Artists Remake the World
The Author

The Author : Fereshte Moosavi


Fereshte Moosavi, is an independent curator and educator based in London with PhD from Curatorial/Knowledge programme, Visual Cultures Department of the Goldsmiths University of London. Her thesis entitled Studying Curatorial-Abilities; Environmenting, Improvising, & Inhabiting State of Affairs proposes a set of abilities that has the potential to resituate curatorial thinking and expand practices of curation as creative processes. From April 2011 to September 2018 she has worked as the art director and curator of the MOP Foundation, a non-profit organisation based in London that provides different educational and representational programmes for Iranian artists.

Moosavi is the founder of ​Curatorial in Other Words, an ongoing research-based project initiated in December 2015 in Tehran in collaboration with Charsoo Honar. Moosavi has curated a number of research-based exhibitions including: Two-Way Street, Dance Dance Dance 2019-2020, Bermondsey Project Space, London; Contemporary Iran: A historiographical Review on the ​Relation Between Art and Public in Iran, Art Monte-Carlo, 2018; Animal Party, Kamil Gallery, Monaco, 2018; Ali Akbar Sadeghi: A Retrospective, Tehran Museum of Contemporary Art, 2018; and Trans-Transfiguration: Sheikh Saafi’s Anecdote and any Expandable Thing, Lajevardi Foundation, Tehran, 2017. Moosavi has thought at Goldsmiths University, 2014-2016, and Essex University, 2011 and published a number of books and essays.

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Investigation by Fereshte Moosavi
Farnaz Gholami, Dripping, 2018, vue de l’installation, Acrylique sur tissu, triptyque 900 x 120 cm
06 November 2020

Inhabiting the Space of Exhibition

Investigation by Fereshte Moosavi
Farnaz Gholami, Dripping, 2018, vue de l’installation, Acrylique sur tissu, triptyque 900 x 120 cm

Tehran, has exercised a dramatic change from late 19 century to date; with 150,000 population in 1860s tuning into a giant metropolis by over 12 million inhabitants today. The major urban transformation which took place during the first and second Pahlavi periods, 1941 – 1973, imposed western architectural patterns which changed the architecture and urban landscape forever. Such reforms introduced the city’s society and space to new economic and cultural patterns and unleashed centrifugal and dialectic forces. The first art gallery in Tehran, Apadana, opened in 1949 and soon this number grew to 22 galleries before the revolution, then expanded to 261 registered galleries by 2018. This cultural development on the one side provided the art scene with more spaces to represent, also it introduced new sites for social experiences. This text reflects on the relationship between space, memory and history in the site-specific works of two artists, Farnaz Gholami and Anna Dot, presented at But We Don’t Leave Pyramids, an exhibition curated by GAPS and organised in conjunction with Tehran Curatorial Symposium #2, from January to April 2019.

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