Tala Madani's Provocative Exploration of the Human Condition

Iranian artist Tala Madani's first solo show in Greece, hosted by the National Museum of Contemporary Art (EMST) and curated by Ioli Tzanetaki, captivates audiences with its bold and unconventional approach. The exhibition, titled "Shitty Disco," delves into the artist's unique perspective on societal norms, gender stereotypes, and the human experience.

Challenging Conventions, Embracing the Absurd

Satire and the Cartoon Aesthetic

Madani's work is characterized by a strong satirical element and a distinctive cartoon-like aesthetic. These tools are employed to challenge and subvert traditional male and female stereotypes, as well as to comment on the perceived superiority of Western civilization. Her art also explores themes of loneliness, repressed sexual urges, and the complex dynamics within the family unit.The artist's protagonists are often tragicomic figures captured in private, vulnerable, and absurd moments. Naked middle-aged men conversing with their penises or intestines, mothers wrapped in feces, and giant infants in soiled onesies are just a few of the provocative images that populate Madani's canvases. These unsettling depictions elicit a range of reactions, from uncomfortable laughter to outright indignation.

Embracing the "Animal" Within

Madani's artistic vision is rooted in a desire to let go of societal constraints and embrace the inherent "animal" nature of the human experience. She believes that our culture has separated us from our bodily functions and secretions, leading to a sense of superiority and a denial of our true selves."All my paintings are about the desire to let go of what we think is not animal, the superego. Our culture separates us from being animals, we are annoyed by our bodily secretions and pretend they don't exist. We think we're superior but, man, strutting around looking so serious and successful, I know there's a hole in your sock; I know you're not perfect. We have to accept our nature. Maybe deodorant is the problem," the artist explains.

Challenging the Idealized Mother

One of Madani's most provocative works, "Shit Mom," emerged from an unusual process and has sparked ongoing debate in the media. The painting challenges the archetypal image of the perfect mother, subverting the traditional depiction of the mother-child relationship.Madani explains that the work was created shortly after the birth of her own son. She initially painted a "kitsch" image of a mother and child, but then proceeded to "get rid of the mom" while leaving the baby. The resulting image of a "shitty-looking" mother figure challenged the societal expectations and projections placed on women as mothers.The artist believes that the mother-child image is deeply rooted in our cultural and religious traditions, from the Virgin Mary and Christ to pagan virgin mothers. By depicting the mother figure in a less than idealized way, Madani aims to acknowledge the realities of life and the imperfections inherent in the human experience.

Redefining Feminist Art

When asked if she defines her art as feminist, Madani offers a nuanced perspective. She believes that the feminist position should be one of equality, where individuals can stand in relation to their desires, needs, and interests without bias.Madani notes that in the art world, there has been a tendency to group women and other minorities into a single category, separate from white men. She argues that this approach is problematic, as it perpetuates the idea of "us versus them" and fails to recognize the diversity within these groups.The artist's own depictions of male figures often include prominent penises, which she sees as a "game of power" rather than a means of solely identifying gender. Madani's art challenges the traditional sexualized representations of women in visual culture, while also exploring the complexities of gender and power dynamics.

A Global Perspective on Societal Issues

Madani's art reflects a deep engagement with global societal issues, from the troubling rise in femicides in Greece to the militarization of police forces in the United States. She expresses alarm at the perceived conservatism of the world in recent years, but also finds hope in examples like the election of Mexico's first female president.The artist believes that police culture and training can contribute to a narrowed perspective on the world, leading to a disproportionate response to various forms of protest and dissent. She advocates for a more nuanced understanding of the economic and social factors that can drive criminality, emphasizing the need for empathy and a commitment to equality.Madani's art serves as a mirror, reflecting the complexities and contradictions of the human experience. Through her provocative and unconventional approach, she invites viewers to confront their own biases, embrace their "animal" nature, and consider the broader societal issues that shape our world.