• Established by Dastan founder Hormoz Hematian, Zaal opens its doors to visitors this September at its gallery space in Toronto, Canada with a selection of artworks from its collection. Founding Dastan in 2012 in Tehran, Iran and having hosted exhibitions all around the globe over the course of more than a decade, Hematian expands into North America to present exhibitions of the cutting edge of Iranian contemporary art and promote the artistic practices of the country’s vibrant art scene internationally. Having operated as an international firm specializing in exhibitions and art management since 2017, Zaal’s physical venue in Toronto is scheduled to feature a rich program with dozens of events and exhibitions planned for 2024 and beyond.

    For its initial opening, Zaal will present works that were previously presented at several international exhibitions and art fairs, including two editions of Frieze Los Angeles, Frieze New York and Kour Pour Guest House in Inglewood. The opening exhibition will include artworks by Farah Ossouli, Hoda Kashiha, Mamali Shafahi, Peybak, the duo Abbas Shahsavar and Maryam Ayeen, Atefeh Majidi Nezhad, Mohammad Hossein Gholamzadeh, and Kolsum Salehi.

    A pioneering figure in contemporary Iranian painting who has been pushing the boundaries of traditional Persian Miniature for decades, two of Farah Ossouli’s works from her “Wounded Virtue” series are part of the show. In this revered series, the artist combines intricate gouache paintings with poetry, taz’hib illuminations and subject matters that explores gender, media, identity, war and politics. The exhibition also includes a recent 12-panel painting installation created in watercolor, gouache and acrylic on paper by the duo of Abbas Shahsavar and Maryam Ayeen. The duo’s collaborative work explores new perspectives and territories in Miniature, combining traditional technique with modern material, imagery and contemporary ideas.

    Three canvases by Hoda Kashiha, one of the rising figures among the younger generation of Iranian artists, along with a sculpture and two three-dimensional reliefs by celebrated multidisciplinary artist Mamali Shafahi present the viewer with an aura of fantasy and fiction. In Kashiha’s work, materiality is transformed within the confines of a canvas: delineations of forms and subjects become edges where time and space become temporarily alienated to accommodate multiple narratives simultaneously. In this sense, her paintings simultaneously neglect and emphasize the physicality of painting while alluding to digital media and virtual ‘material.’ Shafahi’s reliefs appear like living organisms contemplating primal fears, panic, loss, and redemption. His work imagines uncanny consciousnesses that breathe, gaze, and appear to react to their surroundings.

    Atefeh Majidi Nezhad’s work presents her studies on Iranian architecture. Her work explores perspective, depth, dimensionality, separation of spaces and subtle transitions in structures from multiple era’s of the country’s architectural heritage with a special focus on the Safavid Period. Kolsum Salehi creates a ‘lost’ history and appropriates it into her pieces, creating fragmented narratives of a now-inaccessible time and space. Her unique technique of combining papier-mâché and monotype on paper gives a rusty texture and appearance to her pieces, resembling both historical artifacts and fossils.

    Mohammad Hossein Gholamzadeh studies human behavior, its relation to objects and tools it creates, desire, pleasure and the paradoxical nature of self-awareness within the contemporary world. His “Drowning” (2023) presents a figure sitting on a pedestal, resembling a lifeguard, with an orange-colored swimming tube around its neck. Gholamzadeh’s sculptures often make allusions to art history while hinting at more contemporary imagery and media representations.

  • Mohammad Hossein Gholamzadeh, Drowning, 2023

    Mohammad Hossein Gholamzadeh

    Drowning, 2023
    Mohammad Hossein Gholamzadeh (b. 1986, Tehran, Iran) holds a BFA in Sculpture.
    Along with a desire for technical perfections in art creation, he has always been interested in the paradoxical nature of the relationships between objects and their usages. Using the same perspective, he has introduced other elements into his work to create a contemporary context for showing both the differences and similarities between historical and contemporary events. Most of Gholamzadeh's sculptures are figurative works possessing different objects and clothing. These elements often contain allusions to history, traits, lifestyles and ideas.
  • Hoda Kashiha, Overview

    Hoda Kashiha

    Overview
    Hoda Kashiha (b. 1986, Tehran, Iran) is a graduate of Painting from the University of Tehran (BA, 2009) and Boston University (MFA, 2014). She works and lives in Tehran.

    Works of Hoda Kashiha bounce between everyday life and the imagery she sets out to produce artworks. The artist meets with difficult moments of her personal and political life through non-linear narrative, dark humor, and mythological, religious, and modern icons. She composes her fragmented narratives by drawing from various references – "from Malevich to Instagram.” Kashiha uses digital tools to draw work and then construct it on canvas, layer upon layer. Nevertheless, this way of fragmenting motifs deals with major contemporary subjects such as persisting gender relations. The body plays a vital role in many of the artist’s works. Through the body, she relates to the world, becomes aware of her desires, and constructs an identity. She projects her personal life and the external world by drawing the body. Being interested in man and woman interaction, she uses various tools (airbrush, i-Pad, stencil) and subjects (body fragments, geometric abstraction) that affect an ambiguity that separates traditional definitions of male-female, resulting in gender fluidity.

    Hoda Kashiha solo exhibitions: "I'm Here, I'm not Here" (Passerelle Centre d’art contemporain, Brest, France, 2022) | "In Appreciation of Blinking", Parallel Circuit, Tehran (2021) | ˝Dear St. Agatha I am witness of your tears in the land of tulips˝ (Galerie Nathalie Obadia, Brussels, 2020) | ˝Crashed into The Sun˝ (Etemad Gallery, Tehran, 2018) | ˝I Scream Louder Than You˝ (Commonwealth Gallery, Boston, MA, 2014). Hoda Kashiha group participations: "Soft Edge of the Blade" (Frieze Cork Street, London, 2022) | FIAC (Paris, 2021) | "City Prince/sses" (Palais De Tokyo, Paris, 2019) | "The Oil of Pardis", (Balice Hertling Gallery, Paris, 2018) | "Human Condition" (Los Angeles Metropolitan Medical Center, Los Angeles, 2016) | "New Narrative" (Storefront Ten Eyck, Brooklyn, NY, 2015) | New Talent (Alpha Gallery, Boston, MA, 2014) | "Oppositional Realities" (Emerson College Gallery, Boston, MA, 2014) | Sherman Gallery (Boston, MA, 2013) | Boston Young Contemporaries (808 Gallery, Boston, MA, 2013) | "Big Red Shindig" (Mills Gallery, Boston, 2013). She received the Esther B. and Albert S. Kahn Award | Howard Gotlieb Archival Research Center Rare Book Prize | Iranian Association of Boston Scholarship | Boston University Women’s Council Scholarship. She was a fellow at MacDowell Colony, Virginia Center for Creative Arts, and received the Joan Mitchell Foundation Grant at Vermont Studio Center. 

  • Farah Ossouli

    • Farah Ossouli, Good and Evil, 2015
      Farah Ossouli, Good and Evil, 2015
    • Farah Ossouli, Seven Thousand Years, 2015
      Farah Ossouli, Seven Thousand Years, 2015
    • Farah Ossouli, Sweet and Bitter, 2014
      Farah Ossouli, Sweet and Bitter, 2014
  • Farah Ossouli, 1953 Zanjan, Iran

    Farah Ossouli

    1953 Zanjan, Iran
    Farah Ossouli (b. 1953, Zanjan, Iran) has achieved a unique fusion of techniques, materials, themes, and narrations during her forty-year career as an artist. She has been a pioneer in introducing contemporary themes and ideas into miniature painting. Her works have been presented in numerous solo and group exhibitions in Iran and abroad and are held at major public collections including Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; Devi Art Foundation, New Delhi; Tropen Museum, Amsterdam; Ludwig Museum, Koblenz, Germany, and Tehran Museum of Contemporary Art, Tehran, Iran.
  • Peybak, Overview
    Portrait of the Artist

    Peybak

    Overview

    Peybak‭ (‬Peyman Barabadi and Babak Alebrahim Dehkordi‭, ‬both b‭. ‬1984‭, ‬Tehran‭, ‬Iran‭) ‬is the acronym of two artists who have been working together as a‭ "‬unified duo‭" ‬since December 20‭, ‬2001‭. ‬Peybak is mostly well-known for depicting imaginative creatures in a‭ ‬dystopian reverse void‭.‬‮ ‬The duo work on every piece together‭, ‬each taking on different parts until they both declare it finished‭. ‬Peybak's works are inspired by Persian poetry‭, ‬mythology‭, ‬and miniature painting‭.‬

    Peybak solo shows with Dastan Gallery: "Xa La" ( +2 Gallery, 2021) | "Zahouk" (Dastan's Basement, 2018) | "Abrakan Éclat" (Galerie GP & N Vallois, Paris, France, 2017) | "Abrakan" (+2 Gallery, 2017) | "Abrakan (Naissance)" (Dastan’s Basement, 2016) | "Abrakan (Naissance)" (Galerie GP & N Vallois, 2015) | "Abrakan's Room" (Dastan's Basement, 2015). Peybak group shows: "Jungle Fever" (Galerie GP & N Vallois. 33 rue de Seine. Paris, 2019) | "Tu dois changer ta vie !." (Tri Postal, Lille, France, 2015) | "Year in Review" (A Dastan:Outside Project. Sam Art. Tehran, 2015) | "Monster’s Room" (Bleu Brut, Domaine Vranken Pommery, Reims, France, 2014) | "The Mine" (Dubai, UAE, 2014) | "Must Be Destroyed" (Sin Gallery, Tehran, 2013). Peybak has participated in the following art fairs: "Mossavar-Nameh" (Art Dubai. Dastan's Basement Booth. Dubai, 2018) | Sydney Contemporary (Dastan's Basement Booth, Sydney, 2017) | "The Sun Rises from the West" (Art Dubai, Dastan’s Basement Booth, 2016) | The Armory Show (Galerie Georges-Philippe & Nathalie Vallois Booth, New York, 2016) | FIAC (Grand Palais, Galerie Georges-Philippe & Nathalie Vallois Booth, Paris, 2016) | Abu Dhabi Art Fair (Abu Dhabi, 2015) | Contemporary Istanbul (Istanbul, 2015) | FIAC (Grand Palais, Galerie Georges-Philippe & Nathalie Vallois. Paris, 2015).

  • Peybak

    • Peybak, Abrakan 16, 2022
      Peybak, Abrakan 16, 2022
    • Peybak, Abrakan 04, 2022
      Peybak, Abrakan 04, 2022
    • Peybak, Abrakan 15, 2022
      Peybak, Abrakan 15, 2022
    • Peybak, Abrakan 07, 2022
      Peybak, Abrakan 07, 2022
  • Installation Views

  • Atefeh Majidi Nezhad, Synchronization, 2020

    Atefeh Majidi Nezhad

    Overview
    Atefeh Majidi Nezhad lives and works in Tehran-Iran as an artist since 2006. She was born in Isfahan. an artistic city bursting with creativity. She studied at Isfahan Art University. gained a BFA. and continued on to the Faculty of Fine Arts at Tehran University where she earned an MFA in painting. Between 2006 and 2017. Atefeh has participated in different group exhibitions and tutored. both drawing and painting. Recently. she has focused on collections of sketches reflects the many perspectives of the architectural spaces. sharing in the point of view of the inner monument and the moments within it. This literal tension is the reflection of conceptual spectrum between darkness of chaos and lightness of space.
  • Maryam Ayeen (b.1985, Bojnoord, Iran) and Abbas Shahsavar (b.1983, Kermanshah, Iran) have been painting together for twelve years. Ayeen holds a BA in Painting from Ferdowsi University, Mashhad, Iran. Shahsavar holds an MA in Illustration (University of Tehran) and a BA in Painting (Ferdowsi University, Mashhad). Their work follows an old tradition in Persian miniature painting. They live, teach, and paint in the city of Mashhad, Iran.
    Works of Maryam Ayeen and Abbas Shahsavar deals with middle class life. They use their own personalities as model to explore the issues that take place in their lives. Their painting style is informed by the miniature tradition of Persian painting, even thought their subject matter is not.
    Artist's CV
  • Maryam Ayeen and Abbas Shahsavar, Do You Feel The Pain?, 2023
    Abbas Shahsavar and Maryam Ayin
    Do You Feel The Pain?, 2023
    Watercolor, gouach and acrylic on paper
    Each piece:
    29.5 x 19 cm

    Abbas Shahsavar & Maryam Ayeen

    Do You Feel The Pain?, 2023

    Maryam Ayeen (b.1985, Bojnoord, Iran) and Abbas Shahsavar (b.1983, Kermanshah, Iran) have been painting together for twelve years. Ayeen holds a BA in Painting from Ferdowsi University, Mashhad, Iran. Shahsavar holds an MA in Illustration (University of Tehran) and a BA in Painting (Ferdowsi University, Mashhad). Their work follows an old tradition in Persian miniature painting. They live, teach, and paint in the city of Mashhad, Iran. Works of Maryam Ayeen and Abbas Shahsavar deal with middle-class life. They use their own personalities as a model to explore the issues that take place in their lives. Their painting style is informed by the miniature tradition of Persian painting, even though their subject matter is not.

    The injuries that the human body sees, as a result of external object collision, leave the mind and psyche as it recovers in time, but the anxiety about the misfortune, as well as the suspicion of being vulnerable to injuries, can be with them for years, even to the end of their life. What is this curiousness about “what will happen to our body at the time of the accident?”, is itself a condition that anxious individuals will encounter.
    This display is a result of the anxiety and insecurity of the people, in the cities and streets of Iran.

    • Mamali Shafahi, Deep Throats 02, 2022
      Mamali Shafahi, Deep Throats 02, 2022
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    • Mamali Shafahi, Deep Throats 01, 2022
      Mamali Shafahi, Deep Throats 01, 2022
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  • Mamali Shafahi, Monkey Fever 01, 2022

    Mamali Shafahi

    Monkey Fever 01, 2022

    In Shafahi’s “Deep Throat…” we run into gorillas and snakes, primal fears that summon instinctive reactions. Perhaps they make us cringe. What keeps this fear in place, or acts as an agent of distantiation, is the veneer coating of these sculptures. Glittery, matted, and crude, these flocked epoxy sculptures have all the hallmarks of modern fascination with fabrication. They provide us with the irreality of artifice.

    For Mamali Shafahi life is a magic that hides its charm and he is the instrument by which this magic incarnates. This may be why his works are suffused with an electric energy. And this is perhaps the reason a cerebral outside observer can say plenty about them – the way they link the archaic with the contemporary, their power to lay the groundwork for a new mythological ethics, their ability to connect with their viewers on a primal level of understanding.