SEYHOUN ART GALLERY
Seyhoun Art Gallery was founded in 1966 in Tehran by Massoumeh Noushin Seyhoun, herself a painter whose modern works were featured in several events in Iran and abroad.
Indeed the most long-lived art gallery in Iran, Seyhoun Art Gallery has presented and promoted virtually all the leading figures in contemporary Iranian Art. It pursues a far-reaching roster of activities and has held more than 2000 painting, sculpture, photography and graphic art exhibitions to date. In addition, Seyhoun is also involved in works of installation art, conceptual art, video art and digital art.
Seyhoun Art Gallery’s central place amongst Iran’s galleries is due to its pioneering role in support of modern Iranian art and its promotion of national talents. It is also due to its contribution to the profitability of contemporary Iranian art, its participation in artistic policy-making and art fairs, its role in improving Iran’s artistic relations with other countries and its expertise and pricing services regarding classical and modern Iranian art.
Seyhoun Art Gallery at Teer Art Week 2019
Listen! The sound of Pouya’s artworks has become louder this time. Alireza Pouya’s recent paintings are neither aggressive nor modified; rather they hold the same point of view they had before, maybe even a little closer to the viewers. Through a sensational encounter, the underlying layers of his artworks are tied up in an abstract expression of emotional states, and the features of the more superficial layers of his works are objective reviews of his challenges with his surroundings that place the mind in direct confrontation with the subject. In the contrast between abstraction and objectivity, he selects the moderate limitation and stands right there, on a level of thought, which is composed of his experiences of his immediate environment; somewhere in between doubt and certainty. The audacity of an artist in coloring and processing the ebullient and sensational colors are thought to be an introduction to bedding and clever establishment, thus to achieve more familiar objective content overlays in the minds of the viewers. He does not speak explicitly, as if he first starts to degust the words and then, slowly and without compliments, he pours it all on the canvas; a shock of some sort, which is felt to be prevailing his artworks. He picks the topic of his works up from proximity of the viewers, the same way that his collage-likes are chosen by him from such ambience (…).