"Artibition Gallery's presence at the first edition of 8Fair."

"ArtFair, 8Fair, featuring the participation of eight Iranian galleries, has been held at AvaPlate and is ongoing. In its inaugural edition this year, the event is organized in three separate episodes. In each episode, eight galleries from across Iran have the opportunity to showcase the works of their artists, providing a platform for galleries and artists to engage more with each other as well as with enthusiasts and professionals in the field of visual arts."

"If you are an artist and feel that your work isn’t being noticed online, this guide is for you. In this article, we review the basic principles of social media management for visual artists to help you maintain a professional art page."

In the collection of artworks presented here, trees and flowers are depicted through an abstract visual language. Artists such as Heval Tajandareh, Behrooz Majidi, Mina Hakim, Mohammad Rahimi, and Ghazaleh Samavati each portray a poetic connection between order and disorder in nature. The abundance of blossoms and the poetic dispersion of trees are vividly expressed through abstraction in these works.

Nature from Two Perspectives The group exhibition “Nature in Transition” will open on Friday,October 24 at Artibition Gallery. The exhibition will feature works by veteran and contemporary artists on nature. In addition to emphasizing the significant contribution of nature in the formation of Iranian and global artworks, the works in the “Nature in Transition” collection also address the differences in how artists express nature in their artworks.

Shirin Partovi, founder and director of Shirin Gallery, is one of the prominent and influential figures in the field of contemporary Iranian art. With a cultural and professional vision, she has taken a distinctive path in promoting and supporting contemporary art and artists.

The works of the three artists — Mostafa Dashti, Alireza Chalipa, and Morteza Yazdani — each present a personal narrative exploring the connection between imagination, introspection, and reality; a world where color, line, and form become instruments for expressing the human experience. The distinct perspectives of these artists, showcased in the group exhibition Charsou, reflect the diverse dimensions of contemporary Iranian art.

Free and fluid lines intertwine to create the figure before us. This figure, like many of Alireza Espahbod’s other works, is accompanied by a weary expression and a fatigued posture. Bold, dark strokes set against a white background emphasize the essence and inner state of the piece. Alireza Espahbod’s focus has always been on the human being and the conditions that shape their existence.

The deep friendship between Parviz Shapour and Ardeshir Mohassess began at Khosheh magazine. Later, Mohassess encouraged Shapour to pursue a more serious path in caricature, which eventually led to the creation of Shapour’s famous Caricalligrams. Many of Shapour’s works were inspired by portraits or figures of Ardeshir Mohassess, leaving behind an enduring image of Mohassess as seen through the eyes of a friend.

The Charsoo Exhibition, held in recent weeks with a focus on various methods of presenting artworks, will enter its second phase on Friday, October 3. This new phase, featuring works different from the previous edition, will continue under new conditions until October 24.

The book Art and Value by George Dickie is one of the significant works in the philosophy of art, introducing the institutional theory of art and examining both artistic value and the definition of art. This book stands as a primary source for understanding modern theories of art and offers a more precise and practical definition of art—one that proves applicable when engaging with contemporary art, conceptual works, and even innovative experimental forms. In this essay, we will introduce this book and explore its theoretical dimensions.

Many art events around the world are implementing innovative and effective ideas when faced with crises affecting the art market. Each of these ideas was formed at a specific time with the idea of ​​creating buying incentives for new audiences and collectors. In the following pages, we will highlight the different approaches of four global events during times of art market turbulence.

At the heart of Iran’s historic bazaars, the Charsoo was the intersection of four paths, a golden point where voices intertwined, and where buyer and seller, conversation and transaction, gaze and choice, all converged upon a single stage. Today, as the Iranian art market stands amid crisis and political and social upheaval, we have sought to create a new foundation inspired by the logic of the traditional bazaar. Just as many international art fairs and major global events have turned to new methods of presentation and sale during times of recession, so too does Charsoo strive to bring together all such approaches into a coherent structure adapted to the present condition of Iranian art. In this way, Charsoo becomes a new and comprehensive path for structured engagement with the less-than-ideal realities of today—an endeavor that aims to function beyond mere display of artworks.