A Study on the Typology and Position of the Curator in the Context of Art Galleries in Tehran

 
  
 
The article at hand delves into examining the factors contributing to the lack of establishment of the curator's organizational role in galleries of Tehran. Through an examination of diverse curatorial practices within these settings and a review of exhibited activities in galleries, it arrives at conclusions regarding this matter.
A historical analysis of exhibition activities in the Iranian art scene brings to light that curatorial involvement has not necessarily been a profession but rather an experiential task since the inception of the first modern exhibition spaces in the 1940s. Post-revolution, especially during the reform period, the influx of Iranian and international curators into Iran transforms this practice into a more specialized form. Starting from the 2010s, the advent of new-generation exhibition spaces solidifies curatorial work as a distinct profession. While curatorial experiences in the Iranian art scene may not perfectly align with the concept of curatorial as an ideational, research-oriented, and executive pursuit, unquestionably, one of the primary and traditional functions of curation —organizing and producing exhibitions—is encompassed, an activity that has been executed in exhibition spaces both pre- and post-revolution.
If we consider the "exhibition" as one of the primary forms of curatorial productions and associate it with the overarching concept of "display platforms," then by examining the peak period of gallery emergence, namely in the late 1940s and 1980s, the mid-1960s, early 1970s, the 2000s, and the 2010s, the art scene in Iran has witnessed experimental and even professional curatorial practices. Nevertheless, this has not led curators to attain an "organizational" position within these institutions, in other words, the very institutions that have shown the highest acceptance of the curatorial figure and related activities. The reason for this paradox may seem obvious, yet it demands further scrutiny.
In exploring this subject, the present research, characterized as descriptive and qualitative, adopts a historical-analytical method to address the following questions: First, what is the position of the curator in Tehran art galleries? Second, does the lack of institutional consolidation of the curator's position in the hierarchical structure of galleries relate to the activities of various curatorial genres in these venues or the involvement of other factors such as gallery owners and their role in exhibition production? It is evident that the realm of exhibition-making and curating in galleries is primarily confined to the field of visual arts. Therefore, this article will limit its study within these parameters, collecting data and information from the period of 1940 to the present through library research and primary and secondary sources. Considering that the majority of Iranian art galleries are concentrated in the capital, the geographical scope of this research will be focused on the city of Tehran.
To address the aforementioned questions, this study is divided into several sections. In the theoretical foundations section, it will delve into conceptology and offer a brief history of galleries. Subsequently, by categorizing galleries and examining exhibition and curatorial activities within them, the study will define the position and types of curators, leading to conclusions. Following the conceptology section, the term "curator" and its derivatives will be reviewed. The occupation of curating will be defined, followed by the introduction and elaboration of its various types, including "institutional curator," "freelance/independent curator," "co-dependent curator," and "artist-curator." Proceeding in the exploration of the subject, a historical overview of Tehran galleries will be presented, classifying these spaces into five categories: "cultural association galleries affiliated with embassies," "artist-run galleries," "commercial galleries," "public galleries," and "art foundation galleries." The study will then outline curatorial activities or those associated with curating (such as organizing exhibitions, selecting and organizing artworks, holding side events, and publications) in these contexts through examples.
An examination of the abovementiond processes reveals that the majority of activities in the realm of exhibition production have been undertaken by artists. These artists have been involved in managing commercial and non-commercial exhibition spaces, both public and private, and organizing exhibitions even before the term "curator" gained prominence in the Iranian art scene in the 2000s. Consequently, it can be asserted that, in comparison to other types, the "artist-curator" genre has experienced the highest presence in the discussed exhibition contexts. More precisely, cultural association galleries, artist-run spaces, commercial galleries, and public galleries have been the venues where artists, in the capacity of a curator or engaged in parallel and overlapping activities such as gallery ownership, have been actively involved in exhibition curation. Due to the lack of specialists and necessary infrastructures, artists, besides establishing spaces for art production and display, have engaged in curatorial, gallery ownership, and managerial activities. This involvement extends to the level that they concurrently appear as the director and curator of an art venue.
In the discussed spaces, the type of "institutional curator" or a curator with a traditional and fixed position within an institution is notably observed on the level of independent and non-profit art foundations. In other words, based on statements from some private gallery owners who identify themselves as artistic directors, commissioners, or trendsetters, and considering the nature of artist-run spaces, this type of curatorial role is rarely found within such establishments. The condition of an "independent curator" or projects entrusted to a curator external to the institution is more prevalent within private galleries and subsequently within independent and non-profit art foundations, with rare occurrences in public galleries. This observation indicates that private galleries are more inclined towards collaborating with independent curators, with the gallery owner taking on the role of an organizational curator. Regarding the "co-dependent curator" mode (referring to well-known independent curators collaborating with art institutions and employed by artistic entities to provide a resonant curatorial voice), given that prominent Iranian curators often engage in activities on alternative platforms, as artist-run, or with institutions abroad, this type of curator has limited activity within the discussed exhibition spaces. Independent and project-based invitations are extended to prominent Iranian curators for the execution of exhibitions.
Hence, drawing from Anton Vidokle's remarks, the artist and founder of the curatorial platform "E-flux," which posits "curating as a profession and, perhaps, an aspect of artistic endeavor in certain scenarios," and considering the provided definitions of various curatorial types within the conceptology section, one can elucidate the role of curators in Tehran's art galleries as follows: Curators lack a specific organizational standing within galleries, as these institutions are predominantly managed by artists or gallery owners who themselves undertake the curator's role. Consequently, the curator operates as an "independent" profession or occupation, typically undertaken by a "renowned artist" within the Tehran art scene. In this context, the artist/curator assumes the role of a semi-dependent curator, transitioning into an independent/semi-dependent artist/curator. Conversely, in alternative and non-hierarchical settings established by artists due to spatial constraints and a dearth of resources, the artist assumes an organizational and non-artistic function, often relegated to an executor's role or, in certain instances, integrated into a segment of artistic activity.
The outcome is that, within the art galleries of Tehran, the curator is a composite of various curatorial situations in both a general sense (relating to the exhibition creation process) and a specific sense (as a specialized role). Among these, the "artist-curator" emerges as the most pervasive and influential form, to the extent that the professionalization of curating can be attributed to the activities of artists in spaces and artist-run platforms. Considering the examined examples, the versatility of artists due to the absence of "infrastructures," or more precisely, artists engaging in the role of curator, gallery owner, and artistic director with blurred boundaries within the responsibilities of these professions, is one of the reasons for the proliferation of the "artist-curator" genre within exhibition spaces. Who also appeared as an independent curator or played a role in organizational and co-dependent capacities. This multifaceted involvement of the artist, as well as the gallery owner's role as supervisor and curator, has diminished the necessity of establishing a stable position for the independent curator figure and has undermined the imperative to situationalize the curator as a key element in the exhibition production process.
The current trajectory of the Tehran Museum of Contemporary Art and biennials such as the Painting and Sculpture Biennials towards curatorial practices, and the increased execution of projects of this nature within private galleries in recent years, though a positive step towards formalizing curators as one of the influential elements in exhibition production, has predominantly manifested in the form of temporary projects through independent curators. Therefore, the institutionalization of the curator's position as a fundamental component within these frameworks has not yet materialized.