Vista Prize 2017 Selected Exhibition

Sculptures, Installation, Video and …


Hamid Severi

Rozita Sharaf Jahan

Behrang Samad Zadegan

Amir Ali Ghasemi

Behnam Kamrani

۳th to 8th February ۲۰۱۷

A Few Words

The emerge of new generation artists and vast use of new media with the emphasis on art- works, having different visual expression and tune in Iranian Contemporary Art.
“Vista Gallery”, having a different perspective to the art discourse, tried to provoke to the importance of the di- fferent opinions in the contemporary art by presenting “Vista Award”. After the recall announcement, plans submitted to the secretariat of “Vista Award” through the dedi- cated space on the site. During the process, the election board selected 150 plans. Meetings held on to investigate; and after inviting the artists and providing dialogue opportunities, plans selected. Then before holding the exhibition of chosen items, many sessions held on with the artists, discussing on the plans presentation in ” Vista gallery ” . And in coordination with the artists, “Visit Studio” formed .
After holding the exhibition of selected items, during a ceremony along with the unveiling of the ” Vista Sign ” and the poster of ” Vista Award “.
While appreciating the selected plans , giving the ” Vista Award ” to the premier plan will take place. Hope that with the presence and support of our dear artists , giving the “Vista Contemporary Art Award ” and ” Vista Sign ” be continually effective in the field of contemporary art .

Vista Art gallery

Parisa pahlavan


Iranian contemporary art has different trends in it’s formation. These trends are based on the quantitative development; but in some cases it also has the new thought and theoretical aspects, the issue that seems to be contrary to the flow of art as a commodity. The idea of Vista contemporary art competition arose exactly in such an atmosphere. The importance to the thought of artistic innovation is in a way in the name of Vista, meaning thought in ancient Persian language. This art-centered conference focused on innovation is today evaluated in all media. The support of this idea caught the attention of all through the art galleries of conceptual and new art in Tehran Museum of Contemporary Art about 12 years ago; though, the sparks of this experience were existed in the past years. This effort to leading art with no financial rewards by Vista managers to the importance of artistic products regarding innovation, can be a pattern for the other governmental and private sections.
This attention is an emphasis on newly values that can increase to the Iran’s today art as a form of culture.
The election board of this event are people who every of them have been involved with the Iran contemporary art ; it’s analytical , educational and exhibition aspects . In fact , they have a great share in it’s advance . This prize will let the newly thoughts find a chance to perform , regardless of any routine calculations in any form.
It is obvious that any movements like this make sense in it’s continuity.
Hope that this issue become feasible and hereby a way forward to create new works provided.

Behnam Kamrani


Panbe Khelal
Planting Cotton and Its Effect on the Lives of Villagers of the Central Mazandaran Region (Goharbaran, Sari)
Planting cotton in the central areas of Mazandaran province in general and in the farmlands of Sari and Neka was the main agricultural activity of the local people up to 1996, mainly because of the location of Gha’em Shahr textile factory in the vicinity of the farmlands.
In mid April of each year, the seeds of cotton were planted in the farmlands and in the last days of summer, that is, late September, the farmers would pull cotton out of bolls and cramp it into coarse hemp bags called “Panbe Khelal” by the locals.
Pulling cotton out of bolls or what locals called cottoning the bolls used to be a very interesting event that could encourage most of the villagers to spend long hours together. This getting together could in its turn lead to various events and social issues within the small community of the village.
Having extracted cotton out of bolls and put it inside the hemp bags, the farmers would pile the bags in a number of places that generally included the barns or the backyards of the senior members of the community or those of the cotton dealers, so that they would be ready for weighing, setting the price, and marketing. The bags were 150 to 180 cm high, 100 cm wide, and almost 90 kg each.
The bags would be piled on each other for a couple of days and gradually more new bags ready for sale would be added to the pile and the cotton pile would grow larger and larger. The accumulated cotton bags would compose a huge and at the same time odd pile of brown color, that was made of smaller units of equal size in a random and disorderly arrangement. In fact this arrangement would accommodate various social, cultural, economic, and geographical issues; a strange arrangement that would somehow guarantee the survival of the local people.
Specifically, the pile of cotton bags would attract the villagers during some particular times of day; specially it would draw the attention of the children who would raid and climb it, squeeze into its layers for fun and spend lots of time inside it. The children’s playing and their direct physical contact with such a material with a quite serious role in the lives of the elder ones, was a significant part of the fun, understanding, and perception of the children vis-à-vis their environment.Touching soft cotton units would provide a specific understanding of something special to the villagers who could have never had the same opportunity again or a second chance. The smell of cotton and the hemp bags, the infinite softness of cotton within coarse bags, the gathering of people, and their social interactions….were all the things that have stood the test of time in the minds of people who had the opportunity of touching that exclusively arranged pile; memories that invoke an unrepeatable period of specific customs and behavior belonging to the history of a small community.
After 1998 and 1999, and due to some changes in terms of ownership and management of Gha’em Shahr textile factory, the factory went bankrupt. All of the workers were laid off and did not get any salary. However, the bankruptcy of the factory not only undermined the living standards of the employees directly, but also it had a significant impact on the lives of the dealers, the farmers, and the agriculture sector of Mazandaran as a whole. The farmlands that used to be dedicated to the plantation of cotton, were transformed into fields for growing other crops and citrus tree gardens. Citrus trees that were not that much native to the regions in north center of Iran and now one can witness the change in the environment of the region due to the expansion of these gardens.
I, as one of those kids who had the opportunity to be in direct contact with the arrangement and pile of hemp bags containing cotton, continue to review the memory of the specific sense and feeling relevant to that experience in my mind and feel that Panbe Khelal arrangement can constitute part of a limited geographic region which is gradually being forgotten.
Project Definition and Layout, Implementation Procedure
The above-mentioned arrangement of bags, includes a number of hemp bags full of cotton which would be stacked on each other in the gallery (or any other available space) and the visitor would have direct contact with it, would touch and feel it, even would be able to walk through its rows.
The critical issue in the project is providing needed cotton which mainly depends on the timing of implementation; if the event is coincident with cotton crop harvest season in cotton growing regions, one can supply the required cotton, but if it takes place at a different time from cotton harvest season, one can use other materials that can be purchased in the market more easily in the hemp bags.
In addition to seeing the pile, the visitors will also watch a video clip of planting and harvesting phases of cotton.

Mohammadreza Arab Khazaeli
۱۹۹۰, Sari
Master Of Illustration
Two Solo & Six Group Exhibition
Collectors of Drawing Group Exhibition


Middle East
The Middle East lies at the juncture of Eurasia and Africa and of the Mediterranean Sea and the Indian Ocean. It is the birthplace and spiritual center of religions such as Christianity, Islam, Judaism, Manichaeism, Yezidi, Druze, Yarsan and Mandeanism, and in Iran, Mithraism, Zoroastrianism, Manicheanism, and the Bahá’í Faith. Throughout its history the Middle East has been a major center of world affairs; a strategically, eIn the 20th century, the region’s significant stocks of crude oil gave it new strategic and economic importance. Mass production of oil began around 1945, with Saudi Arabia, Iran, Kuwait, Iraq, and the United Arab Emirates having large quantities of oil.[28] Estimated oil reserves, especially in Saudi Arabia and Iran, are some of the highest in the world, and the international oil cartel OPEC is dominated by Middle Eastern countries.conomically, politically, culturally, and religiously sensitive area.
Equalization (communications)
In telecommunication, equalization is the reversal of distortion incurred by a signal transmitted through a channel. Equalizers are used to render the frequency response—for instance of a telephone line—flat from end-to-end. When a channel has been equalized the frequency domain attributes of the signal at the input are faithfully reproduced at the output. Telephones, DSL lines and television cables use equalizers to prepare data signals for transmission.
Equalizers are critical to the successful operation of electronic systems such as analog broadcast television. In this application the actual waveform of the transmitted signal must be preserved, not just its frequency content. Equalizing filters must cancel out any group delay and phase delay between different frequency components.
“Perhaps we cannot use one word to describe the conditions under which lives becomes unliveable, yet the term ‘precarity’ can distinguish between modes of ‘unliveability’: those who, for instance, belong to imprisonment without recourse to due process; those living in war zones or under occupation, exposed to violence and destruction without recourse to safety or exit; those who undergo forced emigration and live in liminal zones, waiting for borders to open, food to arrive, and the prospect of living with documentation; those that mark the condition of being part of a dispensable or expendable workforce for whom the prospect of a stable livelihood seems increasingly remote, and who live in a daily way within a collapsed temporal horizon, suffering a sense of a damaged future in the stomach and in the bones, trying to feel but fearing more what might be felt.
According to Judith Butler the exact word is unable to describe the “non-livable life”. Perhaps to understand the concept of “precarit” we need to display the contrast it with the concept of “stability” .”(Can one lead a good life in a bad life?”,Judith Butler, Adorno Prize Lecture)
Regardless of the origin of the word Europe-based “Middle East”, This region is orgin of world civilization, And the first laws of the universe was written here, and many beliefs and ritual’s the world come from here, although currently its people experience war, destruction and finally “precarity”. At the same time, knowledge and culture transfer is the verbal or oral in this area. In historical texts ,verbal narratives are always preferred to refer the documentation written.
Looking at these features, how would be provided visual impact of this concept?
Is it possible to consider oral culture prevailing in the Middle East to achieve an image of the concept of “precarity” in the Middle East people’s lives?
What our life is spent in the Middle East is proportion to “stable” or “precarity” ?
what is our experience and understanding of “stability” “precarity” ?
where is our life experience between “stability” and “precarity” ?
First, the word “precarity” is called for the audio receiver,so it is achieved audio equalizer (curve Sound) Then the obtained curve rotated around the x-axis ,it is made a mass.
In the next phase of work will do the same thing for the word “stability”
At the end, the two volumes of the two words “stability” and “instability” have come to overlap each other so, it caused we have a mass that it’s made of the distance between “stability” and “instability”
Motifs on the work refers to the origin of the (Middle East) there.
These designs are always used in places that related to power, over the centuries and have always retained their shape
So it obligates the concept of domination, immutable, and power.

Mahdieh Pazoki
۱۹۸۰, Tehran
BA in Carpet Design
Two Solo & Five Group Exhibition
Short List Of MOP CAP Foundation

Bijan Ghaseminejad
۱۹۷۹, Sirjan
BA in Carpet Design
Three Solo & Five Group Exhibition


How the artist is compatible with the contemporary situation?
What is the place of the incompatible artist in this situation?
Production and reproduction are inevitable for the artist. Though common tools and technology facilities are making the situation that producing the content does not monopolize to the artists. Therefore “۳da” is trying to make raw materials instead of production. The raw materials that are created during the practical process and regardless of the specific order. These materials would be consumed from any taste and trade. Consumers due to the power of media in their life are impatient, hasty, lonely and saturated with information and news.
“۳da” is reflecting its instinctive and playful explorer soul to the daily environment, also is collaborating with the other artists who have the parallel view. The artists who have the coordinated behavior with different abilities. “۳da” is documenting the reactions of mind and body that shaped in a fictional context. Thus, in contrary to usual, our idea is a production of our act. The common behavior could bring the image or the story to the mind which is analyzed and used by the group of the artists. The consequence would be the raw materials for the new projects. The cycle that due to the time and place is a continuous recycling. “۳da” is the project manager of the process and entrusts implementation of the projects to specialized groups. The details of this process are the concept and the collective works of the artists that are organizing the mechanism of production and processing in “concept-production” and ”project-narrative”. At this point of view, this approach is a normal reaction to our environment and a necessity for the contemporary artist. Therefore, “۳da” is documenting the process of content production that is the very daily life. In this context, “۳da” is published in the virtual and physical world in looking for the collective echo. “۳da” is not going to choose its subjects, it allows the most powerful subjects to act and react in its context. “۳da” is looking to find the same ideas to empower this concept of reaching to the collective echo.
Daily news, collective life, human emotions and personal conflicts with the environment and time are the platforms for the experience of “۳da”. “۳da” channel in Telegram is part of its experience in representing. (@team3da)

Hawreh Danesh
BA in Industrial Design
Two Group Exhibition
۳da Group Member

Ali Mirzaee
Diploma of Painting
Two Group Exhibition
۳da Group Member


This series formation is based on using mythical concepts in a personal way as they change in any country by it’s of these mythical concepts is the relation between nature and femininity .
A virgin mother breeds the twins and the forest raises them.
The twin characters are based on binary which is an important issue in myths.
Project explanation:
Same as mythical heroes who travel and go on a quest to find something or somebody, and face danger and strange experiences to reach their goals, the twins are travelling through two different strange worlds. The audience is facing prints at first to become familiar with the story’s atmosphere ,then he sees the forest region which is made by ceramic and hanged on the wall and then reads the story .then he faces ceramic sculptures which represents underwater world and at last reaching to the monitors which are running the video game.
A written narrative is necessary for understanding the work because of multiple medias which represent it. Besides the story is like fairy tales.
Ceramic: A part of the story is representing by ceramic relief and another part is representing by ceramic sculptures.
the land’s map and it’s plants section is representing by etching prints to create the story’s fantasy world.
Video game
Today, Video Game as a media is playing an important role in explaining the myths and fantasies, since a gamer places him/herself as the game’s character exactly like a mythical tales listener puts himself as the myth’s hero. Sequential messages appearing to gamer in a game’s process are like Satan and angel’s messages.
A game’s structure is based on struggle, adventure and voyaging different worlds which fulfils today’s humans need for a mythical experience. The reason for my attention to video game is its inclusiveness and interactivity as an entertainment and its undeniable social effects on an individual’s behavior, as well as creating an opportunity of placing fine arts audience as game audience and focusing on entertaining aspects of art and the border between art and game’s pleasure. The concept of this project is meant to spark a discussion on whether the modern human cannot be satisfied by just watching paintings or sculptures and needs vivid and moving images, and does this refer to a reduction of his imagination which is surrounded by various images and texts or is it a proof of his new developed needs to sense and experience newer worlds?
Video game process description:
The audience are facing two monitors which are asking them to click to find out the rest of the story.
Monitor number 1:after clicking a crow is attacking one of the twins who is standing alone.
Second message asks the player to kill the crow ,if it happens the next message appears and asks the player to click on it’s wings so the wings are attaching to the girl’s body and then next message tells the player to fly and the game goes to the next level. In this level the character is flying on the sea without player’s authority then she fells off in the sea .
So a message appears and says: you cannot fly with wings which are not yours !
The next message asks player to choose to continue or die. If you choose to die , a game over message appears and if you choose to continue the character will enter the underwater world that is so colorful and full of different plants.
Monitor number2: After clicking to start the game a second message asks the player to click to jump in a hole .then the animation of the character’s fall in the hole is shown and at last she enters the colorful underwater world.
Continues messages asks the player to keep walking and some random plants are reacting to clicks.
At last the girl is facing a masculine character who is only humanistic character in this region.
A message asks the player to click on him. Then the screen becomes black for a couple of seconds and you will hear a rhythm like metronome . Then the images come back to the screen and you will see the girl sitting victorious on the man’s corpus . Then the last message appears to the player to keep walking .If the player continue walking she will reach to the other character (the girl’s twin).

Dorsa Asadi
۱۹۹۲, Tehran
M.A student in painting
Six Painting and Sculpture Group Exhibition


The idea comes from a documentary about salt.
Salt we use every day had a fundamental role in the human’s history; in wars, in building the China wall and even in prompting revolutions from India to France. Romans used salt instead of cash money as their currency. In Iran also, using salt traces back to 6000 B.C. The discovery of salt men in Iran which dates back to more than 2500 years ago reveals the exploitation of specific salt qualities both in every-day life and in medical procedures. Today, salt is used for therapy and healing. Many folk people in Iran believe that keeping salt in their homes would keep troubles and evils away. Some religious texts mentioned the Fatimah bint Muhammad brought salt as her dowry, besides money.
Research Process
Table salt
Table salt or common salt is a mineral composed primarily of sodium chloride (NaCl), a chemical compound belonging to the larger class of salts; salt in its natural form as a crystalline mineral is known as rock salt or halite.
Iodized salt
Since the lack of Iodine in human body could lead to various disease like Goiter, it is common to add to the table salt a minute amount of the element iodine. The final product called Iodized salt. Purified iodized salt maintain potassium iodide for a longer time and prevent it from evaporating. Researches in Iran shows according to the natural level of iodine in soil and water and spread of Goiter, 40 microgram potassium iodide should add to every gram of table salt.
A goitre or goiter is a swelling of the neck or larynx resulting from enlargement of the thyroid gland (thyromegaly), associated with a thyroid gland that is not functioning properly.
Worldwide, over 90% cases of goitre are caused by iodine deficiency
Goitre is more common among women, but this includes the many types of goitre caused by autoimmune problems, and not only those caused by simple lack of iodine.
Goiter (Ghambād)
Kermānian people, particularly in Sijānian dialect, call the enlargement of the thyroid gland “Ghambād” (Gham+bād, sorrow+wind). Because life experience proved them that this disease, which emerges as enlargement of the thyroid gland, is most common along people who suffered more in their life. This old belief has verified by some new scientific researches. Since researchers found out that in the course of years, emotional distress, stress and various shocks could lead to excessive production of thyroid hormone and Iodine deficiency. Evidences Shows that socio-psychological stresses and emotional distresses could have strong effect on emerging the disease. In our exploration we found a documentary named “Tears of the Earth”, which is a romantic yet genuine title besides its content.We realized that tears contain salt and matches the concept of Ghambād.
What is tear?
Tearing is the secretion of tears, which often serves to clean and lubricate the eyes in response to an irritation of the eyes. Tears formed through crying are associated with strong internal emotions, such as sorrow, elation, love, awe and pleasure. Laughing or yawning may also lead to the production of tears.There are three very basic types of tears: 1) Basal tears 2) Reflex tears 3) Emotional tears.
Tear Tray
It was a utensil people used to show their love to their beloved ones. They poured the tears into a tear tray and presented it to their love. It hard to specify the time and place which tear tray originally used but in the Old Testament there is a suggestion; David indicating to a bottle of tears while preying. It was also a gesture of veneration to use tear tray for dead during early Christianity. During American Civil War women used tear trays when their men were in the battleground. Tear tray was a common instrument use in Iran especially in the Qajar era; harem’s woman used tear trays as proof of their ardent love for Shah during his long trips.
Concept Illustration and Construction Process:
Creating a tear tray: we will build a device to transform tears to salt. Time is the main component of this process.
This is the structure: a wooden cabinet with glass levels which contains historical objects recreated by salt. At the top of the cabinet there is water tube which drips water on the object until they disappear. The process may long for two weeks or even a month and in the end nothing remains but salt.
The piece had its own historical references. As mentioned before, salt was the foundation of many civilizations in the human history. Realities forms and fades in course of time. While the realities of objects change their form during this process, altering from one thing to another, salt is the only thing which remains.
The piece’s purpose: Evaluation of salt.

Mahdieh Kavakebpanah
۱۹۸۹, Tehran
BA in Sculpture
Five Group Exhibition

Nazanin Avani
۱۹۸۹, Tehran
Diploma of Painting
Eleven Group Exhibition

Tarlan Tabar
۱۹۸۴, Qazvin
BA in Painting
Four Solo Exhibition


The Moon Project is an exhibition which consists of a collection of works with miscellaneous ideas by means ofmodern art such as body, arrangement, painting, performance and etc. in a common thematic identity. The offeredCollection for this exhibition presents various sketches of the project.
Number one: A collection of circular glasses proportional to days of a month that one by one are inside the wall, (respectively their sides reduces) Based on the picture (approximately diameters are half a meter)
Number two: a convex, circular aquarium glass full of water (the diameter is one meter or more)with irregular holes (inspired by the Moon’s caters) exists on the bottom of the screen that from those loopholes the ink spatters gradually, the cutting, and connecting and the dance of the ink and its fading is respectively irregular.
Number three: A convex, circular aquarium glass full of water (the diameter is approximately one meter or more) behind the floor plate, the speakers are set so as to transfer the soundwaves to the water. (Off irregular)
Number four: A collection of square-like paintings with some circles made of adhesive material, the glue scatters on the perimeter of the circle on different background until it is fixed(different sizes of works).
Number five: The lights depict the effect and the footprint of the glue like a dance on the wall.
​Number six: A mixture of the body, dishwashing liquid, liquid glue; a glass cylinder full of water (like a glass). glass cylinder is filled with water, on the surface of water the glue is added and then the dishwashing liquid is added, after the drying of the glue, we take the glue out of water and byputting together of a large number of them, we construct a large circular, suspended body of them(approximately two meters).
Number seven: A depiction of thousands of embryos inside the water bag
Number eight: A depiction of moons and heavenly bodies and galaxies that are in a state of contraction.
Number Nine: The arrangement of sugar cubes, inspired by the arrangement of craters on the Moon on a large circular cylindrical container floor (about three meters with a height of one meter) and the addition of hot tea, leads to the creation of sugar bubbles that are arranged in the bottom of the containerand they move orderly and directly towards the surface of tea, creating an image like that of the moon’s craters.
Number ten: Oklaplay’s group performance of the “Moonlight” by Beethoven.
Number Eleven: A brife workshop about the characteristics of the Moon and its background in human history and literature by experts in the corner of the Gallery

Alireza Shahriari
۱۹۹۳, Tehran
BA in Graphic


The only one who read the book, was the author
A tamed mind in a conventional world, finds complexity in redundancy, which in its battle with reality exaggerates images. Contemporary linguistic approaches follow various realities. Therefore, words or a single image provoke doubting the existence of a single reality. It is only in a dictionary that a word carries a single meaning; likewise images as signs and shapes. The empty spaces between words in a sentence are filled by understanding and experience. These are no longer the same words except for the author.
Individuality will float in the collective and concepts in existence.

Mahsa Ahsani
۱۹۹۰, Tehran
BA in Painting
Five Group Exhibition