شناسایی مصادیق‌ الگوهای دیداری نمایش‌های جنسیّتی در آثار تجسمی هنرمندان‌ معاصرِ گیلان

 
 
 
According to the social, cultural, and political changes that have occurred in recent years and the emergence of social art, contemporary art serves as a social and feminist action in society. Contemporary art studies in the field of media and approaches to understanding the culture, identity, and gender perspectives of societies, especially the works of artists, hold special significance. This is because different societies, particularly artists, reflect various aspects of the political and feminist features of their society in their works. Many works of art, in the form of different styles, can not only reflect the social, political, and cultural developments and conditions of a society but also influence and shape the thoughts, values, and decisions of the people and audiences within that society.
The present research addresses the recognition and analysis of selected works by Gilani artists, serving as examples of feminist approaches. Based on this, artworks do not exist in isolation, independently, or transcendentally; rather, they are the products of specific historical actions that social groups recognize under particular circumstances. It appears that the reflection of feminist approaches in the works of Gilani artists includes social frameworks and common patterns, the basis of which depends on the definition of humanity and the artist’s perception of the existing situation. According to Erving Goffman’s view and the symbolic interaction theory, an individual’s actions in the social scene are closely tied to the capital they possess, which enables them to gain self-awareness and understand others. Understanding the relationships, social structures, and gender identities of a society becomes possible through the study of its artworks.
One of Goffman’s notable points is his emphasis on the significance of artists’ social relationships. In his view, a created work represents a social process that artists shape through symbolic interaction in social, cultural, political, and other environments. From this perspective, a work of art represents social action, and the contemporary artist assumes the role of a social activist. This research aims to provide a window into the works of contemporary Gilani artists, examining various aspects of these works to uncover their hidden dimensions, the perspectives of native artists, and gender viewpoints. It argues that the set of gender-discriminatory behaviors accepted in society, consciously or unconsciously recorded in the artist, and intentionally or unintentionally related to the environment, culture, gender identity, and community, are depicted in their works. The artist’s mental content concerning women is revealed through this research, offering a thoughtful understanding of the dominant culture and the interactions between society members and feminist art.
 
The human character of contemporary indigenous artists is the product of their interaction with others, through which they align their existence and works with society. In other words, native artists, through interaction with society and its members across cultural, social, and other contexts, create and reflect works, giving meaning to social approaches and gender identities. This study specifically identifies and analyzes selected works by Gilani artists as examples of feminist approaches, seeking to answer the question: based on Goffman’s point of view, what are the visual patterns of gender representations reflected in the works of contemporary Gilani artists, and how frequently do these patterns appear? The current research aims to identify instances of feminist approaches as social approaches in the works of Gilani artists. The social approach in these works represents the actions that the artist, as an activist, presents in the form of artwork to communicate their thoughts, concerns, and identity to society and their audience.
The necessity of conducting this research lies in the potential to generate knowledge about how contemporary native artists interact and engage with their society. The rationale for selecting this subject is that the works of Gilani’s contemporary artists across various visual branches have not yet been examined from this perspective. The research employs a qualitative content analysis methodology aligned with feminist research. Specifically, using Goffman’s six patterns of gender stereotypes and their related indicators, artworks were observed to identify the presence of these indicators. Goffman proposed six models in media advertising: ritualization of subordination, relative size, ranking and symbolic space, touching, and licensed withdrawal. These models involve various factors, typically depicting women alongside men, with performance elements such as dialogue, movement, stage and décor, actors’ clothing, lighting, and more requiring mixed coding. However, this research focuses on the visual works of contemporary Gilani artists.
The authors have sought to align Goffman’s patterns with the studied artworks and identify examples of these concepts. In this study, the factors are presented within a fixed frame. By coding the characteristics of the works, the corresponding model can be identified. Data collection combines library and field methods, with sampling based on a purposeful selection of works by prominent Gilani artists in contemporary art. Consistent with the qualitative approach, the sample size was not predetermined; sampling continued until data saturation was achieved. Following the initial analysis, eight Gilani artists whose visual works exhibit feminist approaches were identified. From their works, only those explicitly exemplifying Goffman’s six visual models were selected and analyzed in the article.
Based on Erving Goffman’s theory of dramaturgy, it can be concluded that the contemporary Gilani artists examined in this research assume the role of activists in the social scene. Influenced by the prevailing social actions, they create works with a feminist approach. The study found that contemporary Gilani artists frequently appear as artist-citizens in their works, expressing their feminist concerns alongside those of their audience. Among the analyzed works, 336 were selected from the output of eight identified artists with feminist approaches. The findings reveal that based on Goffman’s performance theory, the patterns of ritualization of subordination, relative size, ranking, and symbolic space, touching, and licensed withdrawal are evident in the studied works.
The results indicate that ritualization of subordination, at 35%, is the most frequent feminist pattern among the works of Gilani artists. This reflects an acceptance among activist artists that women in their society conform to the patterns and demands of patriarchal norms. Licensed withdrawal, at 29%, is the second most common pattern, representing women’s sadness, frustration, despair, emotional conflict, and anxiety—highlighting their hidden struggles and serving as a protest against patriarchy. Representational patterns of female touch, evident in 15% of the works, predominantly by male artists, emphasize decorative depictions of women and superficial emotions.
These findings underscore the feminist concerns reflected in the works of Gilani artists, rooted in the cultural and social contexts of their society. These artworks not only mirror the conditions of society but also influence thoughts and values. The ritualized subordination pattern in 35% of the works highlights a broader societal tendency toward compliance with male-dominated norms, while the 29% frequency of licensed withdrawal reflects feminist artists’ efforts to challenge these norms. Comparative studies of feminist approaches in artworks across regions and cultures could offer valuable insights for future research.