The return of Ali Chitsaz's art to Iran

Artibition Gallery is hosting an exhibition of Ali Chitsaz's works titled "Comeback" starting Friday, April 19. The exhibition will be open to the public until May 11.This collection includes works from the artist’s early career in Iran, which were previously kept in his personal collection. With this exhibition, Chitsaz returns to the Iranian art scene after a decade of emigration and international activity. “Comeback” is a reflection of his sarcastic, critical, and emotional view of Iranian and Western society.

The truth of travel is on the roads. It is impossible to imagine travel without a road, and no destination is permissible without a road. The road is a hope of going and arriving or of being free from getting lost, unaware that what this road offers us is the destination. The journey to any phenomenon and any corridor from inside to outside passes through a road whose importance has been repeatedly recalled in works of visual art, cinema, and literature. The road knows better than anyone when we should arrive, and from this perspective, it is not indifferent to spring, which knows very well when it should arrive. In addition, the Iranian New Year holiday is linked to the road for us, and this practice has created an opportunity to look at the road through the eyes of artists.

Artibition Gallery participated in the recent event of the Russian contemporary art fair “Art Russia” with 60 works by contemporary Iranian artists. “Art Russia” is the largest contemporary art fair in Russia and an international art forum that brings together independent gallery owners and artists, collectors and art market experts on one platform in the center of Moscow. This year, there are more than 100 booths for galleries, artists, curatorial and educational projects.

The table is a platform for the soul, food, and symbol, and it is addressed in every cultural gathering. The table and its associated rituals have always been considered in Iranian visual and written arts, from painting and scenes of royal banquets to what is left of table manners in the Shahnameh. These works of art have not only addressed aesthetics but also implicitly addressed social, cultural, and even political life, opening a window into the historical and cultural world of Iran.

We meet each other and ourselves in the café, a place that constantly witnesses our condition over time, leaving traces of itself in us. Cafés, depending on their type of space and audience, have become symbols for the city and neighborhood in contemporary life. From what we have heard and read, the role of cafés in contemporary Iran, and specifically in Tehran, goes beyond just a place for eating and drinking, even though these activities are often accompanied by another kind of feeling in the café environment. Particularly in the 1940s in Iran, cafés were a gathering place for intellectuals and thinkers, leaving a noticeable impact on the lives of artists.

The "Tazetar" exhibition is an opportunity to reinterpret moments in life and the boundaries between reality and fantasy. In these works, natural and human elements come together to depict invisible connections and inner flows. In each work, movement, stillness, and memories are poetically intertwined.

Artibition Projects will host a group exhibition of fish from Friday, Esfand 17, at the Estakhr gallery in Ivan Rabat. This exhibition will be held in this gallery until Farvardin 20, 1404. In part of the text of this exhibition, it is stated: "In art, fish is not only a visual element, but also a metaphor for the endless search of man on the path of self-discovery. From ancient motifs on the walls of caves to contemporary installations, he has a constant presence that is a reflection of artists' reflections on this ancient symbol.

A group painting exhibition titled "Tazetar" will host visual arts enthusiasts starting Friday, 17 Esfand at the Artibition Gallery.The exhibition features works by thirty contemporary artists, each embodying a sense of modernity, change, and transformation. Part of the exhibition’s explanatory text states: “Tazetar' is not just a visual experience, but a profound encounter with the concept of dynamism and transformation; the transition from one form to a new one, from one feeling to a newer feeling.” This exhibition is an opportunity to view the creative manifestations of novelty in the visual language of today’s artists.

In the world of art, the connection between creativity and investment has always been a challenging issue. On the one hand, artists seek a space to express their ideas, while on the other hand, collectors and investors look for ways to preserve and expand the value of artworks. In this context, the interaction between collectors, investors, and market participants plays a crucial role in shaping new opportunities and developing the art market. With the continuous growth of the art market and the increasing number of individuals entering this field as investors or enthusiasts, the need for spaces dedicated to dialogue, learning, and collaboration is felt more than ever. In many parts of the world, private business clubs focused on the art market have emerged as platforms for networking, education, and discovering new opportunities.

Grotesque is the closest concept to the works of Ardeshir Mohassas. Mohassas considers this concept to be a bitter and funny joke by looking at society and the ruling powers of politics. As the circus is one of the most frequent subjects of his works, he sees the currents between the powers and the people as a circus. The number of his paintings on canvas is far less than his drawings on paper, which have been seen more than his, and for this reason, these works have a special importance for serious visual art audiences.

Farhad Moshiri's works take a close approach to Iranian art and culture, which we have not seen before him in this way. Moshiri's art deals with other aspects in the face of Iranian culture and motifs. Iranian letters, elements and motifs are formed in his works far from stereotyped expression and with emphasis on the hidden face of culture.

For the first time this winter, an exhibition focusing on the paintings of Afghan and Iraqi refugee children, along with two works of art created with the help of generative artificial intelligence, was held at the Artibition Gallery on Tuesday, February 20. Designed by Mohammad Simri, a pioneering artist at the intersection of art and technology, these two works offer a new perspective on the coexistence of human emotion and creative algorithms. This exhibition is an attempt to combine a childlike vision with digital innovation, and an invitation to experience a different kind of visual narrative.