“Scenes Not Thoroughly Seen”

On Joubeen Mireskandari’s Recent Photography Series
Silkroad Gallery Online Exhibition


To me, these creations of Joubeen Mireskandari are not photos. Neither are they a narrative, a travel diary, nor just a film, or a photo-painting like his first series “Blackened”, and not even the representation of his locale…

They are more in the nature of capturing a soul and bottling it.

The soul of the snow-covered valley,

For one such as myself who has been Joubeen’s companion through many years and decades, it is an invitation for a walk. To wander about his house, in Lavasan. But not a walk like all the previous treads…this one is a traverse through snowy and cold dusk.

Unaware, towards nowhere.

In the midwinter chill

It is winter…

When we meet, we embrace and begin our walk, in silence. The only sounds are the falling of the snowflakes on my cap, and the occasional croak of a raven faraway. The swishing of the footsteps…

The heavy body of the snow swallows the existence.

We descend on the slopes one after the other and climb up again. Occasionally the body of a separating wall blocks our way, hung between the soil and air, a tall mass of rocks. The wall speaks, with a low stretched voice. A talk with the heavy wall. He tells us: “careful! This place is not as safe as it is beautiful, but it is much fascinating and deeper than what you think.”

It is worth the hardships of this road.

In this walk like Dante, we are not heading for heaven or hell, but we walk towards a purgatory.

The snowfall is faster now… the snow is stuck in its own purgatory much like us as it is busy writing a piece in white ink. It vitiates, and at the same time covers everything, blurs all, and reconstructs it.

After a light, all snow does is disrupt…

It is clearly not unclear.

The fragile body of the trees, the stone walls, the stairs, the alleyways, or even the human trash… are all sunk into silence in heavy smog. The carriage fallen into the valley is perhaps a symbol of a civilization that has lost its way, that is futile. With nowhere to go.

Traversing in this world is in no way linear and direct. A “stalker” system goes about it. There is no direct way and the shortest and easiest path is not necessarily the best route! And the return is not guaranteed.

Emphasis on what the text (or body) never reveals, what it hides. What it swallows in itself.

More illumination and clearance and higher quality as we seek with ever-growing hunger in the pictures or representations do not necessarily bring forth a better or deeper understanding or interpretation of the world. Here the photographer has used various technical and visual elements such as snow, fog, shadows, trees, humans, paths, walls, bad lighting, to create a vague texture. And in the end with wrapping all these in a cloak of grey, he organizes an installation that is not merely the representation of the object or a structural concept but is the creation of a unique space. A space that can be a gateway to a deep world. A world that is not necessary to observe but more to create a decomposed clarification. To fly into the depths of free and perpetual imagination. With companions known for ages.


Arash Fateh

Winter 2022 


Link to the article


joubeen mireskandari - silkroad gallery - scenes not thoroughly seen
joubeen mireskandari - silkroad gallery - scenes not thoroughly seen

Online Exhibition at Silk Road Gallery

Joubeen Mireskandari’s new series called “Scenes not thoroughly seen” is on view at Silk Road Gallery online exhibition platform (https://www.silkroadartgallery.com/11803/scenes-not-thoroughly-seen/) from Jan 2022 on which Behzad Hatam wrote:

From the time artists realized that the inability to see things despite having open eyes is seeing in itself, a new view found its way into art. The sfumato technic masterly employed by the genius Leonardo was one way of depicting what could not be seen clearly. This path has been trodden by artists through the centuries and entered the realm of still and motion photography. ‘Not seeing clearly’ was experienced in the twentieth-century experimental films right at the time that John Cage taught us that silence, not hearing despite listening, is indeed hearing the silence.

Joubeen Mireskandari, on whose work I have penned a book titled ‘View from Outside’ (Nazar Publication, 2019), is a photographer whose view and whose camera, focuses on the objects which are seen but deliberately not clearly. He looks at objects from locations or angles that others do not usually do. He shows us things we do not see or look at or we do not find worth seeing. In his pictures he shows us many such things, with a view from the outside, from behind another thing or through other objects, from a height, from a distance; the high heels of a woman on an escalator from between the legs of a man on a lower step, views of interior spaces seen through misty windows which have turned to abstract colour compositions, or images of a long dining table with rows of guests seen as ghosts through multiple exposures.

In the series presented here, we find Joubeen in a position that might be considered ideal to him; he sits on a height faraway looking down at an unclear scene through a curtain of falling snow. Only its lexical meaning leaves sfumato inadequate here.

“Maybe Violet” – A book on value of art by Behzad Hatam

A photo of Joubeen Mireskandari’s self-portrait series alongside an article about his works is featured in the book “Maybe Violet” on the value of art by Behzad Hatam. “Maybe Violet” is published by Nazar Art Publication. 

In the chapter “Borrowing from the art world” we read: … An alternative piece is a captivating image by the Iranian photographer Joubeen Mireskandari, and it was my talk about the values of his art that ended up in my writing this book. A fan of horror movies, Mireskandari creates his selfie vampire scene, with the help of a mannequin that also helps to keep censorship afar.

Behzad Hatam - Nazar Art Publication - Joubeen Mireskandari - Maybe Violet - Dracula - Horror Movies

Mohammad Ehsaei’s Book Launch

joubeen mireskandari - Mohammad Ehsaei - iranian calligraphers - iranian contemporary calligraphers - nocturnal whispers - nazar art publications - gallery 10 tehran

Two portraits of Iranian master calligrapher
Mohammad Ehsaei’s which were taken by Joubeen Mireskandari in Ehsaei’s studio in autumn 2020 appear in the latest book on Ehsaei “nocturnal Whispers” published by Nazar Art Publication in collaboration with gallery10.tehran (2021). 

Visual Ears Project

Interdisciplinary studies have been shaping and reshaping the boundaries and meaning of music and the visual arts as well as theoretical frameworks upon which these practices are built. On the other hand, performing and fine arts contribute to a broad range of topics and questions examined by other disciplines such as neuroscience and cognitive psychology leading to a deeper understanding of human perception: the spectacular translation of neural activity in the central nervous system into meaningful information.
VISUALEARS is an innovative interdisciplinary project, designed and curated by Shafagh Hadavi, (a student in York University’s M.A. Program in Interdisciplinary Studies) as the creative component of her Master’s thesis which is supported in part by funding from the Social Sciences and Humanities Research Council of Canada. The project aims to explore music perception and cognition, as well as the experience of mood immersion through the visualization of music, a sonic, gestural phenomenon, by contemporary visual artists, and a consequent immersive experience of simultaneous music-listening and art-watching by a global, virtual audience. All artworks are original and represent each artist’s unique and personal visualization of select musical works as they translate what they have heard into what can be seen.
Two different formats are presented in the virtual rooms of the VISUALEARS exhibition. One offers an immersive experience that includes both music and original works of visual art; the other, a non-immersive version, hosts only the visual works of art. Visitors will be randomly assigned to one of the formats; but if they are directed to the non-immersive one, a link will be provided to the immersive version at the end of their visit, giving them the opportunity to experience the immersive exhibition at their leisure if they wish.
Sincere gratitude to all the participating artists for their remarkable openness and collaborative spirit, to Professor Irene Markoff, Professor David Scott Armstrong, and Professor Joseph DeSouza for their invaluable support and mentorship throughout the entire process, to everyone who helped in any shape or form in realizing this project, and to all viewers and participants for their much-appreciated interest and time. Wishing everyone an enjoyable experience!

“Quartet Diminished” Album Cover

Quartet Diminished Album Cover - Station Three Album Cover - Iran contemporary music - album cover - iranian album covers - joubeen mireskandari

The photo on the cover of Quartet Diminished new album “Station Three” is selected from one of Joubeen Mireskandari’s body of work “Flatland” which was displayed at Mohsen Art Gallery in 2013.

The portrait of the band on the back cover was taken at Joubeen studio in December 2019. 

Quartet Diminished - Quartet Diminished album cover - joubeen mireskandari - Iran Contemporary music bands

Teer Art Advisory

teer art fair - teer art advisory - joubeen mireskandari - badguir

While the novel coronavirus pandemic has disrupted Teer’s regular programing and physical events, we are delighted to introduce a new service: Teer Art Advisory. The team at Teer is pleased to announce that it has established a network among an inclusive spectrum of professionals in Iranian art —from the most established galleries and dealers, as well as new and emerging players— to present and procure artworks from a wide and rich scope. 

Joubeen Mireskandari is one of the photographers who is presented by Badguir Association in this online event. 


AISO Symphony Orchestra (Promotion Photo)

joubeen mireskandari - AISO symphony orchestra - mazyar younesi - tehran museum of contemporary art - parviz tanavoli - 10 gallery - behzad hatam - peyman yadanian - christophe rezai - sogol and joubeen studio

To accompany the grand exhibition ‘Parviz Tanavoli and the Lions of Iran’ held at Tehran Museum of Contemporary Art in July 2017, PariSafaMusicFoundation commissioned music and sponsored a concert which was performed at Vahdat Music Hall (Tehran-Iran). Major pieces composed by Christophe Rezai, Peyman Yazdanian and Mazyar Younesi were played by AISO symphony orchestra conducted by Mazyar Younesi. This promotion photo was taken for the music album ‘Parviz Tanavoli Tribute Concert’ which released in 26th feb 2021.

La France en Iran

Joubeen Mireskandari (1979), photographe contemporain iranien a débuté sa carrière artistique en 1998. Il a participé à de nombreuses expositions dont “Regards sur l’Iran contemporain” organisée par Badguir en 2019 à Paris. Behzad Hatam, curateur de son dernier projet, dit de lui : « Il n’est pas le photographe des beautés du monde ou de ses monstruosités ; il n’est pas le photographe des images, il est le photographe des contenus, des concepts et du contexte des images. »

Il a résidé en 2019 à la Cité internationale des arts. 


Chat with Ramin Sadighi (Hermes Records)

A chat with Ramin Sadighi, owner of Hermes Records from Dadora platform. Due to my recent body of photographic works, Ramin Sadighi suggested the theme “A fraction of the whole or vice versa and its aftermaths on one’s life”, to talk about. You could find this recorded live talk on Dadoralb instagram page or just click on this link: https://www.instagram.com/tv/CHDqCfMl96M/?igshid=jwpr1rli6vay