Mohsen Azmoodeh reviewed Ali Vaziri's show "Territory - To Live" in No. 5858 of Etemad newspaper, in which he discusses two of Vaziri's main concerns. He considers Vaziri's sculptures to be beyond organic forms and beautiful artifacts, viewing them as works that represent a broader concern.
For more information, click here.

Barvinskyi Gallery presents "Between Ornament and Structure", a solo show by Farniyaz Zaker (b. 1982 Tehran) from May 17 untill June 20, 2024.
A multidisciplinary artist whose work spans the fields of textile art, sculpture, drawing, print, video and installation, Zaker has long been interested in how architecture, textiles and the body interact to shape our perception of space, boundaries and identity. The same themes reoccur in Zaker's current show at Barvinskyi Gallery, where the focus largely lies on the space-making qualities of textiles.

Nature’s Renewal, a collaboration between O Galley (Tehran) and Ronewa Art Projects (Berlin) is an exhibition of works by six Iranian artists whose works explore the theme of nature/landscape in different ways. A  similar exhibition was originally set to take place in August 2023 at Ronewa Art Projects but was postponed.

The current exhibition will take place during Berlin’s Art Week concurrent with Paper Positions Berlin, where O Gallery will be showcasing different works by two of the artists in this exhibition.

Often times, the representation of “nature” in contemporary art transcends mere aesthetic appreciation.  While a work of art may just be a depiction of nature, it can also be representing various concepts such as social, political, cultural and environmental issues that plague our society. 
Serminaz Barseghian (b. 1987 Tehran) employs a representational approach in her art, capturing three familiar landscapes in splines (stripes), borrowing from her father’s distinguished technique, adding on her own personal touch while wireframing the images on the surface. In these works, ideas of transience are explored both visually and conceptually. Through her meticulous depiction, she challenges traditional notions of accuracy and permanency; inviting viewers to contemplate the fluidity of reality and the uncertainty inherent in images. Her works prompts reflection of the ever-changing nature of perception and the shifting boundaries between what is perceived and what may come to be in the future.
Nature serves as a recurring subject in Aylar Dastgiri’s (b. 1988 Tehran) work. Embracing a more spontaneous and relaxed approach in her digital paintings, she draws primarily from memory, inviting viewers to ponder the interplay between theater and painting. Dastgiri skillfully navigates the transition from the vivacious energy of the stage to the tranquil stillness depicted in her work. While her larger scale paintings mesmerize with spatial illusions that beckon viewers into immersive landscapes, the titles of her works - such as Move Your Eyes, You Are Not Fixed and You Are Standing at an Altitude of 6745 meters - try to create a similar atmosphere to further involve the viewer by fabricating a moment of presence within her creations.
On a parallel artistic journey, Armin Ebrahimi (b. 1984 Tehran) embarks on a departure from traditional representational styles, explores the essence and emotional resonance of landscapes through abstract forms and fragmented brushstrokes. Through his unique approach, he transcends the confines of literal representation and delves into the depths of allegory and symbolism. Ebrahimi’s artworks intertwine personal narratives with broader historical references, evoking a rich tapestry of cultural identities and their accompanying histories. As he navigates between the figurative and the abstract, he blurs the lines between the two, making the separation nearly impossible.
In contrast, Raha Khosroshahi (b. 1997 Tehran), avoids the confines of proposing conceptual frameworks or problem-solving agendas, instead focusing solely on the act of painting. Through a harmonious interplay of forms and complementary color palettes, Khosroshahi crafts progressive works that blend abstract and figurative elements, evoking a sense of familiarity tinged with uncertainty. The artist embraces accidental imprecisions and the layered application of oil, resulting in compositions that serve as visual metaphors, sparking curiosity and inviting viewers to explore their own memories, emotions and reflections.
Maryam Mohry (b. 1979 Tehran) brings forth a multifaceted approach in her art, highlighting her deep-rooted passion for nature and gardening. Whether through expansive drawings with various characters or small woks focused on solitary figures, Mohry seamlessly intertwines storytelling, reverence for nature and environmental advocacy. By employing collage techniques, she further enriches her artistic expression, imbuing her works with layers of depth, texture and a sense of playfulness that captivates and provokes contemplation.
Razieh Sedighian (b. 1986 Tehran) captivates viewers with her masterful manipulation of dots and lines, creating a sense of transcendence beyond the constraints of time and place. Through a minimalist palette dominated by white, blue and black, Sedighian’s enigmatic landscapes hint at the delicate balance and fragility of our natural world. The juxtaposition of never-before-exhibited works from 2008 alongside recent works offers viewers a rare glimpse into the evolution and progression of her artistic journey, inviting reflection on the fluidity of artistic expressions over time.

The works collectively become visual metaphors, not only evoking a sense of curiosity but also inviting the viewers to delve into their own memories, emotions and reflections, contemplating their own perspective and connections to nature.  By layering personal experiences with natural imagery, a rich tapestry is created for introspection and dialogue. This exhibition is the second collaboration between Ronewa Art Projects and O Gallery with the works selected by Orkideh Daroodi. This exhibition not only celebrates the power of artistic expression but also fosters cultural exchange and appreciation across borders.

Works  from Ali Nassir are currently exhibited in the group show "Unreal Realities"at Sevil Dolmaci Dubai. The exhibition will continue until June 1st.

Ali Nassir (b. 1951 Tehran) is presented with his most recent paintings where he creates a harmonious blend of restless memories, chaotic environment and complex issues merged with the intrinsic beauty and joy of life, turning his work into a continuous attempt at expanding this sense of aesthetics. The interplay of form, color, movement and composition in Nassir’s works are meticulously interconnected. Within his paintings, one can encounter urban symbols, elements from nature, or even unexpected juxtapositions of objects that would never coexist in real life. These unconventional combinations permeate the artworks with compelling meanings within the framework of the painting itself.

For more information click here.

Art Dubai – Contemporary

Booth D6

For its second participation at Art Dubai, O Gallery presents works by Iranian artists Ali Nassir (b. 1951 Tehran, lives and works in Berlin), Shideh Tami (b. 1962 Tehran, lives and works in Tehran), Maryam Mohry (b. 1979 Tehran, lives and works in Khoramdareh), and Ashkan Sanei (b. 1984 Urumieh, lives and works in Tehran).

In the paintings that Ali Nassir creates, a harmonious blend of restless memories, chaotic environment and complex social, political and philosophical issues merge with the intrinsic beauty and joy of life, turning his work into a continuous attempt at expanding this sense of aesthetics. The interplay of form, color, movement and composition in Nassir’s works are meticulously interconnected. Within his paintings, one can encounter urban symbols, elements from nature, or even unexpected juxtapositions of objects that would never coexist in real life. These unconventional combinations permeate the artworks with compelling meanings within the framework of the painting itself. Shideh Tami’s work is very personal. The emotions usually expressed through her self-portraits can reveal the intellectual and emotional state of the artist and her feelings of fear, bravery and loneliness. In her work, through depicting metamorphoses of herself, she poetically raises the question of one’s own individuality and identity, gender, history and all the fluid borders and transformations between these categories. Her work invites contemplation and prompts us to question the very essence of our own being in relation to the broader concepts of existence and transformation. In Ashkan Sanei’s works on paper, the interplay between emptiness and fullness, lightness and heaviness and darkness and lightness is reminiscent of the visual language found in Siah Mashq - Persian calligraphic practice sheets - and it serves as a focal point, enhancing the artist's profound poetic tone. Drawing inspiration from Eastern ideology, Sanei explores the concepts of relocation and sublimation. Within his art, the artist invites us to ponder the fluidity of existence, where any phenomenon has the potential to reach its destination while still maintaining a connection to its origin. Sanei's pieces highlight the intricate nature of human experiences, where additions and subtractions of layers of consciousness, allow us to forget or remember things as these layers are added or subtracted. Maryam Mohry's creative process is fueled by both a playful childlike sensibility and a sense of sarcasm, allowing her to fully immerse herself in the joyous act of creation and experimentation. Her artistic practice extends beyond the two-dimensional realm as she exhibits her talent as a sculptor as well. The use of fabric as the primary medium adds an intriguing dimension to her work as each stitch and fold speaks to her meticulous craftsmanship and attention to detail. The choice of fabric also introduces a tactile quality to the sculptures, inviting viewers to not only visually appreciate the work but also to acknowledge its quality through touch. Through her mastery of textile manipulation, Mohry breathes life into the soft and pliable materials, giving shape to whimsical creatures and organic forms.  In her work, animals and flowers take on their own unique personalities, conveying a sense of wonder and enchantment. Each sculpture becomes a vessel for storytelling as Mohry weaves narratives that speak to the interconnectedness between humans, animals and nature. Through the diverse approaches employed by the selected artists, the presentation aims to explore the multifaceted representations of humanity that transcend conventional boundaries. These artists delve into the realms between the mind and body, the rational and irrational, the individual and the community, and even the human and nonhuman. In doing so, they challenge the existing notions and norms, prompting us to question our understanding of ourselves in the context of our shared human experience.

This book, a product of Amir Soghrati’s dialogues with Ali Nasir over the past few years, is an effort to record the emotions, feelings, thoughts and worldview of Ali Nassir as one of the influential artists in the contemporary art history of Iran. Writing and publishing oral history books of contemporary art in Iran, away from memoirs and reminiscences, is a new and essential aspect in the field of visual arts and this book has taken a part to that endeavor.

"Tajrobe" magazine in its 22nd edition, overviews Ali Nassir's body of work in an interview with the artist and an overview on his recent exhibition showcased concurrently by O Gallery and Lajevardi Foundation in June 2023.

Introducing O Gallery, Authority Magazine interviewed Orkideh Daroodi around the subject of successful women founders. In this conversation, Daroodi talks about setbacks and advantages of women being entrepreneurs. Sharing her personal experiences, as one of the women gallerists and founders in Iran, she speaks about hardships, capacities, and preventive wrong beliefs along this path.

For more information click here.

In an interview with “FAB L’STYLE”, Orkideh Daroodi talks about Iranian galleries’ issues during the events of the past year. She openly speaks about the issues and the reasons of O Gallery’s hosting shows during the upheavals last year, covering both sides and point of views on the operation of galleries during that time. Daroodi also talks about the role of galleries in Iranian art society and the importance of physical display of works despite the advancement of virtual presentations during Covid, in addition to Iran’s Contemporary Art in relation to international art market.

For more information click here.

Kaltblut online magazine introduces O Gallery and today’s art scene during an interview with Orkideh Daroodi. In this interview, Daroodi talks about Iran’s art scene’s issues and potentials, explaining about the reasons behind the gallery’s foundation and its goals, such as fostering emerging talent.

For more information click here.

O Gallery is pleased to announce its participation at Paper Positions Munich 2023 with a presentation of works on paper by Ashkan Sanei.

From 20 to 22 October 2023, twenty selected international galleries from Germany, Austria, Spain, Iran and Mexico present one outstanding artistic position each with a focus on drawings and the material paper.

We live in an era where balance has come to represent a kind of utopia; an expression of the desire to find better circumstances for the broadest spectrum of the population.

Political resistance has been driven towards opposite poles, reducing our nuanced idiosyncrasies, geographical conditions, diverse doctrines, and interests. Multipolar brings together artworks highlighting income inequality and social, political, and ecological emergencies.

Embracing openness, flexibility, and a humanistic conscience has the potential to bring about a more sustainable future where we can reconsider our relationship with the planet and each other, achieving empathy without having to share the same ways of thinking.

Questioning the parameters on which our relationships with other individuals and communities have been founded could prove helpful for living in an uncertain future. Conversation and the ability to reconsider our assumptions will lead us away from linear and hierarchical world views.

Social conflicts such as racism, injustice, extractivist projects, and global warming are connected. Perhaps by first conceiving of ourselves as an endangered species, we can open up the possibility of ending the abusive systems against nature and each other.

Kindness and generosity towards those with opposing views may serve as a powerful method of understanding our contemporary landscape and may provide the opportunity for us to embrace the beauty within the nuances and complexities of the everyday.

– Itzel Vargas Plata, Chief Curator at Museo Universitario del Chopo, Mexico City

For more information click here.

The upcoming exhibition will be on display in two parts in O Gallery and Lajevardi Foundation from June 23 to July 21, 2023. O Gallery will focus on showcasing recent works by the artist while Lajevardi Foundation will showcase the artist’s works created between 1980 and 2020 as well as never before exhibited pieces in Iran. A more comprehensive retrospective, co-curated by Hoda Arbabi and Orkideh Daroodi, was originally set to open in TMOCA in the Fall of 2022 but was canceled due to the artist's and both curators' mutual decision.

Lajevardi Foudation
#32 20 Sepand (Jafar Shahri) St., Villa St., Karimkhan Blvd., Tehran
www.lajevaridfoundation.com

We are pleased to announce that two works from Ashkan Sanei’s “Archives” series is now in the collection of Haus Des Papiers (Berlin’s Paper Museum).
The House of Paper is the world's first museum of its kind dedicated exclusively to contemporary fine paper art.
The museum project was initiated by entrepreneurs Ulrike Vohrer and Annette Berr from FineArt-Print manufacturing company d'mage. The museum is accompanied and supported by d'mage, as well as the two companies Hahnemühle and Canon Germany.
Together they have been committed to increasing public awareness of the material paper in the visual arts for many years.

Farniyaz Zaker’s project "Enclaves" revolves around the themes of exclusion and belonging. It explores how our language, clothes and built environment engender controlled and delimited spaces and communities that can both foster and suppress our physical and mental selves.
Farniyaz Zaker is an Oxford-based, Iranian-born artist and researcher whose practice engages a variety of mediums, including textiles, sculpture/installation, drawing, print and video. Her works have been exhibited at the Sharjah Art Museum, the Ashmolean Museum, Pi Artworks Gallery, Stieglitz State Academy of Art and Design, the Laing Art Gallery, Contemporary Istanbul Biennale, the Venice Biennale, Artissima Art Fair and O Gallery.

For the upcoming edition of Art021 Platform, O Gallery proposes a curated presentation by four of our artists: Ali Nassir, Shideh Tami, Ashkan Sanei and Armin Ebrahimi to highlight the artists’ very personal moments of introspection, rooted in their lived experiences as well as collective histories and memories. The works of the selected artists are deeply embedded within this uncertain time, evoking cautions, questions and desires. The online platform is available for viewing November 3 - 20 2022.

Maryam Mohry is the winner of this year’s Espronceda – Artistic Residency Award, in collaboration with Swab Art Fair.
Espronceda offers artistic residencies for international artists and the opportunity to exhibit in Barcelona. The Center also programs concerts, workshops, curated exhibitions and professional meetings with established international artists to diffuse culture and promote education.
Maryam Mohry was born in 1979 in Tehran where she continues to live and work.
She held her first solo show at O Gallery in 2019, titled “Greenhouse No.1” which consisted of an installation of soft sculptures and a few works on paper. Her second solo exhibition, “Wandering in the Dark” at O Gallery in 2022, showcased a vast collection of works on paper that the artist had been working on for three years.
While addressing environmental concerns, she keeps a sense of playfulness in her drawings and soft sculptures; and by offering notes of cartoonish eeriness in the humanlike expressions of her characters, she keeps the “game” of storytelling connected within all her works.

Certainty is the undeniable and irresistible knowledge of something. When defining our reality, certainty compels us to substitute the rational analysis processes with those based on memorization. Uncertainty, on the other hand, appears as the opportunity to generate a thinking process that responds to the realities of the unknown or changing nature.

For the upcoming edition of Asia Now, a presentation by six of our artists, Donya Aalipour (b. 1995 Tehran), Alireza Chalipa (b. 1984, Shiraz), Armin Ebrahimi (b. 1984 Tehran) Zahra Shahcheraghi (b. 1989 Karaj), Raha Khosroshahi (b. 1997 Tehran) and Ali Nassir (b. 1951 Tehran) is proposed to highlight the artists’ very personal moments of uncertainty, rooted in their lived experiences, collective histories and memories. The works of the selected artists are deeply embedded within this ambiguous time, evoking cautions, questions and desires in relation to each other.

A work by Ashkan Sanei is featured in “Drawing Wow 3”, an exhibition entirely dedicated to drawing. After two editions in Berlin – Drawing Wow 1 (2019) at BCMA and Drawing Wow 2 (2020) at Kunstsaelen – Drawing Wow 3 will now take place in Vienna. The exhibition is curated by artists Anna Gille, Philip Loersch, Tim Plamper, and art historian Sarah Petersen and runs from September 7, 2022 to October 1, 2022.

Drawing Wow is a non-commercial artistic platform that is concerned with the long-term and sustainable mediation and linking of both contemporary and classical drawing positions. In order to make the great diversity of the medium visible, new artists are invited to each exhibition and one work from their oeuvre is exhibited. In this way, a platform can be created in the long term that provides a far-reaching overview of the international scenery of artists working with drawing.

The second edition of NADA Curated—a new series of online exhibitions highlighting artists and art spaces from NADA’s international community through curated thematic presentations—features 21 artists present by 17 galleries. The exhibition titled Reduction to Satire (Reductio ad Satura), will be curated by Fatoş Üstek, independent curator and writer and will launch in August 2022.

Reduction to Satire (Reductio ad Satura) is a newly coined term for the NADA Curated series. It is a hybrid term, borne out of the juxtaposition between two distinct approaches of engaging with the truth. Reduction to Absurdity (Reductio ad Absurdum) is commonly used in mathematics and logic, famously by Euclid, as a method to prove by contradiction. Reduction to absurdity can be described as a figure of speech that is defined as arguing to prove one’s own position by showing the absurdity of the position of one’s opponent. Satire (lanx satura), on the other hand, is a literary work that ridicules its subject through the use of techniques such as exaggeration, reversal, incongruity, and/or parody in order to make a comment or criticism. Depiction of the notion ‘absurd’ can be traced in art, through movements of realism and existentialism. The use of satire in visual, literary and performing arts transcends cultures going back to Ancient Greece, with a strong trace in literature, theatre and the arts.
By embedding two distinct methods of relating to reality, Reduction to Satire (Reductio ad Satura) intends to expand the space of speech, expression and viewpoints, by catalyzing new ways of seeing, feeling and thinking.

In “Greenhouse No. 2; A False Memory,” a continuation of her Greenhouse series, Maryam Mohry considers greenhouses as a place for experimenting and playing. The space provides an opportunity to experience nurturing and fabricating as well as recounting and partaking in a conversation. Playful ironies and continuous storylines are the main features of Maryam’s works that have always been created in a fluid and unpretentious fashion due to her cheerful approach and simple materials.
In this project, which is presented in the Pasio space of Mohsen Gallery in collaboration with O Gallery, Maryam embodies mountains and flowers of whose existence she is not entirely sure, for she does not know if the memory of picking those flowers from those mountains are real or a construct distorted recollection of her childhood fantasies. By reconstructing nature, as she questions her own mind and reviews her memories, she seems to invite the audience to rethink the mechanism of falsified memories. Have all our childhood memories really happened? How much of our memories are manipulated by our brains? Are the memories that have turned into key events in the formation of our experiences and personality, forgotten and/or rendered insignificant by others?
Instead of burying the uncertainty and confusion and avoiding it, Maryam welcomes it. Thus, a greenhouse, a sanctuary for her, becomes a workshop in which she can bring memories to life and play around with them. Therefore, working with fabric in this workshop is not a mere choice of material; it is, indeed, the subject matter of her work. It is about keeping alive the memory/tradition that has been going on in her family for years, like delicate and complex needlework used in the finishing of the mountains. Much like her watercolors, however, the flowers have a study-like quality, and similar to her memories, they appear mortal and unstable.
Maryam Mohry steps beyond forging memories in her mind, and creates living examples for them as monuments, so as to make them more real for herself, while facilitating their archival. Does fabrication of memories happen unconsciously in human life? How much does the human brain tend to falsify memories? If we had the power to deliberately forget, modify, and alter our memories, would we make them real? And in that case, wouldn’t our individual identity and historical reality be entirely different?

We are delighted to announce that Afshan Daneshvar (b. 1972 Tehran) has been awarded the first prize of “Paper Art Award” for her exceptional works presented by O Gallery at Paper Positions Berlin.⁠
Founded and sponsored by Canon, d’mage, and Hahnemuehle, the Paper Art Award presented for the second time at Paper Positions Berlin 2022, is the most highly endowed paper art award focusing on paper as a material.
All the works on exhibit have been purchased by the paper art museum “Haus des Papiers” in Berlin for their permanent collection.

In recent years, the historical trajectories and global entanglements of Iranian art before the Islamic Revolution have become subject to increasing debate and conversation, resulting, among other things, in a series of high-profile exhibitions. With this in mind, Mohammadreza Mirzaei and Sven Spieker have organized a one-day symposium at the University of California, Santa Barbara that aims to involve emerging scholarships of pre-1979 Iranian art in a discussion about their research. The organizers aim to provide a platform for these scholars to dialogue critically with each other and the invited audience about innovative approaches and methodologies for the study of Iranian art during the period in question.
The event will take place on May 16 and the registration is open to everyone: https://bit.ly/NATIA

And they are pieces of a long poem that, when put together, embrace you and me and invite us to a heartfelt dialogue by redefining space and matter.
Slowly, majestically and steadily.

Ashkan Sanei
Autumn 2022

Argo Factory, No. 6, Behdasht St., Taghavi St., Ferdowsi Ave.

O Gallery is pleased to announce its participation at Artissima 2021 with a duo presentation of works by Ashkan Sanei and Farniyaz Zaker. Ashkan Sanei’s aesthetics is based on destruction and repetition and in his practice, he swings between creation and destruction. The fragility and vulnerability of paper, his chosen medium, allows him to leave traces in his work rather than specific objects, reminiscing rather than directly indicating. Currently living and working in Tehran, Ashkan Sanei (b. 1984 Urumieh) has participated in many solo and group exhibitions in addition to co-curating “The List - Works on Paper” project with the gallery.
Farniyaz Zaker is an artist and a researcher. Located between architectural theory and gender studies, her art practice and writing largely deal with the nexus on body, society and place. Much of her practice explores how bodily practices and spatial awareness define our sense of identity, belonging and the very concept of knowledge. Currently living and working between London and Berlin, Farniyaz Zaker (b. 1982 Tehran) has exhibited her work internationally since 2002 and has been the recipient of many grants and awards.

"Oil: Height of Depth", a collection of works by Mohammad Hassanzadeh published by Pejman Foundation.
The main idea behind "Oil: Height of Depth" project is rooted in the confrontations and transformations in Iran’s southwest after the discovery of oil: historic/geographic configurations that have reminded within human and natural environments that forcefully resisted change, and where traces of this residence appear in different areas like unhealed wounds.

This book was published by Pejman Foundation on the occasion of the "Oil: Height of Depth" Exhibition from "In the Midst" vol.1 project at Argo Factory in May 2021.

O Gallery is pleased to announce its participation in Paper Positions Basel during Basel Art Week, presenting a selection of works on paper by Ashkan Sanei (b. 1984 Urumieh) and Maryam Mohry (b. 1979 Tehran).

In the spirit of its fair concept, which refrains from classic booths and is completely tailor-made for the most sensitive exhibits, Paper Positions ‌Basel deliberately focuses on a salon-like situation with continuous exhibition walls. The limited number of exhibitors also underlines the character of a large theme-based exhibition. The spatial design offers an open overview as well as the possibility to directly approach individual artistic works and to perceive them in a mutual dialogue.

Visit us at stand 11.

Ackermannshof
St. Johanns-Vorstadt 19-21
4056 Basel

September 21 – 26 September 2021
Professional Preview
Tuesday, September 21 3-6 pm
Opening Reception
Tuesday, September 21 6-9 pm
Public Days
Wednesday - Saturday, September 22-25, noon-8 pm
Sunday, September 26 11 am-5 pm

*VIP access with Art Basel and Photo Basel VIP cards.

Fueled by lighthearted naive sensibility and a sense of sarcasm, what stands out in Maryam Mohry’s works on paper is the narrative quality of her drawings and her passion to fully immerse in the process of creation and experimentation. Taking advantage of the translucent quality of watercolor and staying away from applying thick layers of paint, she finds watercolor and gouache best for crafting impulsive and plausible stories.

What distinguishes Ashkan Sanei’s work is the commitment to autobiographical authenticity. Sanei’s works on paper are organic structures in which the relationship between the whole and the part is established and present in each work. By using poetry and geometry as his main sources of inspiration, Ashkan Sanei creates works that are in close connection to the visual traditions and literary culture of Iran.

Shideh Tami published in the book “Reflections: contemporary art of the Middle East and North Africa” by the British Museum Press.
The book brings together for the first time an extraordinary collection of works on paper in the British Museum, accompanied by the exhibition of the same title, curated by Venetia Porter held at the museum February - August 2021.

"Sanei’s works have been selected by Tehran’s O Gallery for the online exhibition, which will run until May 30.

...

Sanei’s aesthetics is based on destruction and repetition. When it comes to working, however, he swings between creation and destruction as a pendulum, the organizers of the art fair said in a statement about Sanei’s artworks."

Click here to visit the website.

"Bahman Mohassess (1931–2010) is from the generation of Iranian artists who travelled to Italy in the 1950s to study at Italian academies. Mohassess spent time in the Accademia di Belle Arti in Rome, and after returning to Iran in the 1960s, he played a prominent role in the new Iranian art scene. Although he was not Marino Marini’s pupil, Mohassess’s practice demonstrates a special relationship with Marini’s art. In this essay, Mohassess’s artistic strategies are examined in the context of Iranian art in the 1960s and in terms of Marino Marini’s practice. Marini’s dialectical approach creates a route for Mohassess to problematize the descriptive qualities of figurative painting, which results in the confrontation of Mohassess with currents of abstract painting in Iran and their socio-political implications."

To read the full article click here.

O Gallery is pleased to present 5 works by Ashkan Sanei in the upcoming edition of the Drawing Room fair.

The international online fair will take place from May 15th to 30th with 19 international galleries presenting only 19 shows by artists from around the world.

In addition, works by Amir Karimi, Ghazal Khatibi, Maryam Mohry, Niloofar Lohrasbi, Pegah Rajamand and Razieh Sedighian are presented in the store section of their site.

Drawing Room Store is the first online platform for the exhibition and sale of contemporary drawing and paperwork.

To visit the online fair and store click here.

"Painting outdoors, especially in the city, confronts the artist with many different challenges; the most important of which is the increase in the number of variables; such as the change in light and shadow, and the movement of vehicles and people. Transforming the great and crowded atmosphere of the city into a two-dimensional surface is yet another matter that the artist must solve in a short amount of time. In addition to these visual dilemmas, external nuisances must also be taken into consideration. Not every artist leaves his/her studio to hit the streets and paint outdoors; not just because of the comfort and quiet of one’s studio, but mainly because of the time and focus it requires to finish the work. Painting on the streets is exciting and fascinating; nevertheless, if an artist is not able to overcome the mentioned issues and transform them into his/her style of painting, s/he has ultimately failed."

Alireza Rezaei Aghdam, "Tehran Demands its Own Painter", Herfeh: Honarmand Issue 77, Winter of 2021

To read the full article click here.

O Gallery is pleased to announce its participation in Artissima Unplugged 2020 with a monologue presentation of works by Ashkan Sanei.
From November 5th, the fair’s online catalogue will present works selected by the galleries for their booths in the 2020 edition of the fair.

Click here to view the Online Catalogue.