Art Basel Miami 2024: Group Presentation

Dastan is pleased to present a trio presentation of works by Maryam Hoseini (b. 1988), Hoda Kashiha (b. 1986), and Roksana Pirouzmand (b. 1990) at Art Basel Miami Beach 2024, located at booth N19 in the Nova section. The presentation explores the human body, gender, the burden of time and history, memory, and remembrance. 

Following Dastan’s previous presentations at Art Basel—highlighting the work of Mohsen Vaziri Moghaddam and a screening of Newsha Tavakolian’s video in Art Basel Hong Kong 2024—this marks the gallery’s debut at the fair’s Miami Beach edition. ​Art Basel Miami Beach runs from December 6 to December 8, 2024, at the Miami Beach Convention Center. 

Maryam Hoseini 

Maryam Hoseini creates frantic compositions inspired by the narrative panels of Negargari tradition, i.e. Persian “Miniature” Painting, reflecting on the history of violence, gender identity, oppression, and the glorification of the past. Their fragmented figures, suspended in ambiguous spaces, challenge traditional perspectives, reflecting a “groundlessness” that resonates with feelings of displacement and resistance. In discussing their approach to painting, Hoseini explains, “I’m fascinated by ideas of where we belong. My paintings have a groundlessness, a collapse of time and space, where there’s tension between abstraction and representation, shifting perspectives and layers.”1 This interplay of abstraction and representation, along with the collapse of time and space, allows Hoseini to create works where figures, untethered from rigid definitions, embody a defiant stance against societal norms, opening possibilities for reimagined histories and identities.

Hoda Kashiha 

In Hoda Kashiha’s work, materiality is reimagined on the canvas, where forms and subjects become boundaries that momentarily suspend time and space to hold multiple narratives at once. Her exploration of the relationship between the vase and the female body began when she first encountered the pottery wheel—a dynamic interaction she describes as “a dance between me and clay that made us one.” This interest deepened through her study of Indian miniature paintings, where depictions of female figures are surrounded by pots and vases. For Kashiha, vessels represent a convergence of containment, spilling, and nourishment, symbolic qualities that resonate across the jar, vase, nature, and the female form. Her paintings aim to evoke these shared senses, blending traditional and intimate themes within a contemporary framework.

 Roksana Pirouzmand 

In her own words, Roksana Pirouzmand’s practice “delineates our family history without betraying its secrets.”2 The sculptural installation, “The Past Seeps through the Present”, features a fired ceramic cast of her grandmother’s body, suspended above an unfired clay cast of her mother’s figure, which lies recumbent on a couch. Drops of water fall slowly from the grandmother’s body onto the mother’s, gradually eroding the unfired clay and dissolving it into the couch. Through this relentless yet delicate process, the artist contemplates themes of memory, lineage, and the impermanence of familial ties.