The theory of progress in history focuses essentially on 3 aspects : history as progression, decline or as a repetitive cycle. The issue as to whether our current situation is preferable to yesteryear is hypothetical and ultimately subjective. The inherent paradox and uncertainty pertaining to this, is exquisitely captured in the work of the Iranian-British photographer and film director Mitra Tabrizian. In her body of work which started in the 80ies, Tabrizian questions our assumption that developments in recent years have in fact been progress and shows us the downside of our postmodernist society ie isolation, moral decay and the increasingly psychopathic tendencies in corporate cultures. Progress clearly has a downside which is only too evident in Tabrizian’s work, as typified by the emotional coldness portrayed in several of her works: especially in the image of the twins from the “Beyond the limits” series, who remain coldly indifferent whilst their father commits suicide.
Tabrizian’s work is deeply influenced by the writings of Baudrillard and Lyotard and in general the post-structuralistic French theory. This theoretical foundation forms the basis of Tabrizian’s analysis and her assessment of the apparent progress and reality in society. Security, future, work or communication essentially are outward appearances of the innate tendency to consume ruthlessly under the disguise of progress.
The malfunction in this development interests Tabrizian. Consider the high number of suicides after the economical recession in the 90ies. Is cloning really a sign of progress? How is individuality maintained in a highly regulated society? What is essential and what is the façade of success? In a highly ironical work Tabrizian portrays her view of the art world ie a group of self important protagonists “networking”, with no evidence of art in the background. Yet it is precisely this art world which is now consuming Tabrizian and heralding her work with great enthusiasm: “Art is reduced to nothing but an aesthetic harassment!” (M. Tabrizian). She confronts us similarly in her series “Lost Time” (2002) with the latent ageism and insatiable pressure to perform inherent in society.
Mitra Tabrizian has excelled in showing the despair, the coldness, the over regulated void in her highly staged photographs with a meticulous attention to detail and lighting. She captures the zeitgeist albeit in a self critical way. In view of the developments, globalisation et al, this couldn’t come at a more opportune time. Her highly acclaimed work culminates in a well deserved and highly anticipated solo show at the Tate Britain (“This is that Place”, 4 June - 10 August 2008) as well as a parallel group show at the Tate Modern (Street & Studio, an urban history of photography”, 22 May – 31 August 2008) and in the solo show at the Gallery Caprice Horn called “Beyond the limits” (13 June – 23 August 2008).
