Nasim Nasr’s art practice: "Transorientalism in Art, Fashion and Film", by Adam Geczy

Images: Cover text, Transorientalism in Art, Fashion and Film (L), Nasim Nasr, “33 Beads #1”, 2018

Images: Cover text, Transorientalism in Art, Fashion and Film (L), Nasim Nasr, “33 Beads #1”, 2018

Artist, write and educator Adam Geczy’s Transorientalism in Art, Fashion and Film (Bloomsbury 2019) investigates the notion of “transorientalism” as distinct from “orientalism”, a term which acknowledges the globalisation of cross-cultural identities and how they are now being portrayed.

“While the familiar orientalisms persist, transorientalism is a term that covers notions like the adoption of a hat from a different country for Turkish nationalist dress, the fact that an Italian could be one of the most influential directors in recent Chinese cinema, that Muslim women artists explore Islamic womanhood in non-Islamic countries, that artists can embrace both indigenous and non-indigenous identity at the same time.” For Geczy, “the diversity of race and culture, the manner in which they are expressed and transacted, are most evident in art, fashion and filme”.

Nasim Nasr’s art practice which focusses on the transience of cultural and personal identity is suitably highlighted in Geczy’s text, amongst other notable artists such as Shirin Neshat (Iran/USA), Mona Hatoum (Lebanon/London), and Ghada Amer (Egypt/France/USA).

For all enquiries regarding Nasim Nasr, including a copy of a catalogue of works, please email me at catherine@catherineasquithart.com