Aria Eghbal: “I don’t have a final destination to reach; what interests me is wandering passionately along the journey”
Mahsan: You founded Aria Art Gallery nearly 30 years ago. How did this journey begin for you?
Aria: I founded Aria Art Gallery 31 years ago, and it has been 21 years since the Aria School of Visual Arts was established.
When I was preparing to take the entrance exam and go to university to study Political Science, the Cultural Revolution took place, and the universities were closed. Consequently, I pursued my passion for art and started painting at Naghsh Hall.
After three years, when university classes began to reopen, I entered university as a painting student. From the beginning of the second semester, my friends and I rented a studio in the Deh Vanak neighbourhood. We started working together, and art became very important to us. After some years, following the passing of my father and sister, we moved the studio to our family home, where I was born and grew up—the current building of Aria Gallery. We worked in that space for a couple of years, and after my mother’s death, at the suggestion of Ruyin Pakbaz and my husband, we turned the studio into a gallery.
Being a gallerist has never been something I considered as my job; I never thought about it when I was young, and it was never my dream job, but due to the circumstances, I entered this field.
Mahsan: Could you describe the art scene in Iran 30 years ago? There were fewer galleries at that time compared to now. How has the Iranian art world evolved since then, and what role did your gallery play in this transformation?
Aria: In the early years, running a gallery was a very interesting job. At that time, there weren’t many galleries, and I was a pioneer in this field compared to the few other galleries in Tehran, especially given my younger age. Our gallery hosted many prestigious exhibitions. Over time, the number of galleries in Tehran increased, and the role of a gallerist became recognized as a profession. Additionally, more universities began to offer arts programs, including Azad University and several other institutions in various cities.
Unfortunately, there were still too few qualified professors in this field, which affected the quality of the artwork submitted by young artists. This decline in educational standards compared to when I was studying made me concerned. Young students were not receiving the quality of education they needed, leading me to envision a different kind of school—a specialized art school focusing on Visual Arts that didn’t rely on just one teacher. This vision led to the establishment of Aria School of Visual Arts. For years, the gallery’s mission has been connected to an educational perspective and it’s not a space solely dedicated to exhibiting artists.
Today, the influence of Aria School is evident in almost every gallery in Tehran, which is a source of great fulfillment for me. Our school’s commitment to high-quality education, provided by young teachers with diverse backgrounds and specialties, has attracted the interest of top galleries, eager to work with artists who emerge from our program.
In my opinion, one of the main problems we face, not only in the art world but in all aspects of life, is the lack of solid steps to climb until we reach a firm foundation from which we can plan for long-term goals. Therefore, I believe we must focus on all aspects and fields of art, especially painting, so that the young generation can plan their future artistic careers with knowledge and education.
Apart from the mission of our gallery and school that is teaching, promoting, and exhibiting contemporary art, my main specialty is Iranian Modern Art and because of the importance of the modernist wave in Iran art, we have held many exhibitions titled An Overview of Iranian Modern Art in which the works of Sirak Melkonian, Bahman Mohasses, Behjat Sadr, Garnik Der Hakupian and Gholam Hossein Nami were exhibited. These exhibitions with the intention of introducing and promoting the influential Iranian Modernists to the international art scene, were held all around the world and in art fairs.
Folder Series Exhibition: Second Folder – Shariati, Aria Art Gallery, Tehran
Folder Series Exhibition: Second Folder – Shariati, Aria Art Gallery, Tehran
Mahsan: You are an established artist yourself. Please tell us about the first artwork that really struck you in your growing up days? What did you like about it and why? What are the projects you are working on these days?
Aria: Throughout the years, I have continued my career as a painter, even though my other responsibilities as a gallerist, mother, and involvement with the school have slowed me down. I’ve always considered myself a painter and an artist. I’ve been working on a project for about three or four years, and it will take three or four more years to reach its conclusion and achieve results. Apart from painting, it’s a multimedia project that incorporates various narratives through writing, visuals, sound, and video simultaneously.
Many different works of art have influenced me since I was young, and I can’t single out one that has specifically impacted my life. From each period and movement, I can point to works that have profoundly influenced me, opening new doors, stirring my heart, and captivating me for days, weeks, or even years. In fact, I can highlight almost every artist who has produced significant work. For example, artists like Courbet, Van Gogh, Rauschenberg, and various Russian artists from different periods have profoundly impacted me. The common thread for me is that, regardless of the period or country, if an artist is genuine and doesn’t pretend, their work has been incredibly influential in shaping my perspective.
Additionally, I am deeply inspired by Iranian artists such as Bahman Mohassess and Behjat Sadr. I also have a particular fascination with reverse glass paintings, especially those from Iran and Yugoslavia.
I wrote my thesis on “coffee-house painting,” a subject that has had a profound influence on me. We are now collaborating with friends to develop a comprehensive book on “coffee-house painting.”
Aria Eghbal, Untitiled, mixed media
Aria Eghbal, Untitiled, mixed media
Mahsan: What other cultural activities are taking place in your space?
Aria: Our space extends beyond just a gallery and art school; we also had a residency program that is currently on hold due to the ongoing situation. However, for years, our residency program was highly active, accommodating both domestic and international artists. We hosted artists from Iran, other Middle Eastern countries, and Europe. In addition to creating art and holding exhibitions, we had open studios, artist talks, round tables, and conversations. Those were vibrant and fruitful days, filled with creativity and exchange.
We also hold art workshops, such as the sculpture workshop, with the fourth session conducted a few months ago in Siahkal by Mohammad Hossein Emad. These workshops have proven to be very beneficial, as all the young sculptors working with us have participated in at least one of them. Additionally, we’ve organized painting and documentary-making workshops. One was led by Behrang Samadzadegan and Hamid Severi in Deylaman, and another by Behrang Samadzadegan in Anarak in Nain, titled Painting with, on Paper. It was an amazing experience as I was present throughout the two weeks as both an organizer and a participant. It was also very valuable since many of the artists who participated in that workshop are very active in today’s art scene.
Mahsan: As a curator of a gallery, do you only work with a certain genre of work? If yes, then what is it?
Aria: I’m naturally interested in different genres. I can’t say that I’m only interested in contemporary art or only in modern art. I’m more drawn to movements where good art is being created. However, as I’ve mentioned before, my specialty is modern art, while with contemporary art, I’m exploring and learning alongside others.
Mahsan: Given your extensive experience in this field, what do you think is the most important factor in setting up a gallery space?
Aria: I can’t pinpoint just one specific thing when it comes to setting up a gallery. There are several important factors that people should follow if they want to establish a gallery, but perhaps the most important is a genuine passion for art. This career is very challenging, despite seeming easy, and it often involves facing discouraging days. Therefore, anyone involved in cultural activities must have a deep passion and belief in art to get through the tough times and continue, so the job doesn’t become routine.
One of the things I focus on is never letting the gallery’s activities become repetitive for myself, those around me, or the visitors. If you ask me whether being a gallerist is my favourite job, I will tell you “No.” If you ask me whether organizing art classes is my favourite job, I will tell you “No.” If you ask me if having an artist residency is my favourite job, the answer will definitely be “No.” If you ask me if organizing art workshops is what I’ve always dreamt of and want to continue for the rest of my life, I will tell you “No.” But if you ask me what interests me most in terms of social and cultural activities, I will definitely tell you “all of them together.” If the foundation of any one of these becomes fragile, continuing with the rest becomes impossible for me.
I don’t have a final destination to reach; what interests me is wandering passionately along the journey I’m on, being mindful of my surroundings, picking seeds, and planting them as I go. So, if you ask me where my destination is, I will tell you, “I don’t know.” But I can say that I love this journey—continuing my own art as the artist Aria Eghbal, and walking alongside others, opening paths where we can all find happiness, learn from one another, and teach each other. I can say that I’m satisfied knowing that these four floors of our space are dedicated to cultural activities. In every corner, you can clearly feel this atmosphere, and others, like me, feel that this is their home. My colleagues, the artists, the visitors, and our teachers all enter this space with love.
Mahsan: How closely do you work with the artists at your gallery? What is your selection process?
Aria: If you want to know how I work with artists in terms of contracts, I’ve never signed one with any of them. I don’t want to confine myself or others in a restrictive agreement, and I don’t like to refer to them as “my” artists. Many of them have been here or worked with me for long periods, but that doesn’t mean we’re bound by this path. We’re free to negotiate and decide when to stop working together. This journey began many years ago with certain artists, but new artists are always welcome in our space.
Mahsan: The art scene in Tehran is becoming more vibrant, with more players entering the space. What are your thoughts on the future of Tehran’s art scene?
Aria: I can’t say much about the future of Tehran’s or, more broadly, Iran’s art scene. I can only say that there is a path we’re all on, and I’m one of the people on this journey. I hope that no one expects a specific outcome for this scene, as doing so would constrain us all. For example, if I were to predict a fruitful economic future, it would limit everyone, including myself. Instead, I can only hope that all the participants in this scene maintain an open-minded perspective toward our surroundings, art, and our lives—keeping in mind the context of our contemporary times in Iran and the world. This way, we can create works that resonate with the atmosphere of our lives and times, allowing me, as a gallerist, to exhibit these meaningful works in this space.