Country of birth
Country of residence
GhalamDAR (“the writer” in Farsi) is an emerging urban fine artist / Working since 2006, Ghalamdar tended to the Saqqakhaneh movement of the 1960s and 1970s / He uses calligraphy, miniature painting and Shi’i iconography as elements of his inspirations / His works share an affinity with the interlocking aesthetic of “wild-style” graffiti and traditional calligraphy / Like the letterist works of the Saqqakhaneh artists, Ghalamdar’s text-based pieces have emphasised the pictorial form of Perso-Arabic script over the literary content of traditional calligraphic practice /
Called between the 4 most recognised Iranian street artists who are making their own mark by Art Radar Journal, he is also named part of the 12 artists crucial to the world of Iranian Street Art by The Huffington Post / Ghalamdar has featured in a number of auctions and exhibitions globally, which include Sotheby’s LA and Magic of Persia in 2017/
2016- 2019 BA in Fine Art, Manchester Metropolitan University, Manchester, UK
2011 – 2014 Resigned from B.A. in “Printing and media”, Art university of Tehran, Tehran, Iran
2010 – 2011 Pre-university, Fine Art school of Karaj, Karaj, Iran
2009 – 2010 Diploma in mathematics and physics, Shahiid-amuiian highschool, Tehran, Iran
2017 Magic in Monaco, Monaco Yacht Club, Monaco, France (Organised by Magic of Persia Foundation)
2017 Ocean can be yours, Gerald Moore Gallery, London, UK (Curated by Janet Rady)
2016 Art, Social Space and Public Discourse in Iran, Coulter Art Gallery, Stanford, USA
2016 Iranian Contemporary Art, Sotheby’s, Los Angeles, USA (Organised by Magic of Persia Foundation)
2016 The Mine Pop-up show XIV, The Mine Gallery, Dubai, UAE
2016 Art in secret, Alserkal venue, Dubai, UAE (Curated by Evolve Co.)
2015 Iranian embassy in Israel, Julie K palace, Jerusalem, Israel (Curated by Hamabul collective)
2015 Inside-out Iran, Rich Mix mezzanine gallery, London, England (Curated by Arts Canteen, Shaghayegh Cyrous and Roya Arab)
2015 Calligraffiti Ambassadors, Affenfaust gallery, Hamburg, Germany
2015 Iranian Urban Art, Graffik gallery, London, England (Curated by Shaghayegh Cyrous and Roya Arab)
2014 few scenes from paradise, Atbin gallery, Tehran, Iran (Curated by Shakiba Parvaresh)
2015 Peace Helmets, Curated by LSD magazine, London, England
2011 spray 2011, Presented by Kolah studio, Hosted by Adrenaline Extreme Sports and Supported by Dupli-Color, Tehran, Iran
Abbas Maroufi, “Fereydun hatte drei söhne”, Gardoon verlag, Berlin, September 2016, Book cover
Nicholas Ganz,” Street messages”, Dokument Press, Sweden, April 15, 2015. 50
“Fondation Behnam Bakhtiar interview with Ghalamdar”, Fondation Behnam Bakhtiar, December 5, 2016.
Priscilla Frank, “12 streets artists transforming the walls of Iran”, The Huffington Post, December 12, 2015.
Yara Boraie, “Walls of freedom: 6 middle-eastern street artist you need to know”, Elena magazine, August 5, 2015.
Kira Harada-stone, “Exporting Iranian street art”, Majestic Disorder magazine, May 4, 2015.
Mashaal Mir, “Iranian urban art exhibition debuts in London”, Muftah, April 1, 2015.
Duncan Thomas, Interview and reportage, ForMENA (council for MENA affairs), March 19, 2015.
A. Xuan Mai Ardia, “4 Iranian street artists to know”, Art Radar Journal, January 16, 2015.
Paul Gregoire,” spring won’t come with a bunch of flowers”, Powderzine magazine, November 14, 2014.
Wayne Anthony, “Iranian calligraphic graffiti”, LSD magazine, October 7, 2014.
Rustin Zarkar, “Making Graffiti an Iranian Art: The Works of Tehran-based Street Artist Ghalamdar”, Ajam Media Collective, June 13,2014.
Dario Sabaghi,” I Banksy Di Teheran”, The Post Internazionale, August 5, 2014.
As Iranian society has never truly experienced a Hip-hop sub-culture he believes his roots lie somewhere else. Approximately parallel with the 80s graffiti and Hip-hop of America there were radical social streams using graffiti as a media for bringing the Iranian revolution of 1979 up. GhalamDAR thinks of his roots and the relationship between his artwork and the vandalism of the revolution – and such other Iranian social or artistic streams – and how they influence each other.
While GhalamDAR’s has undoubtedly been influenced by traditional calligraphic practice, his works share an affinity with the interlocking aesthetic of “wild style” graffiti and traditional calligraphy which demonstrate an amalgamation of these two cultures. Like the letterist works of the Saqqakhaneh artists, GhalamDAR’s text-based pieces have emphasized the pictorial form of Perso-Arabic script over the literary content of traditional calligraphic practice.
Commonly, GhalamDAR creates by deconstructing the Iranian folklore stories, legends, talismans, superstitions and generally Iranian culture and traditions. He takes a critical look at the Iranian contemporary identity particularly with post-modern philosophy and his art is a personal investigation through the Iranian art and history.