- Born 1977- Khoy, IRAN
- Live and work in Tehran.
- 2006 – M.F.A in Photography – Art University of Tehran, Iran
- 2000 – B.A in Photography – Art and Architecture Faculty of Azad University of Tehran, Iran
- 2005 Until now – Professor of Tehran Art University
- 2004 Until now – Honorary Member of Iranian Visual Artists Society
- 2015 – “After Grandmother” – Mohsen Art Gallery – Tehran, Iran
- 2014 – “The Gradual Disappearance of Things” – Mohsen Art Gallery – Tehran,Iran
- 2013 – “America, Suspended Land” – Mohsen Art Gallery – Tehran,Iran
- 2012 – “Insomnia” – Mohsen Art Gallery – Tehran,Iran
- 2011 – “The Sacred Geometry of Chance” – Etemad Art Gallery – Tehran, Iran
- 2009 – “The frenzied heart of mine, Houses the passionate countenance of thine” – Assar art gallery – Tehran
- 2008 – ” I am oblivious of all things”-Khak art gallery – Tehran
- 2006 – “Gum bichoromate print” – Assar art gallery – Tehran
- 2005 – “photography as a myth” – Silk road art gallery – Tehran
- 2005 – UNDP – Tehran
- 2004 – Haft samar art gallery – Tehran,Iran
- 2003 – “Roadscape ” and ” The felts ” – Assar art gallery – Tehran
- 2002 – “The village of Tehran”- Aeineh gallery – Tehran,Iran
Selected Group Exhibitions:
- 2015 – “uNclear deal”- Curated by Mehdi Abdolkarimi-The Mine Art gallery-Dubai, U.A.E
- 2015- “Art for Peace”- Curated by Feridon Farbod-Niavaran Artistic Creations Foundation – Tehran, Iran
- 2015- “Winter” – Mohsen Art Gallery – Tehran,Iran
- 2015 – “Iranian Contemporary Art”- ART ANKARA 2015- Ankara, Turkey
- 2014 – “Approaches to Tradition neo- Traditionalism in Contemporary Iranian Art” Tehran Museum of Contemporary Art- Tehran, Iran
- 2014 – “zoo” Curated by Iman Safaei- Shirin Art Gallery – Tehran,Iran
- 2014 – “Art For Peace”- Curated by Solmaz Shabani- Same time in 3 gallery- Tehran,Iran
- 2013 – “My name is not Rouge” Shirin Gallery, New York,USA
- 2013 – “SubTehran: Subjective Truth from Iran”, Center of Contemporary Art (CCA),Curated by Sohrab Kashani- Tbilisi, Georgia
- 2013 – MEDATAK Festival “Section uncharted territory:video art in Iran”- Video – Madrid,Spain
- 2013 – Shirin Art Gallery- “Silence”-curated by:Iman Safaei-Tehran,Iran
- 2012 – Mahemehr Art Gallery- “Inbetwenness”-curated by: Hamid Severi-Video-Tahran,Iran
- 2012 - Mohsen Art Gallery – “Confined Landscape”-Tehran,Iran
- 2011 – Mohsen Art Gallery – “The 1st Tehran annual digital art exhibition” -Video-Tehran,Iran
- 2011 – “TV Dinner project” -Video- Queens Museum of Art (QMA) -USA
- 2011 – Mohsen Art Gallery – “Pool” -Tehran,Iran
- 2011 – Etamad Art Gallery – “13X18 Portrait” -Video – Tehran, Iran
- 2010 – Mohsen Art Gallery – “Big Lie”-Video -Tehran, Iran
- 2010 – Mohsen Art Gallery – “Obligatory Military Service”-Video-Tehran, Iran
- 2010 – Tarahan Azad Art Gallery – “Tehran 1,6 sq Km”- installation -Tehran, Iran
- 2009 – “Settlement and Urban Identity in the Persian Gulf Region”, University of Westminster, London, UK
- 2008 – Hillyer Art space – Washington D.C – USA
- 2008 – Group photo Exhibition – Niavaran Artistic Creations Foundation – Tehran, Iran
- 2006 – 10th photo biennial – Tehran museum of contemporary art, Iran
- 2004 – Art expo – Tehran museum of contemporary art, Iran
- 2004 – 9th photo biennial – Tehran museum of contemporary art, Iran
- 2004 – Assar art gallery – Tehran, Iran
- 2004 – Silk road art gallery – Tehran, Iran
- 2000 – Assar art gallery – ” Iranian contemporary photography “- Tehran, Iran
- 1998 – Tehran gallery – subordinate to Tehran University – Tehran, Iran
From 1997 – 2014 More than 50 national and international group exhibitions
Awards and Fellowships:
- 2010 – KAUNAS Photo Star Festival – Top finalist – Kaunas, Lithuania
- 2009 – “1 sq. Mile Project” – Visiting Art, art institution in London, UK.
- 2008 – “Art Bridge Program” – International arts &artists – Washington D.C, New York, Charleston – USA
- 2007 – 4th Iranian sea photo biennial – second prize -Iran
- 2006 – 10th photo biennial – Tehran Museum of Contemporary Art – first prize -Iran
- 2005 – 2th Iranian sea photo biennial – third prize -Iran
Other activities :
- 2016 – Jury member of ” Foad” photo festival- Tehran, Iran
- 2015 – Jury member of ” Birjand” photo festival Birjand, Iran
- 2015 – Jury member of “Dast Dovoom” Photo Festival -Tehran, Iran
- 2015 – Curated photo group exhibition “Winter “-Mohsen Art gallery-Tehran,Iran
- 2012 – Curated photo group exhibition “Confined Landscape”-Mohsen Art gallery-Tehran,Iran
- 2010 – Jury member of “Persia in the Mirror of Nature” Photo Festival -Shiraz, Iran
Art Fair & Action:
- 2011 – Contemporary Art Istanbul – Istanbul,Turkey
- 2011 - 1st Modern & Contemporary visual Art Auction-Tehran,Iran
- 2011 – “Berliner Liste”- Video – Berlin,Germany
- 2011 – Bonhams Art fair – Dubai, U.A.E
- 2010 – Contemporary Art Istanbul – Istanbul, Turkey
- 2009 – Parisphoto – Paris,France
- Tehran museum of contemporary art
- 2014 – “The Gradual Disappearance of Things” -Mohsen Publication, Tehran, Iran
- 2013 “Contemporary Iranian Art:New perspectives”, published by Saqi books,London,UK
- 2011 – “la photography Iranienne”, published by Editions loco, Paris, France
- 2010 – “EYE”- Photo Series- No.38 – Mahriz Publication – Tehran,Iran
- 2004 – “Time And Space” – Photo Series – Herfeh,Honnarmad Publication- Tehran,Iran
- 2000 – “The sun of the Light” – Photo Series - Herfeh,Honnarmad Publication- Tehran,Iran
America Suspended Land 2010
America is neither dream nor reality. it is a sort of hyper-reality. America is a utopia which has been achieved before.
from “America” by Jean Baudrillard
America is a modern experience in its entirety, genuine utopian realization of a series of interrupted referrals that are sort of candidly unreal. it is a mass of meaning in a collection of very dreamy and implausible images that have been stockpiled like postal cards of an eager but aimless tourist.
Being American is a very obsessive attempt for access to a symmetric proportion that is incomplete and flawed. it is a sphere ranging from contradiction and vanity to grief and disappointment; a society with extreme abstraction that encompasses a collection of lonely and woeful figures. A united nation but collaged with incongruous minorities; it is a frail statue full of tracks but integrated and powerful; an inverted metaphor of the promised Land.
America is fast; it has ever-contracted and shivering muscles that resemble involuntary movements of a sleep-walker. it is a breathtaking magic in unique American style: fast food, skyscrapers, automatic guns, hollywood and fear of terrorism. the discovery of America is the macroscopic study of the cultural, ethnic and racial fusion that the newly founded American civilization has made its traditional functions artificial. it is a country whose endless variety of faces, tastes, and languages are no obstacles to its doubly awful human isolation.
But representation of America and the experience of being American is a multi-layer research into gaudy and bright arena with a harsh rhythm and full of people free from care, family men, patriotic individuals who have filled the city with all its streets and skyscrapers in a confused state. it is a brief contemplation for bringing to light the ever active racial, linguistic and gender gaps of an always bipolar socio-political sphere, with a flavor of liberalism and religion whose refracted mirror tries to reflect a pluralistic image of its social and popular contexts. restudy of America as a project in “America, Suspended Land” photo series by mehrdad Afsari is putting together heterogeneous frames of astounding collaboration of spiritless population that displays overlaid frames of a modern catastrophe from the collapse of a ruined reality. it is an elegy for nonstop gaiety of full-fledged transformation; a comprehensive book of festival in a ceremony to unveil gradual collapse. it is the wishful accompanying of a rest-less traveler toward that hyper-real utopia.
The Frenzied Heart of Mine,
Houses the passion at countenance of thine
Re-Pixilization: The PIXEL Revisited Mehrdad Afsari
Shahnama (The book of kings) of Shah-Tahmasb (hotan) 928-946 A.H.
Digital revolution in photography attributed an inventory of various feedbacks to this extensive medium. Digital technology has virtualized the world thereby helping it experience novelties of forms. Manufacturers of digital cameras maneuvered over
precise representation of details and better de-pixilization as an indispensable part of their promotion. To me, however, it meant a visual event that has invariably kept me thinking of its potentials.
The Shahnama (The book of kings) of Shah-Tahmasb (hotan) is one of the eminent artworks of the land of Persia. A dominant feature of Iranian painting is its intuitiveness and subjectivity. The Iranian artist exploits all the gifts of nature; human, plant, soil, and rock. Yet, he never attempts objective reconstruction and visual manifestation. Conversely enough, he discovers, through his mind, the nature, human and ambience, and interprets the thematic content and finally renders an exclusive
representation. Meanwhile, this conceptual image is painted by minute details.
In 2004, for the first time ever an exhibition of such proverbial artworks was held in the Museum for Contemporary Art. When I had my first visit of the sublime Iranian art, what attracted me most was the magnifiers at the ingress to the museum which implied that much of the nuances and graces of the works were not visible to the naked eye: the composition of designs and colors masterfully juxtaposed.
In my perspective, an artist lives in the moment and brings to being, is inspired by the past and his art flows into future. What interested me above all was the contrast engendered by the photographs: the intuitive aspect of paintings was also manifest otherwise in the digital world-the improvisations that worked out in there. How is it that the works whose importance lied in their inherent miniaturized graces and vignettes are now transformed via pixels (a novel visual potential of multilayered
meanings) in the digital world. This was in fact a quest of different feedbacks for the
past and a revelation of the art of my homeland, Iran.
I am Oblivious of all Things 2007
After Grandmother 2006
When my grandmother passed away, I was in a faraway place. She was the epitome of worldly purity to me, and her house reminded me of my childhood’s summery memories in Khoy.
When I got there they had already buried her, so I never saw the image of death on her face. I spent that night at my grandmother’s house, and, for the first time, alone. Her windows were tall, with vases that had been brought in, for it was a very cold winter.
I shot the flowers relentlessly, with no photographic concerns, as if I wanted to make my lost grandmother and my childhood nostalgia my own, forever imagining her fingers spinning the threads on the vases.
“After Grandma” was a new beginning for me: a new opportunity to live a changed life in the world of photography.
Iranian Garden 2005
The Iranian Garden has always had an important and valuable place in Persian art and literature, and has been introduced with particular traits; a garden with definite descriptions which is enriched with visual beauties and has been described as full of trees, flowers, green, and nightingale.
Hafiz, the Iranian poet of 7th century, describes Iranian Garden as the following:
“As the besotted nightingale found its way to the garden, it found smiling the flower’s face and the wine bowl”.
In addition to literature, the Iranian Garden has been considered in visual arts of Iran. For example, multiple samples of Iranian Garden are present in Iran miniatures, gilding, printing, and most important of all, Persian Carpet. These samples are full of deep and lively colors which images the age’s enjoyment.
In the chase after the Iranian Garden which was full of colors, flowers, trees, and green I sought a lot and what I found was a “concept” in my mind of the past ages’ enjoyment. How much they (our ancestors) lived in color and greenness and joy, and their life’s concept was full of color, as a result of which they have started description in this way.
I decided to picture the Iranian Garden of the present age. However, that colorful garden was not objective for me and blackness and weak and wage whiteness, was all that existed; because, much has been passed in the history of Iran until the current age that I, the modern Iranian, am full of ambiguity and vagueness.
What has got apparent in my photographs was all a delusion of “being”. The backgrounds of my photographs were full of unknown blackness attacks and whitenesses (future) that seemed unreachable among the black ingredients of my image. The black points signalize the present time.
The Sacred Geometry of Chance 2003
The Symphony of light 1998