The interview was conducted in May 2020 but is published now ahead of the Armenia Art Fair Online Edition by Lizzy Vartanian.

Harvard and Oxford educated, Roxane Zand DL, began a career in museum and arts administration after three years in UNESCO. She left Iran after the Revolution, and resumed professional activities in London where she was an Executive Officer of the Iran Heritage Foundation before moving to Asia House as their Special Projects Director. She is Arts Editor of the Ismaili Institute’s Encyclopaedia Islamica, and has worked freelance with the British Museum and elsewhere in the art world before joining Sothebys in 2006 as its Director for the Middle East and Gulf, subsequently becoming Deputy Chairman and Senior Director. Currently she sits on the Advisory Council of the Pictet Art Prize and has contributed to a number of publications on Arab and Iranian artists. She has been recognized by the Asian Women of Achievement Awards for her services to Middle East arts and culture.

Can you tell us a little about your background?

My life started in the museum world. I’m from Iran myself originally, and I was the first employee at the Tehran Museum of Contemporary Art and helped set it up. I’m very passionate about seeing the cultural growth in countries such as ours because the global art world is very dominant in western art, and it’s always wonderful to see fresh perspectives.

Your work has focused on the Middle East region where Armenians have had a big impact in the arts and cultural scene, especially in Lebanon and Iran. How do you think Armenians have made their presence known in that part of the world?

I think Armenians are one of the minorities that have been extremely good at integrating. The Armenians in Iran and Lebanon, although they had a sense of community, they integrated well and functioned as part of the mainstream. Take an artist like Paul Guiragossian, of course people know that he’s ethnically Armenian, but he’s very much a Lebanese artist, and he’s been very much part of the artistic canon that belongs to the Arab modernists. I think Armenian artists have integrated very well. In Iran there was Marcos Grigorian, Dawood ,  so there are quite a few well-respected artists across the region that I can think of that were of Armenian origin. 

Do you think the Caucasus region has potential as an emerging art market?

If I had a glass ball and I could predict like that, I would be a very rich woman. Unfortunately, it is very difficult to predict, particularly in light of recent circumstances. We’ve had a series of very big economic events like Brexit and Trump’s policies. We have these major shifts in the world’s art market. As we see from the coronavirus situation, everything is interconnected these days. It’s a fallacy to think that yes, you can have the spread of a disease in one corner and Brexit in another, and nobody else is going to be affected. It does affect everyone in all different kinds of sectors. The art market is obviously connected transactionally to the economic situation. Difficulties happening in the UK have implications for the presentation of Armenian artists in art fairs as well as the travel of collectors to Armenia for the art fair. So, all of these things have implications because of the global way we live today. So I think yes, in that perspective, I think the world, certainly the art world, constantly welcomes newcomers to the scene. There’s curiosity, interest and appeal for collectors to find new areas, new cultures, new expressions, of course, there’s a huge interest in that. The art world and what art represents is all about journeys and discovery and the understanding of cultures, so yes, there’s a real interest and space for armenian art and an art fair to grow. 

And what do you think given the current situation regarding the coronavirus pandemic?

I think the economic repercussions, especially in Iran, are going to be quite significant. At some point it will be a question of funding, what people can afford and so on. But I think all countries being equal, I think they will be very happy to come. 

I have great confidence in the organisers of the fair. My concern is buyer confidence and collector confidence, if the collectors are feeling worried about travelling to Yerevan, that’s something that none of us can control. I’ve seen this happen in the past. It happened to Lebanon, they had a wonderful Picasso exhibition, many collectors were supposed to go but then people were worried and did not go. You can’t predict how people will react, but I do hope by June that confidence will have come back. 

What are your expectations for the art fair?

I really look to discover new talents. For people in the art world, whether we’re at the consumption end of it, or the service provision of it, the whole industry is always excited by the discovery of new talent, of finding out new experimentation, modes of looking at the truth from another perspective. How people see the world from where they are standing. This is always an exciting thing and I look forward to seeing interesting art, and seeing examples of the realities of what’s happening in Armenia. We hear from news outlets, but coming to an art fair and looking at the artwork of Armenian artists will be a completely different, new perspective of what’s happening in your region. It’s another form of news reporting, it’s understanding the truth and realities of your region through a different set of eyes.

And what else are you looking for?

These sort of art fairs perform best if they are small but of good quality. I think it is unwise to expect something very ambitious when something is very, very new. So I would really look to see good selections, even if the fair is small. Speaking subjectively, relatively small is better because it allows me to digest a lot of new artists, discover their work, pay attention to their work, to be thoughtful to how I understand what I’m seeing. 

Besides the art fair, is there anything in Armenia that you’re looking forward to discovering?

I think the discovery of the culture and the location is an important part of this experience. The first few editions of Art Dubai were very location focused, allowing people to take a look at the surroundings and discover the city, there was a real tourism angle in the first couple of years. So when people come and want to discover a new art scene, they need to understand the location as well. So seeing museums, looking around Yerevan, discovering the country, its geography, its history, that’s all part of the experience. And it will help with the success of the sales for the artists, because the more we’re understanding about what we’re seeing, the more we end up buying it, because you have to relate to something before you buy it.

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Born in Tehran and raised in Berlin, Anahita Sadighi founded her first gallery Anahita Arts of Asia in the summer of 2015. Exhibiting antique arts from the Middle East and East Asia, the gallery focuses on ceramics, woodblock prints, carpets and textiles. As an extension to her eponymous gallery, Anahita opened her second gallery Anahita Contemporary just two months ago in April 2018, providing Berlin gallery-goers with the opportunity not only to view, purchase and admire Asian and Middle Eastern art from the past, but also to discover the artists who will be valued as significant historically in the future. Armenia Art Fair spoke to Anahita about how she got started as a curator, her decision to open a modern and contemporary art gallery and the relationship between Armenian and Iranian art.

Armenia Art Fair: Can you tell us a little about how you got your start as a curator?

Anahita Sadighi: Growing up amidst a vast collection of art, from ancient excavations to contemporary painting, I couldn’t avoid being attracted and fascinated with the arts of different countries, cultures, and periods. In London I studied Islamic Art and Architecture at SOAS (School of Oriental and African Studies) where my academic interest in this field was nourished. Working at Art Dubai I got in contact with the exciting art scene of the MENASA region (Middle East, North Africa, South Asia) and decided soon after that we need a more visible and broader representation of the artistic achievements of this important region in the Western dominated art market. It was clear that I must pursue this idea. So, I decided to open a gallery for antique Asian and Oriental Art in Berlin – the city I grew up in and one of the busiest art scenes in the world. It was just a matter of time when I had the idea of opening a second gallery dedicated to Contemporary Art. Again, works of art from the Middle East and Asia are playing an important role.

Before your new contemporary gallery opens, you already opened a gallery on historical and antique arts from Persia, Central Asia, China, and Japan. Why do you think that now is a good time to open a modern and contemporary gallery?

Historical and antique arts from the Middle East and Asia offer fascinating insights into the artistic identity and material culture of these diverse and ancient civilisations, which have strongly influenced the artistic developments in the West. To this day the presentation of and preoccupation with art is limited mainly to one area or field. I, however, believe that the 21st century should allow us to open existing boundaries and paradigms to offer a deeper and more open approach to art which, for example, demonstrates the interconnection between Antique and contemporary Art – between East and West, past and present. I would like to close the existing gap between the times and rather focus on connections and shared ideas, techniques, and history between these spheres.

What is it you think, that draws people to Iranian art?

I think Iran has always been a country of great interest and mystery, people feel drawn to Iran, its history, culture, and people. As one of the oldest civilisations with a highly dynamic and particularly interesting history, and with regards to their important artistic achievements, Iranian people have continually pursued the contemplation of the material and spiritual arts. This manifested itself in a strong and specific artistic identity, influencing and shaping the artistic achievements of other powerful dynasties – such as the ancient Romans, Chinese, Byzantine, Ottomans, or Indians.

The classical Persian style was dominated by the artistic identity of the ruling dynasties, without shutting out other influences, but has never lost its identity. The collective consciousness of a rich national heritage has always been present in Iran and to this day Iranian people reflect on their glorious past – which often appears in contrast to current political issues. Political restrictions and international isolation have of course challenged the working conditions for artists and creatives in the country, but they have certainly not been able to erase the essential urge for artists to follow their purpose. It should also be taken into consideration that the Iranian diaspora belongs to the most successful communities worldwide that enjoys great respect and appreciation in their new countries of residencies. So, I guess it’s quite natural that people are interested in what Iranians have to say.

How would you describe the art scene in the region?

The art scene in the region is quite diverse with different developing art hubs, all with their very own character and history, such as Dubai, Tehran, or Istanbul. Iran has a vibrant art scene with different art centres and traditions: In Tehran, for example, there is an upscale art market with art collectors pursuing a lifestyle which demonstrates their wealth and status rather than discovering and supporting different artistic discourses in their country. This trend is consequently reflected in the artistic programme of some galleries. Of course, this phenomenon is not only the case in Iran but in many other countries. But in the Middle East this trend appears more evident, and people sometimes seem to perceive only these one-dimensional impressions of the contemporary art scene there. In Iran and other Middle Eastern countries, however, there are growing underground art scenes with many individual, authentic and ambitious working artists, captivating works, and exciting art happenings addressing various issues – political or non-political – and reflect different parts of society. In this region extremes have always existed and will continue to exist.

Have you had any experience working with Armenian artists?

Not yet, but I would be very interested in discovering Armenian artists and the Armenian art scene. I have not visited Armenia yet but looking very forward to visiting it one day. I have heard so many positive things from my friends who have been there.
As neighbours, Iran and Armenia have had relations for thousands of years beginning with the Median Empire in the 7th-6th Century BC. The Christian Armenian community in Iran is amongst the largest and oldest communities in the world. They enjoy great recognition in Iran, which by the way is also the case with the Jewish community in
Iran. Unfortunately, many people are not aware of that. The more people visit these countries the better they will understand these realities. We share a formative historical past but more importantly we share important cultural sensitivities that will continue to
exist. Discovering Armenian artists will allow us new perspectives and insights to this fascinating country.

What do you hope for the future?

I hope that the perspective of lifting sanctions along with a moderate Iranian government focusing on domestic policies and prioritizing the needs of the Iranian people will establish a more stable and improving economic situation in the country. This will lead to better working conditions for artists and creatives, as well as facilitate an empowering of the art scene. This, I believe, will fuel a growing interest for Iranian artists worldwide and the successful implementation of an attractive art market infrastructure receptive to different segments of Contemporary Art from the Middle East. Artists and art professionals from the region need to liberate themselves of Western dominance in the current art market trends and develop a strong and confident national voice which shall be heard and acknowledged. Middle Eastern countries also need to work more closely together rather than opposing each other. I think this idea is becoming more important for the geopolitical and strategically perspectives of Asia as a continent and the Middle East as a region. Along with this there is a need for a growing number of academics and art professionals from the Middle East to work, and this initiative will contribute more significantly to a flourishing of intellectual exchange and new discourses in the Middle East. Of course these ideas are closely connected to the political developments in the region.

The photos are by courtesy of Alessia Cocca

‘I think that being an artist in Armenia is the same thing as everywhere, because artists are driven by a feeling and knowledge that helps them visualize what they feel, which does not depend on the country where they live because wherever they are living they are still going to create.’
– Aram Kirakosyan, Photographer from Yerevan

During its inaugural year, Armenia Art Fair will present Millennial Spotlight, a platform that will present young and emerging artists aged 25 years and under to an international audience. This section of the fair aims to show the world that up-and-coming creatives from the region are just as talented and innovative as those found anywhere else. We spoke to a couple of young artists based in Armenia about their experiences as photographers and designers in the country.

While London has Central Saint Martins, Paris Ecole des Beaux Arts and New York Parsons School of Design, Armenia has TUMO and the State Academy of Fine Arts. And, while Yerevan may not have as many galleries as say Berlin or Rome, it does have a supportive art community. ‘The modern young artists here are very communicative’, says Armine Harutyunyan, an artist and designer from Yerevan, ‘we have a fascinating and versatile youth. There are numerous children’s art schools in the country.’ Those art schools provide education to the youth; some are even free, with TUMO Centre for Creative Technologies merging art and technology to provide the skills and expertise needed for entry into the digital and creative industries to teens living across Armenia in four locations.

While Armenia is steeped in history, it is providing the youth with opportunities to experiment with modern and new art trends. It is also communicating with the world: ‘Armenia is a country with a rich culture and traditions. The young artists are lucky to live in a place with such a great cultural heritage’, says Harutyunyan, who is quick to add that, artists: ‘actively seek new ideas, participating in exhibitions both in Armenia and abroad.’ In our technological world, artists in Armenia need not consider themselves any different from similarly aged creatives on opposite sides of the globe. ‘Being an artist in Armenia is the same thing as everywhere’, explains Yerevan-based photographer Aram Kirakosyan who adds that ‘artists are driven by a feeling…which does not depend on the country where they live, because wherever they are living they are still going to create.’ That said, he admits that there is still work to be done in his homeland: ‘Perhaps in Armenia it is more difficult to practice art than in European countries, because the art is not financed enough, there are not enough galleries.’ Despite this, he realizes that maybe he is in a more fortunate position than artists residing elsewhere: ‘At the same time maybe in Armenia it’s much easier to practice art than for example in Sudan, so it’s not so bad.’

Armenia provides support for artists and photographers in the form of a number of unions where creatives of all ages unite to work and exhibit together. Harutyunyan explained to me how art is often staged in unique and innovative ways: ‘when studying in art college my friends and I went to various shows and exhibitions. I began travelling to see art performances staged by theater students in small temporary scenes, galleries, cafes, even in the subway. Of course, there were real theatrical scenes as well. I was also lucky to see performances and exhibitions staged by young artists, designers, musicians and photographers.’ It would seem therefore, that the artistic atmosphere in Armenia is no different from anywhere else.

It is worth mentioning too, that in Armenia, just as anywhere else, it is up to the artists to decide whether they want to engage with each other and work together to organize exhibitions or not. Kirakosyan is not a member of any of Armenia’s unions, but he doesn’t want to be. With social media outlets like Instagram where everything is visual and individuals from all over the world are presented more or less on an equal footing, it is not so necessary nowadays to be in constant dialogue with our direct neighbors. Kirakosyan explains that: ‘In our time so many people are engaged in art and so many people have started to understand and determine what art is, that every beautiful picture is considered as art.’ And while there are those who don’t feel the need to validate their work through exhibition, hopefully at Armenia Art Fair, the organizers will be successful in providing this opportunity to young artists from the region to display their work, something that they might struggle to do anywhere else so early on in their careers.