Tala Madani’s Men: The Female Gaze

displaying his illuminated anus. Madani, curiously, emphasizes the subjectivity of this comic tension and calls it a way to ward off feelings of shame and offense when faced with our most private acts, like defecation, omnipresent in her work, and her more allusive referencing of homosexuality, linked to the masculine and sometimes sexual exclusivity of the figures, as in Dripping Flowers (2016) and TBC (2016). Madani also uses digital animated films. Movement augments the narrative capacity of the images and allows them to unfold over time, whereas the absence of a sound track accentuates the visual dimension of this work. The horror and humor are loaded with political intentions.