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FRIEZE New York 2025: Group Presentation

Past viewing_room
7 - 11 May 2025
  • FRIEZE NEW YORK 2025

    Group Presentation
  • Dastan announces its sixth participation at Frieze New York with a presentation of works by Kamrooz Aram, Pooya Aryanpour, Maryam Hoseini and Behjat Sadr. 

     

    Although Kamrooz Aram’s work engages with the question of ornament, he is also an artist deeply invested in the tradition of painting. Aram’s paintings, whose curved gestures, grids, and particular use of color evoke a range of art historical references from early Renaissance frescos to Persian carpets, to Minimalism, remind us that abstraction predates Modernist Painting. Abstraction, in Maryam Hoseini’s work, unfolds through the fragmentation of the human figure. In Hoseini’s paintings, bodily forms move fluidly across the composition like floral or vegetal motifs, simultaneously pierced, severed and ignited. In the case of both of these artists, the positive and negative space is conflated, creating rhythmic compositions that could be called ornamental. Suspended in the center of the booth, Pooya Aryanpour’s sculpture also references ornament in more than one way. To Aryanpour, the decorative arts of Iran “implied a deep understanding of the creative and expressive mind... that transcends mere ‘ornamentation’ or ‘decoration’. What we today perceive as ‘ornamentation’ was not intended as such at the time—the role of ornamental elements was not to attract viewers, but rather to convey and express meaning.” These ideas about ornament permeate the work of all three of these artists to various degrees. In contrast to these artists, Behjat Sadr, a pioneering figure in Iranian modern painting, strove to remain faithful to the modernist canon—going beyond what is designated as “past.” In this context, these works represent an Iranian artist of another generation, who was rooted in Iran but dedicated to the modernist painting with which she was educated in Europe. 

     

     

  • Kamrooz Aram’s work disrupts the false opposition between ornament and abstraction, and challenges ornament’s relegation to discourses of criminality and...
    Kamrooz Aram’s work disrupts the false opposition between ornament and abstraction, and challenges ornament’s relegation to discourses of criminality and excess. In his wide ranging exhibitions, he stages an encounter between the Euro-American avant-garde and non-western forms of abstraction, interrogating the boundaries between art, artifact, and modes of display. His lyrical paintings and arrangements break down the hierarchies of modernist aesthetics, asking that we rethink its categories and re-encounter these ideas and objects anew. Combining painting, sculpture, collage and exhibition design, he creates an interdependence between object and display, revealing the significance of design and architecture in affecting the interpretation of art.
    Kamrooz Aram was born in Shiraz, Iran and lives and works in Brooklyn, NY, USA. Recent exhibitions include: Elusive Ornament, Peter Blum Gallery, New York; Privacy, an Exhibition, The Arts Club of Chicago; Lives of Forms: Kamrooz Aram and Iman Issa, Z33 House for Contemporary Art, Design and Architecture, Hasselt, Belgium; The New Arabesque, Nature Morte Gallery, New Delhi, India; An Object, A Gesture, A Décor, FLAG Art Foundation, New York; In Memory of the Arabesque, Green Art Gallery, Dubai, UAE; Focus: Kamrooz Aram, The Modern Art Museum of Fort Worth; Ancient Blue Ornament, The Atlanta Contemporary; Ornament for Indifferent Architecture, Museum Dhondt-Dhaenens, Deurle, Belgium.
    • Kamrooz Aram, Proto-Turquoise Variation (I), 2023
      Kamrooz Aram, Proto-Turquoise Variation (I), 2023
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    • Kamrooz Aram, Proto-Turquoise Variation (II), 2023
      Kamrooz Aram, Proto-Turquoise Variation (II), 2023
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    • Kamrooz Aram, Proto-Turquoise Variation (III), 2023
      Kamrooz Aram, Proto-Turquoise Variation (III), 2023
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  • Pooya Aryanpour (b. 1971, Tehran, Iran) is an artist, art instructor, and university lecturer based in Tehran. He studied Painting...

    Pooya Aryanpour (b. 1971, Tehran, Iran) is an artist, art instructor, and university lecturer based in Tehran. He studied Painting at Azad University of Tehran, where he obtained his M.A. in 1999. He has been an active artist, instructor, and curator over the past three decades.

     

    Since the 2000s, Pooya Aryanpour has made use of mirrors in his sculptures, a practice made popular by artist Monir Farmanfarmaian in the early 1970s. Aryanpour's studies of Qajar's (19th-20th centuries) mirror works have given his work a reflective character. His works can also be considered interactive and conceptual as they fleetingly reflect the image of their viewers. Large size sculptures are covered with tiny mirrors that change color with a shift in lighting, multiplying what they reflect. The plurality of images thus reflected has a spiritual dimension – mirror works are used in places of worship throughout Iran. The multiplicity of images shatters the individual's ego to arrive at a devotional unity. Aryanpour has been created from many materials and in abstract form in widely different sizes.

     

    His work has been extensively exhibited, both in Iran and at international biennials, gallery shows, art fairs, and institutional exhibitions, namely the sculpture biennial in Tehran Museum of Contemporary Art (2017), Sophia Contemporary Gallery (London, 2016), and "Gone with the Wind" (Kahrizad Sugar Factory, Tehran, 2022).

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  • Installation Viewof “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).
    Installation View of “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 (Larger version of this image opens in a popup).

    Installation Viewof “Gone with the Wind” Pooya Aryanpour’s solo exhibition at the Defunct Kahrizak Sugar Factory, 2022 

  • Maryam Hoseini (b. 1988, Tehran) is a New York-based artist. Maryam Hoseini delves into the creation of liminal worlds that...

    Maryam Hoseini (b. 1988, Tehran) is a New York-based artist.

    Maryam Hoseini delves into the creation of liminal worlds that serve as poignant explorations of gender construction and the inherent violence of power dynamics. Hoseini’s paintings become a gateway to a realm where the boundaries of subjectivity are probed, revealing fragmented architectural environments as the stages for unfolding narratives.

    Hoseini’s work has been exhibited at the New Museum, NY; Aldrich Museum, Ridgefield, CT; Sadie Coles HQ, London; High Art, Paris; Deborah Schamoni Gallery, Munich; Green Art Gallery, Dubai ; Galleria Massimo Minini, Brescia, Italy; The Shed, NY; MoMA P.S.1, NY; amongst others.

    They received a BA from Sooreh Art University in Tehran in 2012 and MFA degrees from Bard College and the School of the Art Institute of Chicago in 2016. Hoseini is currently the Co-Chair of Painting for the MFA Program at Bard College.

    • Maryam Hoseini, Tidal Logic, 2025
      Maryam Hoseini, Tidal Logic, 2025
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    • Maryam Hoseini, Psychic Fold, No. II, 2025
      Maryam Hoseini, Psychic Fold, No. II, 2025
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  • Video entries

    Maryam Hoseini’s Every Day Abstractions | Art21 “New York Close Up”

  • Installation view of Dastan's booth at Frieze LA 2024. (Larger version of this image opens in a popup).
    Installation view of Dastan's booth at Frieze LA 2024. (Larger version of this image opens in a popup).
    Installation view of Dastan's booth at Frieze LA 2024. (Larger version of this image opens in a popup).
    Installation view of Dastan's booth at Frieze LA 2024. (Larger version of this image opens in a popup).

    Installation view of Dastan's booth at Frieze LA 2024.

  • Behjat Sadr (1924, Arak, Iran – 2009, Corsica, France) is among the first female artists and university lecturers of Iran....

    Behjat Sadr (1924, Arak, Iran – 2009, Corsica, France) is among the first female artists and university lecturers of Iran. She graduated in Painting from the University of Tehran (1954). She was an active presence in the international visual art scene beginning in the 1960s. Having studied in Italy, she became interested in abstraction and created her first series of works between 1961 and 1966.

     

    Sadr is known for using a palette knife on canvases that create impressionistic visual rhythm, movement and geometric shapes. Black dominates a major part of her work. She uses blotches to create dynamic patterns. By placing paint directly on the surface of the work and removing paint with a knife countless times, she arrives at the familiar visual structure of her paintings. Sadr was also a photographer and known for her collages.

    Artist's CV
    • Behjat Sadr, Untitled, 1970s
      Behjat Sadr, Untitled, 1970s
    • Behjat Sadr, Untitled, 1977
      Behjat Sadr, Untitled, 1977
  • Frieze No 9 Cork Street 2024 1403 Dastan Gallery Leyli Matine Daftary Manoucher Yektai Installation Views Dsc 9522 (Larger version of this image opens in a popup).
    Frieze No 9 Cork Street 2024 1403 Dastan Gallery Leyli Matine Daftary Manoucher Yektai Installation Views Dsc 9524 (Larger version of this image opens in a popup).
    Frieze No 9 Cork Street 2024 1403 Dastan Gallery Leyli Matine Daftary Manoucher Yektai Installation Views Dsc 9528 (Larger version of this image opens in a popup).
    3 Installation View Of Dastan S Booth At Frieze New York 2023 Photo By Mo Jahangir Courtesy Of Dastan Gallery (Larger version of this image opens in a popup).
    Frieze No 9 Cork Street 2024 1403 Dastan Gallery Leyli Matine Daftary Manoucher Yektai Installation Views Dsc 9522
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