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Untitled by Ali Nedaei
Amongst the Myth collection 
2015
Acrylic on Canvas, 200 × 200 × 2 cm
Ali Nedaei is a professional artist with almost 40 years of artistic practice behind him. He is an energetic, active and open-minded painter. Nedaei was tremendously successful in his last exhibition, a showcase in 2016 where he exhibited 23 artworks.
Although all his artworks sold out at this event, he is even more formidable in that his curator managed to convince him not to paint in his regular style, but to draw. His curator believes he is one of the 3 best drawing masters in Iran. The suggestion was to draw on coloured card boards with silver or gold ink.
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Among all the 111 artists, who were introduced in this auction, for the first time, a woman with the record of $293.000 won the title of the most expensive artist.
Ms Monir Farmanfarmayian, who recently opened her exclusive museum, is the only artist whose artwork has hammered over $225.000.

The artwork of this artist is a triptych Āina-kāri that suggests the foundation of Ontology and the purpose of the creation system.

Subsequently, artworks by Kamran Yousef Zadeh and Farhad Moshiri were hammered at $225.000.

The artwork by Kamran Yousef Zadeh, a 61 years old artist from New York, known in the United States as "Y. Z. Kami", achieved the record of $225.000 in his first attend in Tehran auction. The “White Dome” is the name of his white painting, which depicts unity while multiplicity and the mystical movement towards absolute light.

Farhad Moshiri, a contemporary and well-known 54 years old artist, with his diptych painting from the famous collection of Kouzeha (Jars), reached to $225.000. 
Eventually 36 artworks were hammered above $23.000.

Among the artists at this auction, 17 female artists and 24 artists, who have been participating in this auction for the first time, were offered to buyers.

The oldest, living, artists at this auction were Manuchehr Yektaei and Monir Shahroudi Farmanfarmayian, who were born in 1922.

Amin Montazeri, the youngest artist at this auction, attended at the Tehran Auction for the first time, with his "Carnival War" artwork, which reached to $42.000.

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Untitled by Ojan Shirozhan
2016, Oil on Canvas, 180 × 110 × 4 cm
He was born in 1977, Iran. He learnt painting from masters Mehdi Marzban and Babak Etminani. Later, he moved to Eastern Europe for continuing his education and studied in Romania and then Moldova. He received a Master Degree in Art, Theatre and Fine Arts in the Republic of Moldova, under the supervision of Professor Lario.

Eugene participated in more than 40 individual and group exhibitions, since 1990s, both inside and outside of the country.
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Untitled by Behzad Shishegaran
Inscriptions collection, Acrylic on Canvas, 100 × 100 × 4 cm, 2016
The inscriptions’ collection cannot be considered as calligraphy in which the visual elements of Persian Alphabets represent historical brick or stone monuments and other famous Persian inscriptions.
The stereotypical term “art is not related to life and nature” cannot be substituted by the stereotypical phrase of “the art is the imitation of life or nature”. In fact, art has a symbiotic relationship with nature and life in which boundaries are dependent on the level of creativity, competence and experience of the artist. Abstract artists have – through this - tried to create a mental space that is pure and imaginative. They have succeeded in this nevertheless the mechanism of abstraction, data analysis and elements of human nature are created from a mental projection of what the artist intends are themselves a nod to the notion of existentialism.
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Chair VIII by Parviz Tanavoli
Heech and Chair Collection
Bronze
14.5 × 11.5 × 4 cm
2009
"My Heech (Persian for Nothing) is nothing but the word of Heech, which does not carry any specific meaning, it is just a word." --Parviz Tanavoli--
An artwork, which according to its popularity has been emptied from the actual meaning of its name. In my opinion, audiences should rather than endeavour to overcomplicate the work, observe its form – a design shaped by Nastaliq Scripts. In this instance, there is no necessity for such notions of beauty to be interpreted or over complicated; the artwork expresses this itself. I like the visual personality of Heech, but if one is to search for meaning, one could say that Heech (Nothing) in the history of Sufism and mysticism, has a deep story, a non-existence, which all existence could be heard from it.
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Untitled by Mansour Ghandriz
1960, right panel lino print on paper, left panel original lino stereotype
Right side 55 × 31 cm, Left side 55 × 31 cm
As an ambitious artist, during his decade of artistic activities, Mansour Ghandriz has succeeded in representing a different perspective and symbolic abstract. In his works Ghandriz shows a clear pathway from figurative painting (Tabriz Period), to abstract painting, hand-printing and in the formation and durability of modern painting, which played an important role in his career. This distinct approach and his unique aesthetics, even in the Saqqakhaneh School, gave Mansour Ghandriz a special place in the memory of the Iranian Visual Community.
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Untitled by Abdolreza Daryabeigi
1975, Acrylic on Canvas, 65 × 125 × 2 cm 
The profound and calm landscapes, created by Abdolreza Daryabeigi, demonstrate an immortal world with an underlying nuanced tranquillity.
Daryabeigi is considered a second generation modern Iranian painter, he combines the traditional landscaped painting with a reductionist and modern look. A landscape without humans, houses, trees and mountains which sometimes extends boundaries of abstraction. In his leading painting, a vague and scary glory of the original nature is depicted in a foggy environment. Minimalism in this artwork has summarized the subject in a green land, represented in a poetical balance. By selecting a colour palette of green, blue and coloured-grey Daryabeigi emphasises balance and minimalism.

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Untitled by Jamshid Samavatian
Mixed Media on Canvas, 60 × 89 × 2 cm "I did not want some of the historical monuments such as Aali Qapu and Chehel Sotoun to get destroyed. Thus, I painted artworks, based on my own initiatives, to preserve the Iranian heritage whilst demonstrating a protest, as these works were not properly protected. Creating these paintings gave me a clue to find and experience these techniques. In fact, I was given an opportunity to take advantage from the Iranian ancient art along with the modern art. As a result, I discovered the usage of gold and silver in the artworks and patina entered my artwork. I found the importance of texture, which was unknown at that time. I also used stucco and soil, instead of watercolour, based on suitability to have more effect on the audience. It can be said, that I preferred innovation, instead of teaching in my artworks." — Jamshid Samavatian —

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Tara Khoshneshin’s Exhibition
‘The Pattern of Imagination’ at CAMA Gallery, Tehran
Opening Reception: January 5, 2018 | 5pm - 10pm Exhibition Period: January 6, 2018 - January 16, 2018 | 11am - 7pm 
For more information, please visit our website www.camagallery.com (link in bio)
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Lullaby for Tehran by Bita Vakili
2017, Mixed Media on Canvas, 135 × 225 × 4 cm

Bita Vakili’s artwork embodies a dialectic conversation between the mysteries of the self and the outside world through abstract images that look familiar at times. Her visual world is fluid, restless and profoundly personal. It begins with a broad, vague entirety and ends up in marvellous, delicate details.
Her distinctive works seem to be common lyrical abstractions at first sight, formed by fine outlines and undulating colour surfaces. Despite its tangible expressive language, Vakili’s artwork makes no attempt at employing strong impressive brushstrokes or emotional behaviour. Flavoured with rationalism, Vakili’s works impress gently and implicitly, underlining the philosophy that particles constitute the entire universe. In fact, these delusive images depict both a world of particles and galaxies. It can be said that the main idea of her art is the similarity and symmetry and symbiotic relationship of these microcosms and macrocosms.

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Parviz Kalantari
Untitled
2009, Line and Relevance, Acrylic and Straw on Canvas, 65 × 99 × 2 cm

Parviz Kalantari’s artworks are like a visual poem, created from the soil.
As seen in this painting, Kalantari’s thatched artworks are mostly created using this material and have long been known and now have an iconic aspect. In his artworks, the visual aspect is seen in tangible way and spatial relations are Cubist; using classical perspective is largely avoided. There is no colour in Parviz’s artworks, but the colour of original material; colours can rarely be observed in his artworks other that the colour of the original material. This shows his desire to create a single colour painting. Both tendencies are driven by the values of modern art.

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#camagallery #cama #parvizkalantari #acrylicpainting #acryliconcanvas #iranianart #persianart #expressive #abstractart  #minimalist #minimalism #minimalart #unique #artbasel #canvasart #minimalistic #masterpiece #lines #cubism #artcollector #middeleast  #sothebys #christies #bonhams
Untitled Nosratollah Moslemian
2017, Acrylic on Canvas, 80 × 80 × 2 cm
This outstanding painter says: “most of my artworks are the result of my life in the present situation. In fact, my artworks reflect the occurrence and incidence that we are involved with in daily life. In the process of creating my artworks, I found out that picturing the facts of the social and active events could make the art tangible. In fact, we cannot reduce the dialectic between suffering and beauty or life and death to one of these elements and we must keep this suspended position. As a result, my painting has two layers; an outer layer, which is attractive in the first sight and is abstract and colourful, and its inner layer, which is tragic and reflects the personal and social suffering.”
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