Iranian art market booms for younger artists – Artprice

Farhad Moshiri Eshgh

Farhad Moshiri Eshgh

IRANIAN ART MARKET

“The vitality of the Middle-Eastern market is giving a number of young Iranian artists a healthy price index on the secondary art market” says Artprice’s online magazine Art Market Insight.

In October 2007, at only his second auction appearance, Christie’s Dubai generated a bid of $50,000 for a painting by Afshin PIRHASHEMI (born 1974) entitled Those Four Days.  Just a month earlier in Paris, Artcurial sold his painting Memory for 6,000 euros and by  April 2008 his triptych ‘Lonely’ created in 2005 commanded an astounding price of $110,000 at Christie’s in Dubai.

The work of two young Iranian women are beginning to command attention: Shirin ALIABADI and Shadi GHADIRIAN (born in 1973 and 1974 respectively) create works inspired by the challenges facing women. Shadi Ghadirian’s photos show veiled women with contemporary objects and her most famous piece, Stereo, sold for £9,000 (over $18,000) in 2007 at Sotheby’s in London.

Stimulated by developments in the art market infrastucture including the introduction of art fair, Art Dubai in 2007 and the appearance of auction houses (Christies 2006, Bonhams 2008), contemporary artists from Tunisia, Egypt, Morocco, Lebanon and Iran have seen increasing attention and price inflation.

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'Iranian Contemporary Art' by Rose Issa - click to buy book

Shirin Neshat and Farhad Moshiri are two artists who are now well known on the international art scene. Farhah Moshiri is best known for his jewel art pieces in which he covers objects or makes images with fine layers of gold or Swarowski crystals.

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Comments

Iranian art market booms for younger artists – Artprice — 8 Comments

  1. Here are some good examples:

    Farhad Moshiri: Very good craft, excellent idea development using elements of every day life and vulgar culture, impressive character, good supports from Mr. Ave in the early and middle age of his career, Mr. Melamed and Mr Farjam through his career.
    Mohamad Ehsai: Long and perfect career in calligraphy, innovative aesthetic and decorative approach to Islamic phrases. Hits both Arab and Iranian Markets.
    Parviz Tanavoli: A very long and successful career in Historic revival to ancient Persian heritage and culture, good support in an early age from Pahlavi royal family.
    Hossein Zenderoudi: A very good reputation in France in 70s. His name entered the french encyclopedia of arts immediately. Innovative and accurate reading of European Aesthetics. e.g. reading French’s interest in african arts after colonial era in his approach to colors.
    Pir Hashemi: Characterizing a borderline human mentality using Iranian contemporary pop icons. With the support of Mr. Ghamsari as patron.

  2. Another body of attempts that is to be found in Iranian art market is a developmental approach. In an approach as such, the marketer will use various ways in order to define, raise or redefine the value of an art work. The pioneering market growths in modern art auctioneering has always been nurtured and produced within this method. This method provides much more potential in the market as well as suffering from the high risk tendencies comparing to its conservative CD counterpart.
    Many galleries in the region(Assar, Etemad, The Third Line, IVDE) and some venues abroad ( Ropac, Saatchi, Rodolphe Jansen and Hildebrandt) are some good places to look after Iranian art market booms.
    Aside from these venues some publications are also involved with market booms. Rose Isaa’s long commentary on Iranian arts, Shahin Merali’s essays and curatorial projects and some other academic writings can be sub grouped in this category as well, although the academic maneuvers on Iranian arts are very newborn and fragile.

  3. Clientele depended is a passive market strategy that is vastly used in small interests or capital in UAE Iranian art market. In markets as such, the investor does not take risks or technical difficulties while have his demands monitored carefully through the previous market trends and buys a demanded bulk of arts. This strategy will not allocate any probability in the market nor it can develop a new market trend using promotional strategies, talent search or courses alike. CD market has some general standards as it has been briefly described in the previous enquiry. As an example, there is a very low tendency in global arts market to portrait visuals with the exception of Britain, hence the dealer will not focus on portrait paintings and photograph in usual conditions, Of course masterpieces and art works with a differentiating profile will survive this surge( a good example of a conceptually differentiating profile has protected Ahmad Morshedloo and Pir-Hashemi from this strategy). On the other hand, there is a high market demand for Iranian works concerning a repressed political lived experience. These entities may vary through time as the social and political inner life of the regional artists changes and also these may vary as the western media changes its approach towards the regional lifestyle and social behavior of for example Iran.
    It is very clear that the historic revival of early 70s-Saghakhaneh, Khoroos jangi, Rasht Circle- in Iranian arts supported by Pahlavi royal family and the foreign cultural institutes in Tehran will never repeat while Iranian art scene is engaged with Diaspora, Immigration and war for democracy, but it is a good market man’s wisdom to monitor these changes in advance prior to their birth.

  4. Dear Hadi,

    The Iranian art market trend is stimulated generally by two types of factors. Primarily there is a vague concept of regional and global discourses within the concepts of art pieces or careers. This factor may vary and change through time as the general interest in those factors may change. This alteration can not be considered as taste since there are certain values that govern such changes. Although the identification of such values may seem very difficult due to their connected nature with the cultural analysis, the identity problem, diaspora culture, women identity and lately the social representation of a general lifestyle in Iran ( as seen in Abraaj winner Nazgol Ansarinia’s work) share the very plateau of market success during the recent years in Iranian art market. As the second general consideration of arts market one’s knowledge of the regional demands for a certain marketplace and auctions is of crucial importance. A very good example for such analysis is Arab buyer’s interest in middle-eastern arts exhibiting calligraphy. As the Arabic typography is a common watershed between Iranian and Arab cultures, many Arab buyers or collectors residing and exhibiting within the Arab world are dominant buyers. ( The success of Mohammad Ehsai, Sadegh-zadeh, a proportion of Moshiri’s ouvre and also prominent art collectors like Farhad Farjam are basic examples of such consideration). Furthermore, one can rigidly split the market into two major strategy themes: Clientele depended market analysis and developmental market analysis in nearly all possible senses. Continued in the next entry.

  5. The wall of Persepolis belongs to Mr. Parviz Tanavoli which has been mistakenly called a piece by Farhad Moshiri.

  6. Hello Hadi, this is an interesting topic and up to date information will be coming to the market soon after the art fair in Dubai and the upcoming Spring auction season. If readers can contribute information too we would be delighted to learn more.Thanks for your input Hadi.

  7. hi
    i am very intrest in irainian fine art market analyze and i want to know more about the factor of irainian art price in the intrenational art auction and art market.

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