Helming art: Art maven Elnaz Rajabian speaks on the many sides of creativity

Art manager, curator, gallery director and exhibitions producer Elnaz Rajabian (b. 1991, Isfahan, Iran), was a student of law; however, due to her great interest in art and curation, she began her career as a manager of art. She looked after the art programming in Bazart, the local art market, where handicrafts made in Isfahan were displayed. Later, she opened visual art gallery Aknoon, displaying the artworks of young and emerging artists. She went on to manage Safavi House, a museum of architecture and creativity where international exhibitions with artists from different countries such as Poland, France, Austria and Mexico, were held in cooperation with the embassies of those countries in Iran.

In a decade of work in the art field, Elnaz has managed more than 300 exhibitions with Iranian and international artists and has introduced the art of young and creative artists by holding art festivals. At DIFC Art Nights 2024 in Dubai, she took part with artworks from Aknoon art gallery. She has also published a book titled Recognition Letter, an introduction to artists and curators of Iranian visual arts from different generations. Elnaz Rajabian speaks to Gulf Today

Why did you pursue a career in curation?

For me, curating grew out of a deep passion for storytelling, art history, and the desire to foster meaningful dialogue between artworks and audiences. Curation is not merely about arranging works of art — it is about constructing a space where narratives are juxtaposed through diverse artworks, across media, scale, and technique, yet united by a strong conceptual thread. It can lead audiences on immersive journeys that echo the inner world of the artist.

Elnaz Rajabian (left extreme) with artists.

Are you an artist yourself?

Not exactly — but I’ve been immersed in Iranian art since childhood, and creativity is woven into the roots of my identity. Imagine waking up every day surrounded by artworks! Even without holding a brush or pen, such an environment inevitably shapes you as an artist in spirit.

How is Iranian art different from Arab art? What are their similarities?

Iranian art is anchored in an ancient and richly layered cultural legacy, including Persian miniature painting, calligraphy, Safavid architecture, mythology, and Sufi mysticism. These elements continue to inform contemporary Iranian art. Arab art, particularly of the Gulf region, has evolved from a different cultural framework, grounded in tribal heritage, oral poetry, Islamic calligraphy, and the postcolonial experience. Artistic expression here often reflects collective memory, identity politics, and a strong connection to the land and its sociopolitical transformations.

Iranian art tends to filter spiritual themes through a mystical and personal lens, often influenced by Sufism. Arab art, especially in the Gulf, tends to take a more communal or ceremonial approach, often reflecting Islamic aesthetics with a focus on geometry, repetition, and abstraction. But both Iranian and Arab contemporary art actively engage with critical issues such as identity, gender, censorship, migration, and the relationship with the West. The visual and conceptual use of Arabic and Persian scripts is also a powerful shared element. Women artists in both Iranian and Arab worlds have played a vital role in reframing dominant narratives, challenging cultural norms, and asserting new perspectives.

Elnaz Rajabian with an artwork.

Who are the artists whose work you have curated in the UAE? What are the features of their work that attracted you?

Among the artists whose artwork I have curated in the UAE are Saliha Hanif and Asma Mehmood. Both work across calligraphy and digital formats, blending tradition with contemporary media. They represent a new generation of voices redefining Islamic aesthetics in the Emirates. Their use of digital tools to reinterpret traditional forms is not only technically refined, but also conceptually bold.

What are the qualities of a good curator?

Good curators are not simply selectors or arrangers of artworks — they are storytellers, cultural mediators, and bridges between the artist, the work, and the audience. A successful curator must be able to genuinely listen to and understand the artist’s intent and needs a wide-ranging understanding of art history, theory, sociology, philosophy, psychology, and even architecture or spatial design. A curator must be able to construct an emotional and intellectual journey for the audience; every element, from lighting to text, contributes to a memorable curated experience.

Can curation be taught or is an eye for art inborn?

Part of it is certainly innate, such as a natural sensitivity to colour, form, and spatial relationships. However, a significant portion of curatorial practice can be learned: research methods, writing curatorial texts, exhibition design and critical analyses, are skills that can be developed through education and mentorship.

How do you suggest the pricing for artworks?

Artwork pricing is based on several key factors, including the artist’s background and professional history (such as exhibitions, collectors, awards); the technique and materials used; the scale of the work and the current art market for and comparative analysis of similar works. There is often a gap between artistic value and monetary value. Bridging that gap requires sensitivity, market awareness, and an approach that honours both the creative integrity of the work and it’s positioning in a commercial context.

Whose work would you like to curate in future?

I aspire to find an artist whose work is so authentic, groundbreaking and powerful, that it resonates globally and earns a place in art history. I want the synergy between my curatorial approach and the artist’s vision to create a moment that cannot be ignored.