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Maryam Farzadian

Group Exhibition

End of Year group exhibition opening on 8th March 2024
On view until 5th April 2024

With guest artists in collaboration with Emrooz Gallery, Esfahan:
Bahareh Babaie, Avin Farhadi, Fariba Faraghadani and Shantia Zaker Ameli

Works by:
Shaqayeq Ahmadian, Sara Assareh, Ava Afshari, Sanahin Babajanians, Fatemeh Bahman Siyahmard, Nasim Davari, Samira Eskandarfar, Mohammad Eskandari, Maryam Farzadian, Hadis Fakhr, Mehdi Farhadian, Maryam Farshad, Mahya Giv, Mohammad Hamzeh, Marjan Hoshiar, Manijeh Hejazi, Parisa Hejazi, Sara Hosseini, Arezoo Shahdadi , Amir Hossein Shahnazi, Sara Soleimani Qashqayi, Hamed Sahihi , Nastaran Safaei, Parisa Taghipour, Sara Tavana, Shirin Mellatgohar, Koosha Moossavi, Parsoua Mahtash, Elmira Mirmiran, Allahyar Najafi ,Siamak Nasr, Nazgol Nayeri, Leila Nouraei

In the tradition of the Faithful, in the manner of the Awakened.

From the dark, we bloomed until the light shone on us.
We would have been forgotten but we dared to dream.


Group Exhibition

Opening on 21st July 2023
On view until 11th August 2023

Mehdi Farhadian, Nasim Davari, Fatemeh Bahman Siyahmard, Koosha Moossavi, Maryam Farshad, Shaqayeq Ahmadian, Hamed Sahihi, Sara Tavana, Shahryar Gharaei, Maryam Farzadian, Marjian Hoshiar, Sanahin Babajanians, Sara Assareh, Shahrzad Argahinejad, Siamak Nasr, Leila Nouraei

The exhibition aims to bring together a divergent set of works. Representing, but also upsetting, the relationship between the artists and their connection to reality. Spheres that contain paradoxes and manage to juxtapose the ideal with the unattainable.
Breaking away from the harsh realities is a Persian Tradition manifested in our literature and arts, even in our timeless tradition of humor. The tough realism of every day is compensated by stepping into another dimension, cherishing illusions that replace the real world.
Here are exaggerated floating spaces – a placeless place- yet in connection with the spaces that remain outside them. Within these spaces, we are alive, free of borders and restrictions, away from the mundane, and separated from the gloom that engulfs our land. Able to float in an archipelago of plurality, as we are supposed to.
Nazila Noebashari

End of Year Group Exhibition

Opening on 24th February 2023
On View until 17th March 2023

Farhad Ahrarnia, Shaqayeq Ahmadian, Sara Assareh, Samira Eskandarfar, Mohamad Eskandari, Ebrahim Eskandari, Reihaneh Afzalian, Sanahin Babajanians, Fatemeh Bahman Siyahmard, Dadbeh Bassir,Parisa Taghipour, Sara Tavana, Manijeh Hejazi, Parisa Hejazi, Sara Hosseini, Zari Hosseini, Hamid Hemayatian, Anahita Darabbeigi, Nasim Davari, Raoof Dashti, Navid Salajegheh, Sara Soleimani Qashqayi,Amir Hossein Shahnazi, Hamed Sahihi, Nastaran Safaei, Bahar Samadi, Kiarang Alaei, Maryam Farzadian, Mayram Farshad, Mehdi Farhadian, Naghmeh Ghassemlou, Amirali Ghasemi, Narges Mohamadian, Shirin Mellatgohar,Koosha Moossavi, Parsoua Mahtash, Elmira Mirmiran, Allahyar Najafi, Siamak Nasr, Nazgol Nayeri, Leila Nouraei, Mohammad Hamzeh, Marjan Hoshiar.

Don’t be sad, my land!
I have planted flower seeds in your wounds
One day there will be flower everywhere…
Alireza Roushan

For Women, For Life, For Freedom

It is through artistic creations that Iran reveals her true self and this many believe constitutes her most precious legacy. The Persian legacy has endured many turbulences of history. No historical shock has been able to break the chain. There were interruptions, yet they always permitted even provoked a resumption of creativity; ideas, styles, techniques forcefully imposed, were accepted and integrated in to our existing practice. The Iranian spirit is a tenacious one, we can endure extremes and at the same time our thousands of years of history teaches us to remain optimistic and persistent.
Throughout the last forty-four years of our perpetual revolution, the visual artists have had to carve their independence; in the first years the universities were purged through the so-called Cultural Revolution and artists and professors had to look for other jobs or start private classes. Many left the country. Although it was a difficult struggle, but they succeeded in achieving autonomy from a Regime that controls the distribution of our national wealth and would never support progressive arts. This resilient attitude which is now adapted by the younger generations, was very important in the recent difficult times where despite pressures and the fears, the visual arts has stood its ground and has been an outspoken and integral part of the structure of our brave civil society.
Our artists continue to consciously challenge the status quo and the peripheral environment as well as themselves. They insist on their sense of independence and persist in their capabilities like all other modern human beings. They help preserve a Persian legacy, enriching our lives and inspiring us as a nation to become better than we are. It is this perseverance and humility that is the source of the merit of Iranian arts and its limitless potential.
We are constantly reminded of our legendry bird: The Phoenix who is believed to possess the knowledge of all times, from ashes she rises to create wonderment, she plunges in to flames to be purified , to rise again, every time stronger, every time mightier.
Nazila Noebashari

To see more of this exhibition, please follow us on Instagram: @aarangallerytehran

Address: Neauphle Le Chateau, Lolagar St. No 5.
Tel: +98 21 66702233
We are open Wednesdays and Thursdays 1-6 pm.
For opening day and Fridays: 4-8 pm

Solo Exhibition of Maryam Farzadian

Opening on 10th June 2022
On view until 1st July 2022

Disasters and endless and indecisive events, remnants of a history of not so long ago…
Debris and broken stones of mansions that were once prosperous…
Broken and foreworn gravestones, Absence in Absence…
The fate of people, and forgetfulness and each time new beginnings from point zero, without any memories of the past; without any outlook for the future…
And the inherent story that the stones have and their original shapes are unrecognizable…
Recovering the depth of catastrophes, with details and historical accuracy…
Decay of stones and decay of events…
A sterile recovery of what has come to pass…
Maryam Farzadian

Curated by Mahoor Toosi

Farhad Ahrarnia- Shirin Mellatgohar – Allahyar Najafi – Aidin Bagheri — Maryam Farzadian- Sofia and Behzad Hatefi -Nastaran Safaei — Atefeh Khas – Amin Shojaei – Rene Saheb
Opening on 6th August 2021
On view until 20th August 2021

What is gathered in this exhibition are sub-narratives that are identified by the narrator as the point of reference and source of its validation. The memory of objects has changed so much that looking at their point of origin cannot be fully recognized; what seems obvious is questioned by the shifting of the point of view, and what is considered convincing is viewed with skepticism. These recycled works are born out of accidents and incidents and reborn through the act of recovery and by overcoming the turmoil. Facing the question of “Remember R,” these works are a reminder of: What should I remember? How do I remember? By clinging to the lost past and drowning in nostalgia? Or are we to be accused of not having a historical memory?
Mahoor Toosi

Majid Kamrani, Zahra Ghyasi, Maryam Farzadian, and Hooman Bayat
Opening at Aaran Gallery on 24th February 2017
On view until 6th March

This exhibition attempts to bring together works that are sharp, crisp and well defined. The artists whose works are displayed are extremely focused not only on their impeccable technique but on their subject matters. They paint Real things and objects and by representing key characteristics of their subjects, they offer a different reading of that which is Real. Through the process and proficiency in their chosen media, these artists are capable of interacting with reality, and infuse their own emotions, social values and perception of the world. The Sharpness of images in these highly detailed paintings, are perplexing for the viewers, leaving them wondering whether they are photographs or paintings. In these highly narrative paintings each creates a cutting edge unique world.
Majid Kamrani, explores today in the passage of yesterday. He frequently moves between memories and present day realities. He celebrates the life of his mother, a lady who raised her children at the wheel of her sewing machine. The purity of feeling and the emotional nature of these self portraits are awe-inspiring; a moment away from the disheveled and difficult everyday life in order to be reminded of that which is truly beautiful.
Zahra Ghyasi, creates accidents that are inspired by imagery from crash-tests at automobile factories. She concentrates on the moment of clash and the rush of adrenaline and successfully portrays the force of impact. Allegorically, the clash of cars are to remind us of violence but artist is not interested to show the after math of the accident, the aim is to show banality of evil. Having lived in different countries, through her paintings she is determined to create a new reality, one that is her own and is actual and can’t be taken away from her.
Maryam Farzadian, creates a definitive rendering of certain objects that can both be used as tools for building and offer gratification or become instruments of destruction and cause pain. It is possible to imagine that history and collective social memory is hidden in the layers of these paintings. The narrative and emotive qualities of these works render their own reality; Textures, facades, lighting and shadows are more pronounced than reality of any of the objects, reminding the viewer that “objects in mirror are closer than they appear”.
Hooman Bayat, using wide brush strokes, artist is able to create crystal clear images. By painting symbols of multinational brands, such as Coca Cola, artist references the status that these objects have gained in everyday life, symbols and objects which will remain recognizable long after we are gone. In his paintings the objects replace humans and show diversity and create a new kind of still lifes. More often than not the objects are broken and smashed, and reference triviality of material. At the same time critic of abuse of natural resources and wastefulness in our society is detectable.

The Cold Sonata
Solo exhibition of Maryam Farzadian
Opening at Aaran Gallery on 23rd December 2016
On view until 5th January

Stones, scissors and discarded bits and pieces of paper are thrown in a game of chance; Rock, paper, scissor. Through careful compositions, Maryam Farzadian breaks up the rules of the game: in her game there are infinite suggestions and possibilities and there are no clear winners. The basic tonal melody of her Sonata is destruction and chaos and the final results are unfinished pieces by the composer.
The sharpness of images in these paintings that are the result of years of training, create a definitive rendering of the objects that can both be used as tools for building and offer gratification or become instruments of destruction and cause pain. It is possible to imagine that history and collective social memory is hidden in the layers of these paintings, events that artist hints at. The narrative and emotive qualities of these works render their own reality; Textures, facades, lighting and shadows are more pronounced than reality of any of the objects, reminding the viewer that “objects in mirror are closer than they appear”.

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