Iranian artist redefines calligraphy through tradition and innovation

 An Interview

 Korosh Ghazimorad’s work embodies a unique synergy of historical reverence and innovative spirit 

Korosh Ghazimorad, ‘Breathing with Nature,’ 2024. Mixed media on canvas, 120 x 80 cm (47 x 31 in). Photo courtesy of the artist and Global Voices.

by Omid Memarian, Global Voices

In contemporary Iranian art, Korosh Ghazimorad, 55, is a leading artist known for his unique approach to blending traditional calligraphy with modern artistic expressions.

With a degree in wood industry and paper engineering and certifications from Iran’s Calligraphy Association, he has spent decades merging established techniques with innovative forms. 

His work embodies a unique synergy of historical reverence and innovative spirit, as he masterfully blends classical styles with contemporary forms, most notably through the development of the Sarir calligraphy style. As a seasoned educator, he has imparted his knowledge in calligraphy and typography for over 25 years at esteemed institutions, nurturing the next generation of artists.

A commitment to graphic design and art direction marks Ghazimorad’s professional journey. He has played significant roles in various high-circulation newspapers and in curating exhibitions for renowned Iranian artists. His artistic influence extends beyond national borders, with notable works in prestigious public collections, such as the Museum Funf Kontinente in Munich, Germany.

As a board member of the Iranian Graphic Designers’ Association and a jury member for journalism competitions, he has consistently championed originality and artistic design, reinforcing his dedication to elevating visual arts standards in Iran and beyond.

In an interview with Global Voices, Ghazimorad shares insights into his artistic philosophy, exploring the themes of cultural identity and the sensory experience of letters in his work. 

Ali Banisadr’s Fractious Paintings Are a Reflection of Our Turbulent Times

Artnet spoke to the Iran-born artist ahead of his first solo show in Asia at Perrotin Shanghai.

The Fortune Teller, 2024. Courtesy of the artist, Perrotin and Artnet.

by Cathy Fan, Artnet

The moment I stepped into Ali Banisadr’s studio, I was transported from the sounds of cicadas and the heatwave of a New York midsummer into a tranquil but mysterious world. The spacious, partially skylit, white-walled studio was filled with open books, cut-out references from Old Master paintings and frescos, and, of course, the large-scale canvases he’s been working on.

Banisadr’s studio is located in a quiet neighborhood in Brooklyn, where he lives with his family. “I never had about 70 feet of space to step back from and look at the painting from far away, and make decisions,” the 48-year-old Iran-born artist said, explaining how having more physical space has changed the scale of his canvases. “Since I’ve been working here, the work has changed because I’m able to step back and see the whole composition and the details.”

Leila Zelli foregrounds Iranian women’s protest movement at the Toronto Biennial

The artist’s videos and installations reinterpret acts of resistance staged in the streets and on social media

Leila Zelli, Un chant peut traverser l'océan (A chant can cross the ocean), 2023-present. On view at 32 Lisgar as part of the Toronto Biennial of Art, 2024. Co-presented with MOMENTA Biennale de l’image with the support of the Conseil des arts et des lettres du Québec. Photography: Toni Hafkenscheid. Courtesy The Art Newspaper.

by Hadani Ditmars, The Art Newspaper

The day that Iranian Canadian artist Leila Zelli installed her works at the Toronto Biennial of Art (until 1 December) was the two-year anniversary of the death of Mahsa Amini. “It was a coincidence,” the Montreal-based Zelli tells The Art Newspaper, “or was it?”

The work that Zelli calls “stamp art” is, like much of her recent oeuvre, inspired by the Women Life Freedom movement sparked in Iran and around the world by Amini’s death. As she created the temporary installation on the walls of 32 Lisgar St and Park—one of the main hubs of this year’s Toronto Biennial, whose title is Precarious Joys—she says, “It was moving for me, a mix of joy and frustration. But ultimately, I felt it was an act of resistance.”

Her installation at the biennial is part of an ongoing series called A Chant Can Cross the Ocean, featuring ink and acrylic prints of women removing their headscarves based on social media images and footage of protests, as well as birds as symbols freedom. Painted over two walls connected by a vertical joint, the latest iteration of the series is designed to be walked through, requiring the viewer’s participation. As one passes through the work, the crowds of protesters move with the viewer, who automatically enters the scene.