Conversation with Maryam Jafri, Copenhagen, 2005

In this conversation, Maryam Jafri discusses the deep influence of feminism on her artistic and intellectual practice. She emphasizes that feminist theory has shaped not only feminism itself but also fields like queer theory, masculinity studies, and cultural criticism. Feminism, she argues, introduced a whole new way of thinking about identity, the body, labor, and the public/private divide and “provided a lot of useful material for artists.” These ideas, she notes, have also influenced major male artists, whether they acknowledge it or not.

Jafri critiques the marginalization of feminism as merely a “women’s issue”: “Feminism taught me how to look at authoritarian structures…I find it very upsetting that a lot of people don’t consider feminism relevant…but are still fine with reaping all the benefits that were done by generations of women before them.” These include rights to vote, own property, and access education, though many ignore ongoing systemic inequalities like wage gaps and political rollbacks on abortion rights.

She also addresses persistent gender disparities in the art world. While nonprofits may be more attuned to race and gender due to public funding, private galleries and collectors often reinforce patriarchal norms, favoring male artists. Jafri criticizes the enduring myth of the “heroic male artist,” which still dominates mainstream narratives.

Her work People of the Book examines links between feminism and postcolonial theory. In it, Jafri shows how religious texts can be read in radically different ways: “I looked at some passages in the Quran that could have been interpreted in a more feminist light, but that have been interpreted by, male scholars in very patriarchal terms.” She challenges Western assumptions that Islam is inherently more patriarchal than Christianity and warns against using feminist rhetoric to justify colonial or military agendas.

Jafri’s early work began in theater, but she left the field due to its rigid, hierarchical structure. Turning to visual art for more freedom, she created performance-based video works where she played multiple roles. “Cross-dressing in performance wasn’t about camp for me—it was about questioning gender roles… My early video works were very personal, often exploring identity and my relationship to family and gender.”
She also stresses the need for solidarity among women artists: “It’s much easier for you if you create more allies. And that’s what the men have always tended to do.”