Confronting artistic events with global crises

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.

The Charsoo Group Exhibition, featuring a diverse selection of works by prominent Iranian artists, will open on Friday, September 5th (14 Shahrivar) at Artibition Gallery. This exhibition has been organized with the aim of presenting various strategies and methods of sales within Iran’s art scene, seeking to help the field rise again after recent crises. Throughout history, different global events have emphasized specific approaches to selling art, and now, this exhibition brings together all those paths in one place.

The book “Artistic Experience in Merleau-Ponty’s Phenomenology” by Nader Shayganfar is a work that, in fidelity to the thought of Maurice Merleau-Ponty—the prominent French phenomenological philosopher—examines the relationship between artistic experience and the horizons of phenomenology. The author shows that Merleau-Ponty does not regard modern art merely as a domain of aesthetics, but rather as a field in which being is disclosed and the relation between consciousness and the world is rethought.

The art market is one of the oldest and most dynamic markets in human history, and it serves not only as a reflection of artistic taste and sensibility but also as a mirror of the social, economic, and technological transformations of societies. The value of artworks, market trends, and methods of transaction have always been indicators of broader changes in the cultural economy. Understanding these transformations provides artists, collectors, and researchers with deep insight into the ways artworks are bought, sold, and valued. From direct commissions during the Renaissance to digital platforms and NFTs, the processes of art transactions have undergone significant changes that have influenced both the nature of art itself and humanity’s interaction with it.

"Contemporary Iranian calligraphy is a reflection of innovation combined with fidelity to the classical foundations of this art. By employing digital tools, mixed media, and personal creativity, this artistic branch has transformed Persian-Arabic letters into abstract forms. Contemporary calligraphy opened a path for introducing and presenting the art of Iranian calligraphy to the world, and along this journey, many museums began exhibiting and preserving such works."

On Photography is considered a profound study of photography. It was first published in 1977 and has since been reprinted many times. This book has also been translated by Farzaneh Taheri and published by Aban Publishing. In this work, Sontag regards photography as the most important factor in transforming today’s world into one saturated with images. She believes that people often prefer representation to the direct, tangible experience of the moment. Nevertheless, in some passages she notes that, for many, photography—like dance or singing—serves primarily as a form of entertainment. Photography influences us and our self-perception. According to this philosopher, photographs now define frameworks and delineate the boundaries of transparency.

The arrival of each visitor at an old house with tall windows overlooking a cozy courtyard—now home to Atbin Gallery and a well-known architectural office belonging to Farokh Azarin—is always met with the warm welcome of Farhad Azarin, the gallery’s director, who personally accompanies them to explain the artworks on display. Located in Khakzad Alley, just before Tehran’s Parkway Bridge, the house had served for years as an architecture office. After its renovation, it was named “Atbin Gallery” on June 25, 2000. The gallery’s name, taken from the Borhan-e Qate’ dictionary, means “collector of virtues.” Its logo, originally designed by Sirak Melkonian for architect Azarin’s architectural brand, was eventually adopted to represent Atbin Gallery. From installing artworks to selecting artists, from engaging with visitors to using its logo and preserving a cohesive identity, Atbin Gallery demonstrates meticulous, detail-oriented approaches that align with global standards.

Perhaps paying attention to Tehran—its everyday life, its urban symbols and landmarks, its history, or even its hidden corners that hold meaning for small circles of friends—is part of the Iranian path toward self-awareness, in search of understanding and discovering itself as a subject. This perceptual process of what is called “Iranian,” together with the global growth and expansion of fields related to the study of everyday life and the city, lends even greater legitimacy to the focus on Tehran—especially now, when, alongside political, economic, and social crises, it has acquired multiple new layers. At the same time, this tendency has carved out a market for itself, attracting enthusiasts who, at least in the field of visual arts, are willing to spend more generously on artworks related to Tehran. All of this, taken together, has opened the space for presenting Tehran-related art, and one can now see numerous cultural products related to Tehran and its associated subcultures in various forms—from mass-produced items (clothing, decorative products, etc.) to one-of-a-kind works of art exhibited individually. So, can we consider the “Tehran” exhibition, held at Artibition Gallery from July 17 to August 11, as part of this very trend?

The map of Tehran must be sought in the faces of its inhabitants. People in Tehran move to a rhythm woven from commotion. Sometimes, this commotion finds meaning in the anxiety and quick steps they take through the streets to reach their goals and the promise of tomorrow’s progress; other times, it appears in the eager rush toward a night gathering, in the hope of creating a memory for a more distant tomorrow. This rhythm can also be traced in the slower pace and more relaxed faces captured in old photographs of people in Tehran’s alleys and bazaars. In every era of the city’s life, one truth remains constant: without its residents—suspended in a whirlwind of both sorrow and joy—Tehran would lose its present identity. The faces of its people, moving endlessly back and forth, keep the capital’s heartbeat alive and carry it forward, anchored by the city’s deep and unshakable roots.

Tehran, a city with a layered history and culture, is rich in urban symbols and historical monuments that not only shape the visual identity of the capital but also form an inseparable part of its residents’ collective memory. From the Azadi Tower to its squares, bridges, and landmark structures, these elements have evolved into a dynamic platform for portraying social, cultural, and historical narratives in contemporary Iranian art. Examining these symbols within artworks provides an opportunity to explore the connection between urban identity and artistic expression from a fresh perspective. With this in mind, we take a closer look at some of the works featured in the “Tehran” exhibition.

Homa is one of the active and influential galleries in the field of contemporary Iranian art. Since its establishment, it has provided a professional platform for presenting diverse artistic experiences and introducing new generations of artists, securing a special place in Tehran's art scene. Homa Gallery's activities began in April 2005 (Farvardin 1384) through the collaboration of two cultural figures: Hengameh Memari, a young and active artistic director, and Parviz Maleki, a collector and art patron. Their partnership laid the foundation for an institution that today ranks among the country's most reputable galleries. Ask ChatGPT