History, heritage, and the site-specific in contemporary Iranian art

Emerging in the context of American and European art during the 1960s, the term 'site-specific' has been employed to characterize art projects created with a specific location in mind. This departure from traditional artistic expressions within galleries and museums primarily focused on formal considerations, often divorced from the socio-political context of the site. In Iran, where site-specific art has flourished for nearly as long as in America, the concept of 'site' is deeply intertwined with history and heritage. Here, while formal aspects remain relevant, the shape and meaning of art are primarily shaped by the historical significance of the site. By primarily examining the work of Tehran-based artist Pooya Aryanpour, this article explores how Iranian site-specific artists have expanded the boundaries of art by establishing a dialogue between art objects and the rich history and cultural significance of specific sites. This practice has enabled Iranian artists to transcend the constraints of governmental institutions. Above all, site specificity empowers Iranian artists to facilitate intimate dialogues between art objects, history, heritage, and the people for whom heritage and cultural identity matter, further enriching the connection between art and history.