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And it is possible to consider Islamophobia immoral without wishing it illegal.”(1) In her latest photographic collection, , Vancouver-based, internationally award-winning photographer and cultural critic Dina Goldstein captures the essence of satire through discussion and criticism about religion, its place and perseverance in our technology-manic society.
“The irony is that we continue our immersion in the three poisons when we shop at such overpriced designer supermarkets.
[…] They indulge our narcissism and desire—separating the haves even further from the have-nots, who can’t shop at such places and are left with GMO and lower-scale food.” This consumerism reveals on the one hand, religion’s vulnerability to commodification, and, on the other, its ability to navigate our consumer cosmos, adapting to rapid changing consumer wants and constructed needs.
Satire must be clever, and like many cultural forms, must encourage the awareness and potential intellect of all members of society, religious or not.
At its best, satire not only critiques social values and norms, but provokes change if necessary, positioning individuals to be active participants in social transformation, rather than passive consumers who allow others to worry about their civil liberties and freedom.
shootings ignited the polemics of satire as ammunition against religious fundamentalists and marginalized communities most associated with—at least according to Fox News and its ilk—religious extremists.
Satirizing religious and political affairs be done, not only to deepen social consciousness and inspire action, but to reach out to those not easily swayed by abstruse theory and rhetoric.
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By constructing a cosmetic reality, one that mirrors our own, Goldstein doesn’t evade discussion, but rather creates it.
In doing so, Gods and deities, believed to be too sacred for criticism, are personified and whose religious practices contradict their dogma. In fact, there is a sadness in the photos, because without their shrines and shiny halos, the icons are comparable to plastic flowers and bejewelled sunglasses sold in dollar stores—the meccas of consumer overproduction and excess.