Independent art space and design studio / Tehran, Iran

I’ll never be the same…
Iranian videos from Tehran and elsewhere
Curated by Amirali Ghasemi

Sona Safaei | Alphabet | 1:30

Payam Mofidi | Shaer Koshi (Poèticide) | 10:45
Farid Jafari Samarghandi | Lips & Crazy Eyes (for Series 1234 for love) | 5:52
Amirali Navaee | As I Was Leaving My City | 3:00
Elham Doust Haghighi | One Stupid Idea | 5:17
Ahmad Zolfagharian | Under Destruction | 2:00
Nassrin Nasser | Untitled | 3:43

Toronto, Paris, Tehran, London and Stockholm. These are where the creators of these videos and short films are geographically located in, what ties them together? The journey begins with letters; A moment of suspense, while we know it won’t last long, leads us to fragile moments of a young girl’s dream, driven to a trance where its performers are only known by their lips and their eyes; The trip continues with a cheerful and at the same time tragic dance moves of a restless soul transporting us along the sidewalk of an unknown city. Moving back in time, we encounter an alternative story of Creation while we long for a solution of our own everyday crisis. Playing it cool for 2 minutes, the wicked joy of an endless computer game is enough to bring us back to the reality of the virtual world. Where we are free to choose to get on board surfing the waves of a music video or to get hypnotized like its character’s daily struggle with death. We will never be the same…

Amirali Ghasemi, Nov 2010, Tehran

Video Cube at Contemporary Istanbul
Nov 25-28, 2010
For more information, address and visiting hours
Please visit :

IRAN&Co. Exhibition photos and Review #3

Still Life – Brugge by Nazanin Aharipour
Framed Photograph,2010
IRAN&Co - Nazanin-Aharipour-Still-life

Wall Writings by Sona Safaei
“You think, I copy, Who is the owner?” 2010
IRAN&Co - Wall - Writing-Sona-Safaie.jpg

Carthe (Plexæ) by Ali Ettehad
Porcelain, Wax, Color Pigment, Cotton Tread, China paper, China Ink, Stones, Fragments of Butterfly wings
IRAN&Co - Ali-Etthad-Bianche

IRAN&Co - Ali-Etthad-Bianche

IRAN&Co. - Ali-Etthad-Bianche

IRAN&Co. - Ali-Etthad-Bianche

IRAN & CO. Exhibition photos and Review #2

Iran&Co The Exhibition, 3 other projects are featured in our 2nd post, photos by Amirali Ghasemi, Afshin Dehkordi, Farid Jafari and Milad Houshmandzadeh.

Your Majesty by Setareh Jabbari
Installation, 2010
Mixed Technique

Iran&co - Setareh Jabbari Your Majesty

Family Album by Setareh Masoumbeiki
Photo Installation,2010
12 Photos mounted on Plexiglas, Wooden Table

Iran&co - Setareh Masoumbeiki Family Album

Un ange qui passe by Milad Houshmandzadeh
Site specific Sound Installation,2010
Audio Collage Piece, Cans, Water, Tapedeck, Motion Detector

Iran&co - Milad Houshmandzadeh - Un ange qui passe.

Iran&Co - Un ange qui passe by Milad Houshmandzadeh

IRAN & CO. Exhibition photos and Review #1

Iran & Co the exhibition and the archive just ended on November 2nd in La Brugeoise, a 1912 power station
an architectural masterpiece and a protected historical monument, the exhibition showcased uniquely
commissioned works by 11 emerging Iranian artist.
The exhibition catalog will be published in early 2011, as the exhibition will be traveling to London next year
Iran & Co is curated by Amirali Ghasemi

Memory of the Azadi Tower by Melika Shafahi
Slide Projection - 2010
Memory of Azadi Tower by Melika-Shafahi.jpg

The Arc by Mojtaba Amini
Installation, 2010
Wine glasses, Metal Staucture and Fishing Line
Iran&Co. - The Arc by Mojtaba Amini

Saying by Behrad Javanbakht
“Every end had a beginning” -The standing flag
“What’s right is right, what’s wrong is wrong and who are you to sing along ” – The Fallen flag
Installation, 2010
Sail, Permanent Marker, Coffee, Enamel Paint and Flag Poles

Iran&Co. - Saying(The Flags) by Behrad Javanbkaht

The Power of Christ by Farid Jafari Samarghandi
DVD Loop, 2010
Iran&Co. - The power of Christ by Farid Jafari Samarghandi

See-Saws by Golrokh Broumandi
Installation, 2010
Wood, Carpet,Mirror, Chair Canning, Wall paper and metal
Iran&Co. Seesaws by Golrokh-Broumandi

Iran&Co. - Seesaws by Golrokh Broumandi

Photos of this exhibition review are mainly taken by Afshin Dehkordi and the rest of credits goes to
Ehsan Behmanesh, Farid Jafari, Amirali Ghasemi and Milad Houshmandzadeh.

Our big thanks to all of them and the kind people who made all this happen so far.
The rest of review and images will be featured in the following posts… so stay tuned!

Saroseda at Aun Gallery

  • Monday Nov 22,2010 08:41 PM
  • By Parkingallery Team
  • In NEWS

will be performing a new series of Audiovisual performances
at Aun Gallery on Tuesday Nov 23rd and  Wednesday 24th 2010.
Don’t miss it if you are in Town and here is the program :

Nov. 23rd :
5-6 pm
Hesam Ohadi – Laptop / Quartz Composer
Siavash Abdi – Tombak
Amir Bahador Ashrafzadeh – VDMX/Modul8

7-8 pm
Arash Salehi – Laptop / Lemur
Ali Ettehad – Avaz
Amir Bahador Ashrafzadeh – Modul8
Saman Tehrani – Processing ( programing language )

November 24th :

Hootan Farzadpoor – Laptop
Mojtaba Alanjari – Divan
Arash Razzazian – Resolume
Aidin Zolghadr – Processing ( programing language )

Arash Salehi – Laptop / Lemur
Golnoosh Salehi – Tar
Arash Razzazian – Resolume

Contemporary Notes at Assar Art Gallery

  • Saturday Nov 20,2010 05:52 PM
  • By Parkingallery Team
  • In NEWS

Contemporary Notes
A drawing show, curated by Vahid Sharifian

Image: Drawing by Setareh Shahbazi

Nazgol Ansarinia, Kamrooz Aram, Ali Banisadr, Ala Dehghan, Tala Madani, Arash Sedaghat kish & Setareh Shahbazi.
opens on Friday, 19th November, 2010 from 5-9 PM. The exhibition will continue through Thursday, 2ndDecember, 2010 and visting hours are Sunday – Thursday 11 AM-8 PM. not that the  gallery is closed on Friday, 26th November, 2010

Contemporary Notes is, more than anything, a critique of situation. It questions the situation we are in, while honestly depicting that which we could be in; and that situation is all about art; it is between what is real and what seems real. Crises, their mere existence and sheer diversity, distort thought and obscure reflection making mental isolation and idled creativity seem justified. Meanwhile, deceptive hands of seeming power, encouragingly and outwardly compassionately, attune the artist’s mind from a state of ambitiousness to idleness. Those hands could extend from the social status quo, or represent the interests of those who recklessly drag Middle Eastern art to a local market. The situation in the Middle East is such that instability in the social, economic and political realms causes artists not to reflect on their own world but become tools to – at best – analyze the status quo – in the simplest way possible – and represent it – in a general light. And in the third world, when this exercise in telling the told and stating the obvious takes on the form of photography, or painting or video, it is called art. There is nothing wrong with protesting art but things start to get suspicious when the art leaves the artist behind to turn into a banal manifesto for the political self-expression of people who in these situations merely play the role of a morally sound disgruntled citizen/artist. In these circumstances, rather than reflecting on taste and emotion, and thinking the situation anew, the mind becomes a paragraph of political and social memoire that is framed and sold.

In any case, Contemporary Notes is a group with no political posing and posturing whose significance is not because of the position they take, nor because they express their position, but because of the tone with which they express their situation and play a role, however small, in the international art scene. For they express their thoughts and reflections (or their day-to-day art) in the language and the mood of today’s art. In this exhibition, we are saying that an artist can say new things through the most basic media and in the simplest form regardless of the place from which or in which he or she speaks. All of these seven young artists express themselves unbounded by the place they belong and seek not to market themselves but to be the artists they truly are. So without intellectual self-expression, they see their instinct as the source of the need to think and reflect. And they think according to instinct in a way that taste and emotion, and not their situation (as Iranians) make their work appealing not to the controversies of their times, but to their day.

The idea of this exhibition materialized around last January and it would not have been possible without the help of friends. I wish to thank Afarin Neysari, Jason Reza’ian, Lombard Freid Gallery, Omid Tehrani and Mahdis Keshavarz. And I especially wish to thank my friends Kamruz Aram, Ali Bani-Sadr, Tala Madani, Setareh Shahbazi, Ala Dehghan, Arash Sedaghatkish and Nazgol Ansari-Nia and their galleries for trusting me and leaving their works in my possession to exhibit.

Vahid Sharifian – November 2010

Assar Art Gallery
16 Barforoushan Alley
Iranshahr St. Karimkhan Zand Str.
15836 Tehran – Iran
T/F: +98 21 22 60 72 84

Iran&Co. Opens at 24.10.2010, 11 a.m. Bruges

Nazanin Aharipour|Mojtaba Amini|Golrokh Broumandi|Ali Ettehad|Farid Jafari Samarghandi|Setareh Masoumbeiki|Setareh Jabbari|Behrad Javanbakht|Sona Safaie|Melika Shafahi|Milad Houshmandzadeh

Curator : Amirali Ghasemi

Bruges(Bel) : 24 october -2 november 2010 in the buildings of
‘La Brugeoise’, Vaartdijkstraat 5-7, 8200 Bruges.
Horizon 1: towards a new curatorial platform in the Cultural Centre.

The Cultuurcentrum of Bruges launches its new international curatorial platform called Horizon on the 24th of october 2010. The Cultuurcentrum intends to invite each year one or more guest curators, who develop a range of new projects within the Horizon frame work, both in Bruges as in other countries. In Horizon we focus on the personal and local perspective of the guest curator in relation to the international context. For the first edition the independent Iranian curator Amirali Ghasemi (*1980, Tehran) conceived the multi-layered, itinerant art project Iran&co, together with his curatorial team and the participating artists.

Iran 2005-2010.
The last five years, the international art world was engulfed by hundreds of exhibitions and publications dealing with art from Iran and the Middle East, with again an emphasis on Iran.
In so far that some voices speak, since 2005, about an ‘Iran Boom’.
This ‘new artistic wave’ brings to mind memories of the ‘sudden apparition’ of contemporary art from China, India or Eastern Europe, in the nineties.
The curatorial team of Iran&co started to analyse this phenomenon, emphasizing the specific Iranian condition, both within Iran and the diaspora, and its different representations produced in a mainly ‘western context’.This explains moreover the choice of the title: Iran&co. It refers to the realm of companies and multinationals, the businessess actually producing the brand ‘Iran’.

Lastly, Iran&co functions also as a trope for other typical national, identity based or so-called ethnic-cultural projects.

Iran&co, the Archive, Documentary: Iran Beyond Borders (1960-2010)

Iran&co consist of three distinct parts: an exhibition, an archive and a documentary installation, which evolves constantly in time and space.In Bruges the visitor will witness a first presentation of this project. The archive and documentary installation on show, cover only a fraction of the existing material.In the second stage in London(fall 2011), a more elaborated version will be exhibited.The first part consists of a site specific Exhibition of contemporary art, made by 11 emerging artists, mostly under 30,9 based in Iran and 2 studying outside the country (in France & Canada).

The exhibition consists of exclusively commissioned art works, which is a totally different approach to most projects held in the contemporary Iranian context expect for few biennial appearances, where the focus lies on object related artworks conceived chiefly for galleries and collectors. In Iran&co, the artists tackle a wide range of issues central to the Iran&co project such as: ‘The question of identity in thematic based exhibitions, the production and representation of forms of ‘Iranianness’, the status of the artist from a performative perspective, the reanactment of the position of the ‘Iranian artist’, themes as the void, absence and invisibility as part of the Iranian condition beside the humour and playfulness in often metaphorical textual and sculptural forms invisibility as part of the Iranian condition, the question of neo-Orientalism, etc.

The second part consists of an extensive Archive, which in the first exhibition stage in Bruges focusses mainly on the exhibitions with art from Iran, and held in the West in the last decade.Besides the important cartographic dimension, the Archive can shed light on a range of representations, exotic and other stereotypes about the current Iranian condition.

The third part consists of the extensive video-documentary Iran beyond borders’(1960- 2010). The curatorial team gathered more then 100 new interviews with some of the key players, from both in Iran and outside the country. This is an ongoing process which will be shown to the public in London in 2011 and probably beyond in different forms and formats.As with the Archive, the documentary installation is important for the cartography of both modernist and contemporary art movements. Further more it gives the visitor some incisive views on the Iran Boom, and the general artistic history of Iran from 1960 till now.

Unique interviews with Rose Issa, Shadi Ghadirian, Anthony Downey, Hans Ulrich Obrist, Hamid Keshmirshekan, Okwui Enwezor, Khosrow Hassansadeh Catherine David, Farshid Mesghali, Alireza SamiAzar, Vali Mahlouji, Shadi Mahmoudian, Koroosh Adim, Iman Afsarian, Rozita sharfjahan, Hamid Severi, Jinoos Taghizadeh, Haleh Anvari , Poya Arianpour, Mahmoud Bakhshi and Barbad Golshiri, among many other artists, collectors, curators and experts.

Info: Cultuurcentrum Brugge, 00 32 50 44 30 40

Curatorial team: Amirali Ghasemi, Michel Dewilde, Azar Mahmoudian
Poster designed by Behrad Javanbakht

The exhibtion travels to London (november 2011) & Berlin (october 2012)
Organisation: Cultuurcentrum Brugge in collaboration with Parkingallery Tehran,,

Bimzar (Fearland) at Azad Art Gallery, Tehran

  • Friday Oct 15,2010 11:12 AM
  • By Parkingallery Team
  • In NEWS

On the Treshold

Bimzar (Fearland)

It is not that heavens loathe people of Fearland and impedes rain. It fears to grow a wasteland on the land of anxiety, which, although blooming from seeds of death, it roots and grows and blooms nothing.[i] In the wasteland, where every sapling resembles a dead child, wind is a useless cradle and sunlight is what submits horrifying shadows of the day to the continuity of horrible nights. Under the sunlight, nothing is new, for according to Fearlanders’ beliefs, what has been will be and what has happened is what will happen.[ii] Nothing is new: the new will result in new fears. Thus, every sound resembles a horrible cry: even if it is a breeze passing through wasteland meadows, it comes to ears as a howl. Every movement is threatening, is a shaking of the stature of the people of Fearland who have for long been standing on their motionlessness and silence. Although they have spoken out, their mouths were sealed; they recorded that others have burnt, that they have sown and others have garnered and raped their soil: on top of adobes of fright, with dull eyes and silent tongues, they have built such a tall barrier around themselves.[iii] It is inescapable that they are the barrier. People of Fearland who are afraid and weary of repeating their horrifying history, write the history of fear. Within these walls, fear is a writing style applied to writing of doubt and reading of anxiety. Thus fear robs the pen of fear against the paper of silence and hatred is born thereafter diluting it.[iv] It is as such that, fearing the enemy and his curses, they write in a difficult and incomprehensible language so as to render it a harmless sophistry.[v] Thus they apply to themselves a procedure applied to words. They wrap themselves: faces covered with masks and bodies with sheepskin. In thousand different shapes: an executioner with a dagger in his hand resembles a surgeon while a patient announces cure and miracle with his cries.[vi] Any escape from this enclosure is in vain, even if there is a loophole and they can escape in every direction, still fear is an inescapable shadow, unless they head for their solitude where there is no other, no people, no sunlight and no shadow, no shadow such as that of fear. For, the shadow of man is the shadow of his flesh; hence they escape to the depths of time, to where the glow of day gives clarity only to nightmares while the darkness of night renders delirious the humilities of the day.[vii] There, sleep comes after wake and wake after sleep, over and over again; time transforms into a cyclic eternity without end and it is pointless to think of it and think in it, for if it is spoken out, since there is no audience, it will resemble a delirious monologue, a fearful reverberation of one’s own voice. Be it that solitude is the absence of the other as well as the denial of one’s presence. Such serenity in the absence of others turns into a fear of an inexistent being of one’s self, and baseless fear slides into melancholy. Thus, how difficultly one who has taken refuge in solitude from the harm of the other, recreates him in a different way and in the shape of a ghost resembling herself. Thus the house turns into the mirror of the house of ghosts, reflecting hatred and fear.[viii] People of Fearland embrace their ghosts and give birth to dead children[ix], children calmed down by the sound of the lullaby of death, put to sleep by the aftershock poems of the childbirth of fear[x], who never die again for they have never stepped into the domain of life:

Infants of mothers deprived of singing…[xi]

Homayoon Askari Sirizi, Fearland, Oct. 2010

Translated by Bavand Behpoor


[i] See: Barbad Golshiri, Calder for Dead Children,  from Freedom Lovelorn series, 2010

[ii] From: Old Testament, Ecclesiastes 1:10.

[iii] Cf. Katayoon Karami, Untitled, 2010

[iv] See: Gazaleh Hedayat, Writing Style, 2010

[v] See: Mehran Mohajer, Whiteboard: Photographer’s Dash-writing, 2009-10.

[vi] For further reading, see: Baktash Sarang Javanbakht, Untitled, combination of mixed media and drawing on paper, 2010.

[vii] Mehraneh Atashi, 2007, series of photographs, 2007

[viii] Ibid. For further reading see: Mehraneh Atashi, Fear and Loathing, 2006.

[ix] See: Barbad Golshiri, Calder for Dead Children, from Freedom Lovelorn series, 2010

[x] Cf. Farhad Fozooni, Poems of Aftershock, 2010.

[xi] Rozita Sharafjahan, It Deprived Me of Song, 2010.

Iran & CO, a presentation by Amirali Ghasemi at Delfina Foundation

Iran & CO, by Amirali Ghasemi

15. Oct - 15. Oct 10 Delfina Foundation

Free. Rsvp required at
18:00 – 19:00

Artist Amirali Ghasemi discusses Iran & CO, his ongoing curatorial project. Iran & CO includes an exhibition, a documentary and an archive project. The exhibition gathers a number of site and context specific commissions conceived by the newest generation of Iranian artists, who have all been invited to produce works outside of the gallery space.

The ‘documentary/film/installation’ Iran Beyond Borders (1960-2010) maps out the history of modern and contemporary art in Iran, from the late 50s to today. It aims to archive and review more than 100 Iranian art exhibitions in the last 10 years, and features interviews with key figures of the contemporary Iranian art scene (such as Khosrow Hassansadeh, Ghazel, Alireza Samiazar, Fereydoun Ave, Hamid Keshmirshekan, Hans Ulrich Obrist, Barbad Golshiri and Rose Issa) on subjects including the impact of the market on artistic practices, the local in relation to the global, the politics of representation and identity. The film will be premiered in Bruges, Belgium, in October 2010.

Amirali Ghasemi was born in Tehran in 1980. He graduated in 2004 with a BA in graphic design from Central Tehran Azad University. In 1998, Ghasemi established Parkingallery, an independent project space in Tehran, and in 2002,, a virtual gallery, which has become an online platform for many young Iranian artists. He has shown his photography/videos/design works in Sweden, the Netherlands, France, Austria, Belgium, Italy, Germany, Canada, USA, Australia, Turkey, Indonesia, South Korea, China, Taiwan and Japan. In addition, he has directed audiovisual projects with Iranian rock bands. 
As a curator, he has directed many exhibition projects for Parkingallery project space and other institutions. These have included Among Them: Deep Depression (2004), Transition (2005), Deeper Depression (2006), Lost in No Space (2006) and Limited Access (2007).

Iran & CO is a production of the Cultural Centre of Bruges, with the support of the Vlaamse Gemeenschap, and Parkingallery projects Tehran.

This talk is part of a series of events which focuses on emerging artistic networks and strategies in the youthful Iranian capital.

The Knowledge – Stop 2: Tehran. A series of events between 5 and 19 October 2010, at The Delfina Foundation. A journey through visual culture, one city at a time. After Damascus, our second stop will be Tehran. With contributions from Mahmoud Bakhshi, Amirali Ghasemi, Malu Halasa, Vali Mahlouji, James Neil and Solmaz Shahbazi.

All events at The Delfina Foundation, rsvp required. Please email
For more information, please see website.

The Knowledge – Stop 2: Tehran at Delfina Foundation

  • Sunday Oct 3,2010 06:20 PM
  • By Parkingallery Team
  • In Abroad, NEWS

The Knowledge – Stop 2: Tehran

The Knowledge Stop 2 - Tehran

Persepolis, Solmaz Shahbazi, production still, 2005

Series of events between 5 and 19 October 2010, at The Delfina Foundation.

A journey through visual culture, one city at a time. After Damascus, our second stop will be Tehran. This series of events focuses on emerging artistic networks and strategies in the youthful Iranian capital. With contributions from Amirali Ghasemi, Malu Halasa, Vali Mahlouji, Mahmoud Bakhshi, James Neil and Solmaz Shahbazi.

Read the rest of this entry »

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