Sheida Soleimani, Cyborg
Photomontage in an Expanding Network
Bibliographic Data
| ID | 14693886 |
|---|---|
| Authors | Matthew Biro (Russian State Agrarian Correspondence University, corresponding author) |
| Year | 2019 |
| Volume | 43 |
| Issue | 2 |
| Pages | 169-190 |
| Publication date | 2019-04-03 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | History of Photography (JOURNAL) |
| Journal identifiers | ISSN: 0308-7298 • E-ISSN: 2150-7295 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/03087298.2019.1668613 |
| OpenAlex | W3006201080 |
| Language | EN |
| Citations received | 1 |
This article examines the photomontages, photo-sculptures, installations, and videos of contemporary artist Sheida Soleimani in light of earlier Dadaist practices. In particular, it focuses on similarities and differences between Soleimani’s work and that of Dada artists John Heartfield, Hannah Höch, and the Baroness Elsa von Freytag-Loringhoven, demonstrating how Soleimani has evolved Dada photomontage and performance strategies in novel and important ways. Soleimani’s development of earlier avant-garde strategies with the help of digital technologies, I argue, proves the continuing relevance of photomontage today. In addition, it also reveals Soleimani’s interest in combining a Dadaist approach to photography, which – through photomontage – emphasizes the artist’s position as a social critic and commentator on reality, with a Surrealist attitude, one that mobilizes the indexical aspects of the photograph to disclose the uncanny and mysterious aspects of the world
Aesthetics · Art · Art history · Epistemology · Indexicality · Photography · Sculpture · Uncanny · Visual arts · Art, Politics, and Modernism · Artistic and Creative Research · Cinema and Media Studies · Philosophy
| Unique citing works | 1 |
|---|---|
| Citations per year | 0.25 |
| Citation span | 2022 - 2022 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |