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Abstract: In 2014 the Islamic State (ISIS/ISIL) began ruthless destruction of ancient and historical heritage, including sites as old as 3,000 years, in Iraq and Syria. A year later the world witnessed this through horrifying videos on social media. Responding to this unimaginable cultural loss, Iranian-born artist and activist Morehshin Allahyari initiated Material Speculation: Isis-creating 3D-printed replicas of twelve of the destroyed sculptures from the cities of Hatra and Nineveh. The project involved collecting extensive data and research with various historians, curators, and visual archives, which Allahyari placed on USB flash drives and embedded within the body of the statues. In her current series, She Who Sees the Unknown, she looks at stories from the South West Asian and North African (SWANA) region, re-figuring images of goddesses and djinns through a feminist lens as a way of weaving new magical narratives and speculating mythologies.
In this conversation with Allahyari, I discuss her artistic and research processes, unpacking issues of digital decolonization. The dialogue further addresses the philosophical underpinnings of her practice and looks at the use of technology as a means to reflect and challenge our collective political, social, and cultural pasts, presents, and futures.
Keywords: digital, decolonization, feminism, race
As an artist and researcher, thinking about queerness and migration from a Muslim perspective forms the core of my practice. In particular, I work with mythologies rooted in Islamic faith, history, and culture, re-thinking them from feminist and queer positionalities. Based in Finland, I expand these ideas within the context of Northern Europe, and set against the background of the "European Migrant Crises," specifically looking at narratives of LGBTIQ+ Muslim migrants as a way of complicating the understanding of Islam and challenging dominant structures of invisible whiteness in the region.
Situated within broader histories and legacies of colonization, Steve Garner discusses the problematic frameworks of constructing national identities and cultures in the post-colonial world that aspire to bring a diverse group of people together.1 Garner continues by referring to invisible whiteness in the Nordic countries as colorblind racism, where "racism is a thing of the past, the province of pathological individuals, therefore not seeing or talking about 'race' is a way to banish racism."2 As Finland turned one hundred in 2017, and celebrations of...