hints, with symbolism, open to interpretation, yet clear.

An astonishing number of Iranian photographers have mastered this art. One of the most courageous is Maryam Saeedpoor, born in Teheran in 1984. At the age of just 16 participating in a youth art festival, at 21 in a group show of “realist and hyper-realist” paintings, later in a range of exhibitions, including some in California, Turkey, Germany and Japan.

Of one of her photographic works that she entitled “pulsating anger” she writes, “We cry tears of blood”. And, “We accuse”.

The work featured here shows women’s hair. And veiling. A game of hide and seek, a rebellion, an ambivalence. Against the background of famous carpet craft, refracted in colours of uprising and defiance. Playful, you might think. And yet know that it is not for everyone.

In an interview Maryam Saeedpoor was asked about the ambiguity of her work. She replied that she loved ambiguity. It allowed the viewers to reflect about their own daydreams. To classify their own (hi)story.

Because she was unable to go further. As a photographer she was walking on a delicate path, she felt the inner censor and never knew when the eye of the regime would turn on her.

Yet her conviction, her ambition and her artistic capability become clear. This is what we recognize with our award. With the subtle means at her disposal Maryam Saeedpoor tries to work for a more peaceful life and for the recognition of the many great women in Iran.
(Laudatio by Peter-Matthias Gaede)