The Society of Iranian Sculptors has performed over sixteen cultural events, such as Biennials, exhibitions, Expos, & …
and amongst the artistic associations have been one of the most dynamic groups.
This time the “Figurative Sculpture Exhibition” is an excuse for Shirin Art Gallery, Homa Art Gallery, Tandis magazine
and Honare-Moaser publishing house to collaborate with the society of Iranian Sculptors on the 29th of June through
July 12th. The organizers have announced that there is no limitation besides the appearance and form of the art works
and founding their way to the exhibition was ultimately the choices of the judges Lilith Therian, Iradj Mohammadi,
Reza Gharabaghi, Hamid Shans, and Mohammad Ziaii.
For more information please call 22427768-2240226

GALLERY 1 Group Exhibition The Game GALLERY 2 Hamid Fateh Solo Exhibition


Group Exhibition The Game Opening June 15 through June 27 2012

Communication is based on a verbal construction or something similar to it. Either a wide spread language or a mixture of gestures and codes made to convey information between two people. Since a variety of interpretations is possible for each code or sign, it seems somehow sarcastic what meant to lead us towards concrete meanings and reasons can take us easily and playfully to realms of doubt and misunderstanding. People communicate to understand each other, to learn and know as much as possible about the universe around them. But do these doubts and misunderstandings help in this order? It might help if we approach signs and symbols open mindedly, playfully and with a light heart. One might say in this new world, in this new order of perplexity of signs you need let yourself and your thoughts to journey between different realm of thinking and wisdom. You need to play and act open minded.  
By: Farbod Morshed zadeh

Hamid Fateh

Solo Painting Exhibition by Zahra Shafi Aabadi

"The Queen's of kitchen"

Opening: On Friday June 8,2012 From 4:00 to 9:00 pm 

The exhibition is on view through June 13 from 11 am to 8 pm 

"The Queen's of Kitchen" Catalog 

Behind the doors of our homes, from the old fashion kitchens, which have been replaced by modern open countered ones, there was a time when the only sound you heard was not the whispers of a woman but the whistle of the kettle, and the boiling crock pot breaking the heavy silence of the house. These sounds are only familiar to the unstained crystal glasses on the shelves, Silverware, baskets and pans arranged in the cabinets, the heap of clothes in the laundry basket and the handkerchiefs hanging in the kitchen. 

The sound that is played every day in this timeless place will perhaps break the silence of the walls, to depict a motion and life. (Ding Ding), the bell rings. the tea is brewed. And the landlord is back home.

This is itself a reason to live.

Zahra Shafi Abadi, May 2012 

The First "Work in Progress" Art Festival

16,17,18 Khordad

Time: 17-21

Shirin Art center: Velenjak,18th,No 9

First day of "Work in Progress" photos 

Concentrating on the act of performance, this festival of the visual and interdisciplinary arts including six parts of sculpture, sound performance, music, architecture, photography, and event art, disrupts the representational approaches to art as well as elevating the role of the observer, the festival tries to balance the dual relationship between the artist and the observer. In the meantime, any unexpected event is a main part of the process of the performance which can affect this relationship and even convulse it. The question is whether this opposition can be converted to an interaction or not? In this way, the work of art would appear as a scar on the skin of the artist and the observer, because the observer finds his own trace in the artist’s privacy through seeking the meaning of the work of art which is under construction and the artist remains disappointed within grasping this trace…

Raffie Davtian

Sculpture Exhibition by Hooman Mehdizadeh Jafari

“Much Ado About Nothing”

Opening: On Friday May 25,2012 From 4:00 to 9:00 pm

The exhibition is on view through June 2 From 11 am to 20 pm

"Much Ado about Nothing" Catalog

This text unlike all other texts I have seen on the walls of galleries is neither intellectual nor written out of exaggeration; It`s my confession!

When it comes to important discussions & future advices given by others no one ever told me I might feel a sense of obliviousness after any kind of attempt. This censorship seems to be happening all the time.

There is always talk about endeavor or moving forward & parents are always imagining a brighter future for us the children which is a result of our active & pursuit toward happiness. Well done to them for playing their role as parents so well but the point is that unfortunately things don`t always end up the way they want it to.

Today reality is something completely different than what they imagined for me.

One day I decided to tell the truth; something that is unfortunately not followed very often in my culture & this exhibition is my hard endeavored sweat to tell the truth about a small part of my life.

These beautiful or ugly portraits are stories of girls who have occupied parts of my life & mind during the past few years. They gave me sudden longing & excitement & all at once they disappeared or I should say I wanted they gone.

Today I would like to share my feeling or emptiness as a result of these contacts, with you the audience.

In addition I would like you to know that I have visualized these faces the way that I wanted them to be not the way the really are.

Hooman Mehdizadeh Jafari- spring 2012

Tears of Omnipotence

A space of trophies: a room enclosed by severed heads of female figures assembled on the wall and looking within. I am reminded of a question Beyond Good and Evil once asked by a fearless thinker: “Supposing that Truth is a woman – what then?”
Truth and woman. History appears as a struggle to uncover both: searching, dissecting, dismembering – an impotent and helpless quest, a bloody stasis.
Sepehr Bakhtiari, like Nietzsche, explores the figure of woman to reveal a different kind of truth. As a witness to this bloody history, he puts it on display: severed heads as masquerades of power and glory, of success and satisfaction.
Yet, his exhibition points to a profound dissatisfaction. If satisfied, we wouldn’t be here. We are left doomed, asking:
In this history, in this chain, which generation bears the marks of severed bodies, the skinned, feminine truth?

Matin  Taghioff

 April 2012

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