“Miyan”—the studio offers an ongoing exploration of body and mind through practice and experience.

The idea for “Miyan” grew from a simple, honest need: the lack of a place in the heart of the city to pause, step away from the rush, and just be—without pressure, without performance. A place to reconnect with the body, time and creativity; not to achieve a specific outcome, but to be present, to feel, to experience.
“Miyan” lives at the meeting point of two paths: the creativity in art, which opens space for personal expression and discovery; and the grounding power of movement, which awakens the body and calms the mind.
“Miyan” is an invitation to live in the moment—somewhere between inside and outside, between motion and stillness.

For its third participation at Art Dubai, O Gallery presents works by Iranian artists Donya Aalipour (b. 1995 Tehran, lives and works in Austria), Armin Ebrahimi (b. 1984 Tehran, lives and works in Tehran), Ali Ganjavi (b. 1980 Sari, lives and works in Tehran), Ali Nassir (b. 1951 Tehran, lives and works in Berlin) and Ashkan Sanei (b. 1984 Urumieh, lives and works in Tehran). Through a blend of historical references, symbolism and reflection on contemporary social issues, these artists invite us to question how identity is formed, lost and rediscovered in a constantly changing world.

Donya Aalipour and Armin Ebrahimi turn their attention to the complexities of the modern life, using social events and personal experiences as the foundation of their work. Although Donya studied under Daniel Richter in Vienna and has lived there for several years, her work remains deeply connected to social and political issues of her homeland. Donya’s bold dynamic paintings reflect on the fast-paced and fragmented world and its impact on our sense of self. Her works, with their vibrant colors made up of expressive lines, capture the emotional extremes of contemporary existence—happiness, anxiety, despair, longing and alienation— inviting viewers to consider how external influences shape their internal worlds. While referencing historical and cultural patterns, Armin’s dreamlike compositions draw from the materiality of the body and its relation to broader societal changes, creating a dialogue between the past and the present. His work invites viewers to engage with the fluid nature of cultural identity. His use of form evokes a tactile connection to history, while also reflecting the impact of modernity on the human experience. Armin’s pieces challenge us to consider how identity is continuously shaped by both the physical and symbolic spaces we inhabit. His works delve into the tension between preservation and transformation, suggesting that the evolution of cultural identity is an ongoing process rooted in both memory and reinvention.

Similarly, Ashkan Sanei engages deeply with historical and cultural motifs, using them as a lens through which to explore his personal experiences. Ashkan’s practice, heavily influenced by the traditions of Persian calligraphy and geometry taken from Islamic Art, creates a bridge between the past and the present. By reinterpreting these intricate forms through a contemporary lens, he explores how cultural symbols can be both enduring and mutable. His minimal compositions play with the concept of erasure and repetition, drawing attention to the fragility of memory and the ever-lasting nature of identity.

While employing a different visual language, Ali Ganjavi explores themes of identity and isolation, with his approach being more deeply rooted in symbolism. His work, characterized by intense light cast upon solitary figures or forms against a black background create a visual metaphor for the process of self-discovery and introspection. The interplay of light and shadow in Ali’s paintings highlights the contrast that define human experiences: visibility and obscurity, presence and absence, self and other, alacrity and ambiguity. Through these stark juxtapositions, his art invites viewers to engage with the complex and often elusive nature of personal identity, urging them to confront the hidden and visible aspects of the self.

Ali Nassir stands upon in this collection as an artist whose work embodies a more comprehensive exploration of identity. While each of the other artists offers a distinct lens —whether be it through historical reflection, symbolic representation, or the exploration of contemporary social issues— Nassir’s work brings all these elements together, creating a more layered interpretation of what it means to navigate personal and cultural identity. In Nassir’s work identity is not isolated or fragmented into singular aspects but seen as an ever-evolving dialogue between multiple forces and influences. Nassir draws on both personal and cultural memory to explore the human condition in all its complexity. Influenced by his experiences living between Iran and Germany, Nassir’s paintings blend Eastern and Western traditions, creating a dynamic dialogue between the two cultural spheres. His works reflect the tension and harmony found in traversing dual identities, using visual elements from both worlds to explore themes of belonging, displacement and cultural hybridity. Nassir’s work transcends geographic boundaries, offering a nuanced reflection on the complexities of personal and cultural identity in a globalized world. This fusion invite viewer to contemplate how identity is shaped by the convergence of diverse influences, emphasizing the fluid nature of cultural expression. Influenced by his experiences living between Iran and Germany, Nassir’s paintings blend Eastern and Western traditions, creating a dialogue between the two. His work moves beyond the literal depiction of objects and figures, focusing instead on the relationships between them and the spaces they inhibit. Nassir’s pieces, rich with historical and philosophical undertones, reflect his ongoing inquiry into the nature of existence and identity, particularly in relation to the cultural and societal environments that shape us. 

Together, these five artists explore the multifaceted nature of identity through a variety of lenses: historical, symbolic, social, cultural and personal. Whether through the reinterpretation of cultural heritage, fusion of two cultures, the examination of contemporary social dynamics or the use of light and shadow, each artist contributes to a broader dialogue on what it means to navigate identity in an ever-evolving world.

Though diverse in style and approach, their works are united by a shared commitment, making this collection a powerful statement on the complexities of human experience.

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.

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.

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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.

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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.