#1
#2
#3
#4
#5
#6
 
#7
#10
#11
#14
#15
#16
#21
#22
#23
#24
#27
#29
#30
#31
#32
#37
#38
#39
#42
#43
#46
 
#47
#48
#49
#50
#51
#52
 






If the chador is the icon for Iran, let it meet the icons for some other nations. Chador-Dadar became a live installation in every city it was photographed and ultimately revealed as much about the nature of the people it visited that it did about itself. We made it to Dubai, to Taj- Mahal, the Amber Fort in Jaipur,we went to London and joined a peace protest, we visited Big Ben, then onto Paris, the Louvre, where we were thrown out because the Hejab is a hot button issue and to Istanbul where the only model I could find wouldn't wear it because she was a staunch secularist. So in Istanbul I became a model and she photographed!

Professor Parvati Nair in her book 'A Different Light The Photography pf Sebastiao Salgado' Writes:
"Haleh Anvari's travelling photographic installation Chador-Dadar is subversive for several reasons; first it is an outcry against the forced veiling of women in black in Iran by the Islamic authorities; second by placing women in colourful chadors against the Eiffel Tower, for example, Anvari challenges both Orientalist attitudes prevalent in the West and supposed distinctions between the veiled and the unveiled, Islam and modernity, the West and its Other. The images draw attention also to the very diverse discourses that emanate from an image when it is placed in different frames or contexts. Contrast, for example, the images of the chador-clad women against the South Bank in London or the Eiffel Tower with those of women against the Taj Mahal or Hagia Sophia. Furthermore, the bright chadors covering the women's faces and bodies loudly announce the visibility of the unseen. I find Anvari's images interesting for this reason: they act as a metaphor for photographs n general, so that we not only note what is visible, but we also feel compelled to enquire about what remains invisible."