Sareban gallery began its work by exhibiting part of its owner's personal collection, Mohammad Sarebannejad, one of the most influential collectors in the recent years, in 2010. It was later moved to its new spot after 6 constant years in autumn 2016. By changing its place, Sareban gallery began to establish its novel approaches.
Considering the plurality of the galleries around the country and specifically in the capital, reaching to a reliable status, specific and distinguished features seems to be necessary for each and every gallery. During the recent two years, therefore, we attempted to create a (behaviour) pattern for Sareban gallery.
Sareban gallery has an innate characteristic in comparison to other currently active galleries in the country; the founder/owner of the gallery, regarding his specialised attitude towards art and his current residency abroad, has altered the classic style of owner-manager, which used to be a routine style of managing a gallery, to more of a modern style. The colleagues of Sareban team have accepted a responsibility according to their specialties and capabilities.
As of other features of this gallery, is the approach of selecting artists, artistic styles, genres and gallery’s specialized media. Many of our choices in the new era was based on the “the ex-generation ( bd in 50/60s) artists”. Our definition from “the middle-generation” includes painter and sculptors whose artistic maturity and professional activity were during 1978 to 1997. According to the analysis, the outstanding artists of the previous generation were supported, commercialized and established in the (art) market through cultural and private and governmental institutions related to Farah and Kamran Diba’s major office.
The recent, younger generation also has had the opportunity to be introduced to and/or practice in the art-economic atmosphere and the utility and privileges of the art directors’cultural approaches of at the time of reformists. Therefore, a large group of artists who are positioned in the middle of these two groups have had few appropriate supporters and “art-goal-keepers” and profound opportunities to enter new national and international realms and respectively they were less quoted in the art market. In this regard, the main concern and concentration of Sareban gallery in this new era, is attempting to introduce and prefacing the economic establishment of this group who, despite of their worthiness, had little luck to be present at higher levels of the market.
To meet such aim, we do our best to create a more focused, constant and integrated connection between artists and art patronages so both would make the most and get fulfilled at the same time. Also, Sareban gallery tries hard to create and provide a context for the artists to present themselves in the national and international events.
Another matter which has been taken care of, is determining the general style and artistic genres which could be called as “classical modernism” and painting and sculpting approaches towards sublime artists expression. Disregarding arguments about “generation”(s), many of our choices in the previous 18 exhibitions presented in this book, have met the modernist aesthetics factors and have all a considerable formalist, expressive and technical quality.
Another major aspect of Sareban gallery in the recent era is regarding the exhibitions to be held in a curatorial style. Among different methods and approaches of curatorship, currently operating in its professional context around the world, we have reached to an appropriated method, compromised with conditions of art and artists in Iran which would let the team of the gallery accompany and support the artist during the process of creation and accomplishment of the artworks. This, empowers the relationship between the artist and gallery manager through an attentive curator during the mutual coordination which contributes to preserve the methodological frames of the artists and the gallery, and makes it possible to achieve the best visual, artistic and economic result for each exhibition. Although we have just stepped into this path and applied trial and error at some levels, we are content and hopeful because of the different successful projects we have had in cooperating with a curator in forming, installing and presenting an exhibition which would absolutely give us a lot of motivations.
Also, we have tried our best to define and consider a standard quality in the field of professional services; creating a visual identity, documentation: professional photography of the artworks, publishing a favorable catalogue, editing the statement and providing a fluent English translation, appropriate cooperation and reflection press and creating communicational networks with the audiences through gallery’s specific media and specialized art-related networks and considering professional ethics, which hope that artists, collectors, purchasers and audiences were satisfied with.
Sareban Gallery 2018
No. 130 Hoveyzeh st. Tehran Iran
tell: ++98 21 8850 42 26
fax: ++98 21 8850 42 29