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Nastaran Safaei

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.


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

Group Exhibition

Opening on 4th March 2022
On view until 1st April 2022

Manijeh Armin- Tajsar Jafari- Marjan Hoshiar- Koosha Moossavi- Arezoo Shahdadi- Shahrzad Araghinejad- Mehdi Farhadian- Allahyar Najafi- Parsoua Mahtash- Mohammad Eskandari- Nastaran Safaei- Parisa Taghipour- Mahya Giv- Maryam Farshad- Sara Tavana- Rene Saheb- Manijeh And Parisa Hejazi- Salé Sharifi

A Flower Blossoms for its Own Joy.
Oscar wilde

We celebrate the arrival of the Iranian New Year and a New Century by showcasing works of artists whose practice is mostly influenced by nature. On this occasion, it is fitting to quote an Ode to A Garden Carpet – By an unknown Sufi Poet (Circa 1500):
Here in this carpet lives an ever-lovely spring, un-scorched by summer’s ardent flame, safe too from autumn’s boisterous gales, Mid winter’s cruel ice and snow, ‘Tis gaily blooming still. Eyes hot-seared by desert glare find healing in its velvet shade. Splashing foundations and rippling pools in cool retreats, sore-wearied limbs restore, and tired hearts awaken with joy. The way was cruel.
Baffled by monotony and mocked by phantoms, delirious, beset by stalking death in guises manifold; The dreaded jinns, the beasts ferocious, the flaming heat and the exploding storms; from all these perils here at last set free; in the Garden all find security.
Here the long-laboring Earth, at last, gives birth. From apparent death, a new and lovely world is born; the jacinth imprisoned lies below the desert’s dusty floor. The stony wilderness is so bleak and bare, in ageless patience broods, aware of life within, the promise of fertility and abundance. Ever longing for deliverance. The world, at last, reveals its destiny.
Can we not then capture and restore The loveliness that gave us hope, still brightly mirrored on memory’s gliding waters or snared in the poets’ invisible net, so wide, so fragile, yet captor and conqueror of realities elusive?
Wrought in gold and azure, bright as carved metal. Dream-like foliage in sparking tones is caught, or else, in sumptuous shades of glossy lacquer, quiet but intense; in muffled browns and honey pure, Jasper cool and mellow cinnabar, that fairyland comes real again.
In sudden collisions, find sweet embrace; in rhythms enchanting, with stately pace, rollicking speed; emerging, retreating, reversing, in peaceful finality. Their conflicts reconcile, all in confederation blending like a chorus in part-song gladly singing, In contrapuntal play rejoicing, floating soft or wildly free, yet anchored in eternity.

Solo Exhibition of Nastaran Safaei

Curated by Sara Kazemimanesh
Opening on 4th February 2022
On view until 25th February 2022

In recent years, the collective awareness of an obligatory disconnect between human bodies and one’s own has increased. In a contactless world, with our mouths covered, our eyes have become burdened with looking, speaking, and touching. At the same time, with the new—albeit temporary—order of life, which compels us to “stay at home,” we cannot help but redirect our gaze inward and reevaluate our life choices. For Nastaran Safaei, this obligatory introspection came at a time when she was in the midst of a recourse in life, during which she sought distance from her home in Tehran and set out on an exploratory journey.
Like a Big Bang, which entails both an explosion and an implosion, the path offered a new perspective on life. Much of life seemed suspended in this new perspective as the path passed through the liminal spaces between difficult, obscure, or strange events. Yet, this sense of suspension was intensified by a constant presence in impermanent locations such as airports, train stations, and roads. In this project, inspired by recent personal life events, the use of different materials, techniques, and mediums has offered a collaged narrative of the journey. While away from home and studio space, writing and keeping an introspective diary of life on the go was the facilitator of a better understanding of evolutionary self-discovery.
The journey has come full circle now, returning to its point of origin, namely the home and studio space, and so, access to usual mediums and techniques has once again made creative production possible. This time too, similar to previous projects, the body is used as the raw material of production. Yet, since the project is rooted in written musings, the created pieces seem more like magnified words from the text: objects held dear as they witnessed the move through the motions of life; hardened cusps, like masks, that fall off, revealing a new self; and objects that the mental associations now mark they bring about.
Sara Kazemimanesh

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

Solo exhibition of Nastaran Safaei

Curated by Mahoor Toosi
Opening 15th February 2019

The Stories of the Streets consists of four sets of works: To Tehran, Enghelab Azadi- Azadi Enghelab, High Heel and The Stories of the Streets. What is gathered in these works is not inaccurate macro narratives of the city, but they are personal experiences of the artist while she strolls in the city. This time another aspect of these outings are revealed: she is not a silent observer and does not simply bypass the incidents, she also does not let shame or other social barriers prevent her, infact she is a vigilant observer who registers the realities and by sharing her spontaneous and personal experiences with others, turns them to collective and interchangeable experiences. Each of these four sets of work are comprehensive under the Right of the City: sharing harassments in the streets, demanding rights from the city, magnifying deformed objects found in the street, and such like, are an attempt to de-normalize the problems in the city and to create a sense of belonging and participation in the life of the city.
Belonging to a city is realized by moving in it, and being present, and sensing serenity and appreciating suitable personal spaces. The right to the city is apprehended through suitable urban spaces and there is a direct connection between space and rights. The City, both in its physical and social threshold does not relay a sense of belonging to the citizens and proportionally is not suited to their participation in it, and this results in reduced participation, particularly with respect to neglecting the presence of women in urban planning and disregard for their right of the city.
The Stories of the City is about active presence in the city, a connection between the everyday life in personal sphere and the public one, and is an invitation to intervention by the citizens, all within the realm of a city where an artist contemplates her right to the city.
Mahoor Toosi

Farnaz Rabieijah, Hamed Rashtian, Nastaran Safaei, Amir Mousavizadeh, Ali Mousavizadeh, and Armin Pourfahimi
Opening at Aaran Projects on 30th June 2017, on view until 24th July.

Aaran Projects
No. 5, Lolagar st., Neauphle Le Chateau.
Tel +98 21 66702233
Working days, except Saturdays 1-7 PM and Fridays 4-8 PM.

Six artists reveal their preoccupations, varying from concerns for Inequality and Gender discrimination to importance of love, to anxieties over after life.

Armin Pourfahimi builds a temple for Manhood, and criticizes the Discrimination and Gender inequality in our society. Farnaz Rabieijah reveals her anxieties about death and continuity. In Reminiscence, a whooping nine meter length work on paper she traces plants on the fabric of paper, connecting cycle of nature to life of humans. Hamed Rashtian explores the repetitive nature of everyday life. A simple animation is shown on a handmade Praxionscope. Audiences are invited to create their own circle of repetition by manually operating the device. In Stepwise series, Nastaran Safaie paints old Persian rugs, a sac religious act against an ancient art that has taken centuries to perfect. Generations have walked on these carpets and she asks her own generation to take wise steps, prudently and with solid and persistent steps. Amir Mousavizadeh creates a gas station, and the joke is on the user. By falling deeper in to consumerism and devouring our own national wealth, we are accomplices to the international game of exploitation of oil rich countries. Ali Mousavizadeh pays tribute to beauty and importance of love in everyday life. Swans choose one mate and remain faithful to them for their whole life. At the time of death and by night they return to the place where they have met their pair and sing a beautiful song, having been silent most of their life time. A Death that is as beautiful as life itself.

A Few Credible Stories
Group Exhibition
Opening on 20th January 2017 up to 31st January 2017.

Aaran Projects
No. 5, Lolagar st., Neauphle Le Chateau.
Tel +98 21 66702233
Working days, except Saturdays 1-7 PM and Fridays 4-8 PM.

Artists: Parastou Ahadi, Doras Asadi, Shabnam Lohrasbi, Roghayeh Najdi, Pooneh Oshidari, Mahdieh Pazoki, Leyli Rashidi Raouf, Nastaran Safaei, and Rene Saheb.

The story is that Shahryar, the king finds out that his wife is not virtuous and decides to marry a virgin every night, and to behead them by morning, allowing no time for unfaithfulness. He carries on in this manner until his choice falls on Sheherazade, the daughter of the vizier. The king did not know that Sheherazade had studied philosophy and sciences and arts and that she was pleasant, polite and clever. Her stories and ingenuity and wisdom, changed his attitude and outcome of the night, and she continues to inspire and influence the world after centuries from inception of the story.
This exhibition assembles works of nine female story tellers, stories that can only be narrated by women. The aim is to demonstrate their tenderness and initiative and to celebrate their perseverance and humility. Each have found their own unique visual language; a language of compassion and sensitive approach to mostly social issues with emphasize on their own standing in life and the peripheral.
In 1936, twelve women entered Tehran University and as of 2006 women account for more than half of university entries in Iran, however everyday life is mostly controlled by male decision makers, who habitually are not ready to relinquish control or to share power. The dynamic presence of women in every arena in Iranian society today is the result of years of perseverance and determination of generations past and wise men who chose to support them.
It is said that Ishtar the Goddess of Love and power, approaches the gates of the underworld and demands that the gatekeeper open them:
If thou openest not the gate to let me enter
I will break the door, I will wrench the lock
I will smash the door-posts, I will force the doors…

Pulp Narratives
Opening at Aaran Projects on 15th July 2016.

Tara Azarm, Leila Imani, Ghazaleh Bahiraie, Fatemeh Bahman Siahmard, Tarlan Tabar, Saman Khosravi, Ali Asghar Khatibzadeh, Afshan Daneshavar, Rene Saheb, Sadegh Sadeghipour, Nastaran Safaei, Kiarash Alimi, Sara Ghanbari, Mina Mohseni, and Masoumeh Mohtadi.

This exhibition aims to show the preoccupations and concerns of a group of artists with diverse practices; Narrations in Pulp that next to each other create a Hall of Mirrors, and consequently a funnel to our times: Nastaran Safaei’s compositions resemble bouquets for an event long forgotten. Pages from a famous women’s magazine of yester years, with pallid and faded colors, enact the theme of life’s transience and fragility. Fatemeh Bahman Siahmard’s large scale drawings create tensions between spatial occupations- actual and imagined- and are charged with energy. Viewer struggles to make the image coherent and through intricate lines artist forces the onlooker to visualize a three dimensional space. Ali Asghar Khatibzadeh who is a playwright transfers his visualizations on to pulp of discarded newspapers. Tragic and comic characters from his favorites writers are moved in to the real world to recite the stories that have fascinated audiences for generations; “Arjasb” of Shahnameh, “Medea” by Euripides and the ever present Clown. Leila Imani focuses her attention on superb delineation in Persian Paintings and by extracting figures from well known imagery of manuscript paintings, offers different readings of age old traditions. Kiarash Alimi’s large scale flowers stand firmly in their isolated world, patient, unyielding and superbly beautiful. The fabulous simplicity of these paintings are a reminder of splendor of life and the plausible lightness of being. Masoumeh Mohtadi creates books that are talebearer of our times. The book speaks of the gloomy disappearance of the ancient lake of the Assyrians, lake Urumieh. The lake that can be the last habitat of Artemia, a 100 million year species that exists as part of the cycle of nature. Unlike humans that disregard the balance of nature for their own ambitions and survival, Artemia, the ancient being, has resisted change. Ghazaleh Bahiraie is a child of our mega city. She has walked the alleys and streets of her beloved city and offers parodies and her own lived experience. Next to her video, her drawings resemble Silhouette Portrait paintings. Through the black and white drawings artist cuts out the cityscapes; tracing lines around the shadows of the city and telling the stories of its citizens. Saman Khosravi takes us back to his childhood. Having grown up in volatile Kurdistan of Iran, and raised amid war and violence, his simple models of aircrafts that are reminiscent of childhood games at schools, is adapted to tell the tale of horrors of war and a childhood that never was. Rene Saheb has consistently used fables and proverbs of our language to criticize and comment on life around her. By bringing the story of Three Wise Monkeys on to paper, she reminds us of the ancient Zoroastrian inbuilt beliefs in all that is good. Mina Mohseni retells the story of the great flood, refreshing the legend of Noah and his survival. The uncertainty of our times and the consistent struggle of humanity against manmade and natural disasters is a large part of the history of the region. Using sheets of wavy transparent plastic to cover her suspended paintings, she forces the viewer to reconsider their perceptions. Afshan Daneshvar, in her delicate compositions and absorbed in her practice, assembles bits of papers that are reminiscent of strings of something that was once was. Re-building a new page, re-assigning morsels and creating a new presence. The final result are Silent and solid entities that are fragile in essence. Sara Ghanbari tackles the subjects of time and memories and how our perception of life changes as time goes by. She illustrates a suspended space: between present and the past. In her twin paintings, she successfully portrays the flow of time and by re-producing the images, she raises the question of vitality and perception of memories, walking on the edge of memories. Tara Azarm with her set of drawings steps in to realm of concept, erosion and passage of time. Her forms seek to establish new structures out of ambiguous circumstances. Her shapes – with no apparent purpose- change from one thing to another and disappear and reappear in a fusion of the real and the imagined. Tarlan Tabar, pictures what she has seen in her subconscious for a long time. In her works Narcissism and absurdity are in conflicting path with eternity and perpetuity. She alternates between agony and ecstasy and offers her interpretation in lively colors as well as in large scale ink drawings. Sadegh Sadeghipour is a book man. His life is spent in a large book shop every day. The books take the shape of sculptures in his intricately hand cut books. If books are to become obsolete in the 21st century, what better alternate than transforming them to a beautiful sculptural piece and keep them around in one way or another.

Bits And Pieces
Curated by Amir Ali Ghassemi
Opening on 27th November 2015 and will be on view until 17th December.

Presenting works by:
Talieh Kamran
Jan Matavoussian
Ardeshir Mohasses

And artists present:
Abbas Badihi – Yousha Bashir – Amirali Mohebbinejad – Alireza Malekian – Ayeh Rahimi – Bahar Vafaei – Farshad Nekoumanesh – Hooman Alizadeh Sani – Tannaz Daneshmand – Kiyan Forouzesh – Maede Jenab – Mahtab Alizadeh – Navid Salajegeh – Nazanin Aharipour – Nima Bahrehmand – Reza Behzadnia – Simin Yaghoubi – Sadegh Sadeghipour – Amir Amiri – Aydin Samami Mofakham – Martyna Kosecka – Nastaran Safaei – Saman Khosravi.

Bits And Pieces, is a collaboration of New Media Society and Aaran Gallery, that attempts to depict a world that is fragmented and floating between various medias. In the process of selection for this group project we have searched for artistic approaches that are experimental and playful in their core with parallel and intersectional tracks: works on paper and collages combined with concrete poetry, scenery juxtaposed with memory, performance in conversation with sound, video footages that combine bits and pieces, and sculptures/found objects that are gathered from the city.

The exhibition itself is a collage of generations and their different approaches and takes shape in different layers: works that have just been created and projects that have long been forgotten. Bits And Pieces, is completed with Performance, talks about Sound Art, and art in public sphere, and animation screening. These events are planned to frame the extended edges of the spirit of this open ended project.

Amir Ali Ghassemi

Presenting works by Malakeh Nayiny and:
Alireza Adambakan – Ala Ebtekar – Mohammad Eskandari – Asghar Aharipour – Mehrdad Jafari – Azam Hosseinabadi – Hamid Hemayatian – Nasim Davari – Maryam Sepiyani – Nastaran Safaei – Emitis Abbassioun – Shirin Fathi – Hadis Fakhr – Reihane Taravati – Farshid Larimian – Dehghan Mohammadi – Allahyar Najafi.

Opening at Aaran Projects on 20th November 2015.

In Arts, liberated from constraints of reason and logic, artists conceive and combine new forms that enrich our lives, in mythology too, we entertain a hypothesis, to perhaps find answers and solutions to our world which essentially is a puzzle. What if this world were not all that there is?

Humans beings are unique in retaining the capacity for play and amusement. More often than not we forget this gift. The power of imagination which forms our mental image of something that is not perceived through the five senses, should not be underestimated. It is essential to recognize the importance of this force that breaks down borders and teleports us beyond our circumstances, and abilities. A world of wondrous charm and endless stories, unrestrained fancy and extremes that challenge belief.

The artists working in the realm of fantasy, violate in a variety of ways, standard expectations by drastic experiments with subject matter, form and style. Constant fusion of every day with the fantastic, mythical and nightmarish. These trail blazers render a world that blurs traditional distinctions between what is serious, trivial, horrible, absurd or tragic.

Once upon a time, Lamassus and Griffins guarded the Capital city of Persian empire, they still do. An echo of a time where kings were transported to the sky by giant birds, and snakes growing from man’s shoulders feasted on human brain, and the white Div was defeated by the super hero and Simorgh was busy saving the albino child. A recurring magical abstractness that permits representation to take a timeless character; recalling the past, expressing hope for future and affirming continuity.

In collaboration with Iranian Association of Sculptors

The very large or “colossal” statues have had an enduring appeal since ancient times, and so does small sculptures, which as personal possessions or small figurines of deities have been found all over the world.
Artists have been commissioned to create large splendid sculptures to mark events and mainly to “exhibit” power and wealth. On the contrary , generally, small sculptures have been for personal use, entwined with personal attachments, and mostly are result of impulses and desires of their creators. Throughout history refined and delicate small statues have invoked positive reaction from the viewers, who find them more appealing and intimate than the glorification that is inherent in grand sculptures. Despite their sizes the small sculptures are often more admired than large scale pieces, because of the fact that the craftsmanship in a small scale is harder to achieve, there is hardly room for error and therefore patience of the creator is always admired.
For the 9th Exhibition of Small Sculpture, 45 artists will be exhibiting their works. Works that cover a wide and appealing array of subjects and materials. What is common in these sculptures is the personal and informal approach, a sample although Small, of the personal language that each artist has applied to reveal their emotions and reflections.
In this selection, ordinary and extraordinary events are touched upon; burning of stray cats along with their guardian in a freak accident (Burnt Cat, by Elnaz Ghaemi), pleasant time spent in Manuchehri House in Kashan (by Sam Nikmaram) to yesteryears and popular women’s magazine (by Nastaran Safaei), to fragility of life (by Massih Moshtaghi)…
This exhibition is a sample of different approaches and practices of Iranian contemporary artists who are persisting on their individuality as any other contemporary human being and showcasing what is spun from the heart and woven from the soul.

Group show of video, installation and sculpture

Curated by Mahoor Toosi

Artists: Mohamed Eskandari, Saffaeddin Emami, Caraballo Farman, Behzad Hatefi, Ali Honarvar, Siamac Sariolghalam, Nastaran Safaei, Hamed Rashtian, Parvin Shokri, Sepideh Taraqi, and Mahoor Toosi

This is not an exhibition about America, rather it is about us, and what we yearn to realize, about what motivates us and what disappoints, it’s a reflection on us. America has long been discovered and continuously changes. In our search to understand it, each time we encounter new paradoxes, fashioned by our inner faculty: hyper-reality, the land of promises, a desert devoid of culture, the New World. These assumptions vary according to the place on Earth that we live in; As if the existence of America depends on its outer reflection. America is not limited to 77 longitude and 39 latitude, it is not simply a piece of land bordering the Tropic of Cancer and Arctic Circle. Depending on where you stand in the world your perception changes and in order to understand yourself and where you are, you are obliged to look at it. This synthesis happens in different ways and manners and this time we offer our own, from a distance of 11469 Km from the center.
Mahoor Toosi

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