Largest Innovation Complex for Culture and Art Inaugurated in Iran

Karestan Baharestan, the largest innovation complex for culture and art in Iran, was officially opened during a grand ceremony on Tuesday. The event saw the presence of esteemed individuals including Mohammad Qomi, the head of the Islamic Ideology Dissemination Organization, Mohammad-Mehdi Dadman, the director of the Art Bureau, and Rouhollah Dehqani Firouzabadi, the Vice President for Science and Technology, alongside numerous cultural figures and artists.

In his address, Qomi underscored the enduring nature of the Iranian people and their commitment to preserving their cultural heritage while embracing innovation and creativity. He emphasized that the ability to uphold and innovate cultural principles showcased the richness of their culture. Qomi further emphasized the importance of establishing platforms that can host remarkable cultural events, with a particular focus on children and teenagers.

"Remaining faithful to our cultural principles does not impede innovation and creativity; instead, it nurtures and enhances them," Qomi stated. Drawing attention to the situation of children in Gaza, he stressed the significance of demonstrating creativity in addressing their needs. According to Qomi, a complex that fails to exhibit such creativity has not fulfilled its responsibilities adequately. He expressed his hope that the innovative approaches implemented by Karestan Baharestan and similar complexes would have a meaningful impact.

The inauguration of Karestan Baharestan marks a significant milestone in Iran's cultural landscape, providing a vibrant hub for artistic expression and innovation. With its state-of-the-art facilities and dedicated focus on promoting cultural events for all age groups, this complex is poised to become a beacon of creativity and inspiration for the nation.

"In his speech, Seyyed Amir Hossein Chavoshi, the CEO of the complex, emphasized the cultural and economic potential of these complexes. He stated that by staying true to the pillars of cultural innovation, they can tackle economic challenges while exerting a profound cultural influence. Chavoshi further highlighted the vision of Karestan Baharstan, which aims to provide artists with an environment where their primary focus is on creating their work without any concerns.

He elaborated on the range of facilities and infrastructures offered by Karestan Baharstan, including a filming studio, live broadcast capabilities, a black box, and chroma-key technology. Chavoshi explained that the complex is not just an accelerator or innovation factory, but also houses divisions dedicated to visual and auditory arts, as well as general culture and the arts. He emphasized that their initial focus in the first year is on children and teens.

Dadman, another speaker at the event, emphasized the mission of the Art Bureau. He stated that their goal is to establish a platform that promotes networking, formation, and growth of cultural and artistic teams. Dadman believes that these teams embody a collective identity that can address challenges in the cultural and art realm, without solely relying on media, institutions, and existing structures.

He clarified that this mission does not imply opposition to existing structures, but rather a desire for an independent cultural identity and a commitment to sparking a movement within the public sphere of society."

In a recent statement, Dadman highlighted the utmost importance of a newly established complex. He emphasized that it is crucial for this establishment to fully embrace its responsibility in fostering the growth and advancement of the cultural and artistic ecosystem. The primary aim of the complex is to provide a nurturing environment that supports the development and acceptance of cultural and artistic teams. This vision aligns with their goal of driving transformative change within the artistic realm.

Dadman went on to express his firm belief that the cultural consumption ecosystem in the country is still not fully realized. He emphasized that cultural consumption, which should be considered alongside production, plays a vital role in shaping the future of Iran. However, a complete and cyclical system for cultural consumption has yet to be formed.

Recognizing the need to address these limitations, Dadman stressed that the complex must serve as a networking platform for teams. By facilitating a seamless cycle of production and consumption, the complex can foster connections among individuals who are actively involved in the cultural and artistic sphere.

Furthermore, Dadman underscored the significance of focusing on children and teenagers as the primary audience for cultural activists in the country. He emphasized that the younger generation is constantly subjected to attacks in intellectual, cultural, media, and lifestyle realms. Unfortunately, their specific needs are often overlooked. To address this, the complex has made it a priority to cater to children and teenagers. They aim to prioritize both the quantity and quality of artistic products, ranging from books to movies, animations, and TV series. Additionally, the complex aims to establish a network of young individuals associated with the artistic domain. This will provide them with opportunities for talent discovery and enable them to become agents of transformative change within the cultural landscape.

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