{"id":2776,"date":"2020-05-30T04:23:52","date_gmt":"2020-05-30T04:23:52","guid":{"rendered":"http:\/\/www.angahmag.com\/?p=2776"},"modified":"2021-09-08T13:03:17","modified_gmt":"2021-09-08T13:03:17","slug":"issue-9","status":"publish","type":"post","link":"http:\/\/en.angahmag.com\/index.php\/2020\/05\/30\/issue-9\/","title":{"rendered":"Issue 9"},"content":{"rendered":"\n

\u00a0Gallery and gallery browsing<\/h2>\n\n\n\n

The title of the ninth issue of Angah magazine, which has an image of Masoumeh Seyhoun by Iman Safaei on the cover, is “Gallery ; The Effective Obsolete,” which deals with galleries and gallery browsing. Masoumeh Seyhoun, also known as Masoumeh Noushin, was an Iranian painter, visual artist, and the founder of Seyhoun Gallery, the country’s first gallery. She co-founded the gallery with her husband and played a key role in exposing young artists through the years. In his article \u201dGallery ; The Effective Obsolete,\u201d Sajad Bagheban Maher, the issue’s fill-in editor, writes: \u201cGallery is a European term that has a varied meaning and application on Iranian culture and Persian language, as much as gallery may imply several things to an Iranian, from automobile exhibitions to photo albums in smartphones. However, the art gallery and its new application became well-known in the twentieth century, and it became one of the most important art bases.<\/p>\n\n\n\n

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In this issue, Emadallldin Ghorashi’s article “From dwelling to halls’ ‘ discusses galley history and its importance in history. The historical impact of galleries is discussed in a conversation between Sajjad Bagheban Maher, Behnam Kamrani, and Zarvan Roohbakhshan. Two pieces, \u201cSlight but Unstable Growth\u201d by Ali Akbar Jahangard and \u201cStory of Galleries in Isfahan” by Amir Rajaei, look at the state of galleries in various cities. Angah magazine also examines gallery architecture in Iran and elsewhere. The situation of gallery posters, the relationship between museums and galleries, and Masoumeh Seyhoun’s life are then discussed. Interviews with Kamran diba, Mohammadreza Moridi, Mohammadhassan Hamedi, Reza Abedini, Lili Golestan, Rozita Sharaf Jahan, and Orkideh Doroudi can be found in the ninth issue of Angah magazine.<\/p>\n\n\n\n

Table Of content<\/strong><\/h3>\n\n\n\n

7<\/p>\n\n\n\n

Editorial<\/p>\n\n\n\n

> Arash Tanhai<\/p>\n\n\n\n

8<\/p>\n\n\n\n

Gallery ; The effective obsolete<\/p>\n\n\n\n

> Sajad Bagheban Maher<\/p>\n\n\n\n

10<\/p>\n\n\n\n

From dwelling to halls<\/p>\n\n\n\n

> Seyed Emadallldin Ghorashi<\/p>\n\n\n\n

28<\/p>\n\n\n\n

It is not the job of the gallery to set up art movements. Interview with Kamran diba<\/p>\n\n\n\n

> Arash Tanhai<\/p>\n\n\n\n

42<\/p>\n\n\n\n

Gallery doesn\u2019t want to include everyone. Conversation between Sajjad Bagheban Maher, Behnam Kamrani, Zarvan Roohbakhshan<\/p>\n\n\n\n

54<\/p>\n\n\n\n

Having a livelihood from art<\/p>\n\n\n\n

> Hamidreza Sheshjavani<\/p>\n\n\n\n

64<\/p>\n\n\n\n

Trying to expand the non hegemonic spaces. Interview with Mohammadreza Moridi<\/p>\n\n\n\n

> Hadi Aghajanzadeh<\/p>\n\n\n\n

72<\/p>\n\n\n\n

Magicless box<\/p>\n\n\n\n

> Asieh Mazinani<\/p>\n\n\n\n

82<\/p>\n\n\n\n

We don\u2019t take any photo without Mona<\/p>\n\n\n\n

> Afsaneh Kamran<\/p>\n\n\n\n

90<\/p>\n\n\n\n

Slight but unstable growth<\/p>\n\n\n\n

> Ali Akbar Jahangard<\/p>\n\n\n\n

94<\/p>\n\n\n\n

Story of galleries in Isfahan<\/p>\n\n\n\n

> Amir Rajaei<\/p>\n\n\n\n

100<\/p>\n\n\n\n

Many pens started writing in Tandis. Interview with Mohammadhassan Hamedi<\/p>\n\n\n\n

> Hossein Ganji<\/p>\n\n\n\n

108<\/p>\n\n\n\n

Architecture decides the way for Iranian painting scene<\/p>\n\n\n\n

> Alireza Emtiaz<\/p>\n\n\n\n

112<\/p>\n\n\n\n

When they go to gallery, the do something else<\/p>\n\n\n\n

> Hafez Rouhani<\/p>\n\n\n\n

118<\/p>\n\n\n\n

Posters are memorials for a gallery. Interview with Reza Abedini<\/p>\n\n\n\n

> Saeed Mazinani<\/p>\n\n\n\n

128<\/p>\n\n\n\n

Stepbrothers in a hidden competition<\/p>\n\n\n\n

> Reza Dabirinejad<\/p>\n\n\n\n

132<\/p>\n\n\n\n

Observant, observed, observer<\/p>\n\n\n\n

> Foad Najmaldin<\/p>\n\n\n\n

140<\/p>\n\n\n\n

Lancia Montecarlo in Iran\u2019s art scene<\/p>\n\n\n\n

> Fateh Sahba<\/p>\n\n\n\n

162<\/p>\n\n\n\n

Managing a gallery is not an easy task. Interview with Lili golestan.<\/p>\n\n\n\n

> Toka Maleki<\/p>\n\n\n\n

172<\/p>\n\n\n\n

All artists in this city have a chance to exhibit their art. Interview with Rozita Sharaf Jahan<\/p>\n\n\n\n

> Elnaz Vahid Fathi<\/p>\n\n\n\n

178<\/p>\n\n\n\n

Exhibit opening is like a wedding for an artist. Interview with Orkideh Doroudi<\/p>\n\n\n\n

> Raheleh Amir Bahrami<\/p>\n\n\n\n

186<\/p>\n\n\n\n

Sweet life of mr. and Mrs. gallery goer<\/p>\n\n\n\n

> Shahrouz Nazari<\/p>\n\n\n\n

190<\/p>\n\n\n\n

Why do we need goalkeepers<\/p>\n\n\n\n

> Javid Ramezani<\/p>\n\n\n\n

194<\/p>\n\n\n\n

I struggle with globalizing region art<\/p>\n\n\n\n

> Hossein Mohseni<\/p>\n\n\n\n

202<\/p>\n\n\n\n

Galley is not just a wall<\/p>\n\n\n\n

> Farzaneh Ghobadi<\/p>\n\n\n\n

210<\/p>\n\n\n\n

Ten advice for managing a gallery or why you shouldn\u2019t found a gallery<\/p>\n\n\n\n

> Behzad Hatam<\/p>\n\n\n\n

216<\/p>\n\n\n\n

Artist and the gallery manager<\/p>\n\n\n\n

> Maryam Mohed<\/p>\n\n\n\n

218<\/p>\n\n\n\n

Few ways to get in a gallery<\/p>\n\n\n\n

> Taktom Farmanfarmaei<\/p>\n\n\n\n

220<\/p>\n\n\n\n

Advice to the young artist<\/p>\n\n\n\n

> Kambiz Sabri<\/p>\n\n\n\n

222<\/p>\n\n\n\n

All galleries are bad. All galleries are good<\/p>\n\n\n\n

> Saeed Rafi\u2019ei Monfared<\/p>\n\n\n\n

224<\/p>\n\n\n\n

Working in a gallery<\/p>\n\n\n\n

> Shahid safari<\/p>\n\n\n\n

226<\/p>\n\n\n\n

New millenia investors of art market<\/p>\n\n\n\n

> Maryam Roshanfekr, Fatemeh Rezaei<\/p>\n\n\n\n

234<\/p>\n\n\n\n

Gallery managers as high monks<\/p>\n\n\n\n

> Mehdi Ghadernejad Hamamian<\/p>\n\n\n\n

240<\/p>\n\n\n\n

Our most important recreation activity in Iran<\/p>\n\n\n\n

> Mahsa Beiki, Keijo Norvanto, Philippe Thi\u00e9baud<\/p>\n\n\n\n

Human presence is prosperity<\/p>\n\n\n\n

> banoosheh Farhat, Shafagh Motovali<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

\u00a0Gallery and gallery browsing The title of the ninth issue of Angah magazine, which has an image of Masoumeh Seyhoun by Iman Safaei on the cover, is “Gallery ; The Effective Obsolete,” which deals with galleries and gallery browsing. Masoumeh Seyhoun, also known as Masoumeh Noushin, was an Iranian painter, visual artist, and the founder […]<\/p>\n","protected":false},"author":1,"featured_media":2985,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,21,22,6],"_links":{"self":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2776"}],"collection":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/comments?post=2776"}],"version-history":[{"count":1,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2776\/revisions"}],"predecessor-version":[{"id":2999,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2776\/revisions\/2999"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/media\/2985"}],"wp:attachment":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/media?parent=2776"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/categories?post=2776"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/tags?post=2776"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}