Events

The exhibition opened at Tehran’s Iranmehr Hospital and presented drawings and paintings Mojabi made during treatment. The opening also marked the resumption of social neuroscience meetings and the release of his book In Search of the Hidden Half of the Self. Abdolrahman Najl Rahim, Nastin Mojabi, and Poopak Mojabi spoke at the event; the exhibition ran through 28 Tir.

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The launch of Behzad Shishegaran’s book brought together Mojabi, Mahmoud Dowlatabadi, and other writers and artists at Bookland Makines. Mojabi proposed chehreh-goshayi (“revealing a face”) as a Persian equivalent for portraiture and discussed the relationship between Ahmad Shamloo’s poetry and Shishegaran’s graphic work.

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The Artibition Gallery exhibition, open from 9 to 31 Khordad 1404, brought together paintings by several poets, including Mojabi. Its accompanying text by Shahzadeh Royaei considered the movement between words and images and the connection between poetic experience and visual creation.

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After years of working privately, Mojabi showed a selection of his drawings in the exhibition Seventy Years of Portraiture at Azad Gallery, scheduled for 8–23 Dey 1402. The exhibition statement described poetry, fiction, and painting as ways of recording inner experience and exploring the world.

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Issue 16 of the poetry magazine Vazn-e Donya devoted a dossier titled Navigator of Dreams to Mojabi. Essays and reviews by Hafez Mousavi, Davoud Saeedi, Anousheh Nikseresht, Reza Rahmat-Rad, and Parvin Farhani examined his poetry and career; an interview with Farzam Hosseini looked back on six decades of poetry and his work across the arts. The issue ran to 188 pages.

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Mojabi’s three-volume memoir, published by Sales in 1,358 pages, recounts meetings and friendships with contemporary writers and artists. Drawing on his journalism and participation in cultural circles, the books offer a view of Iran’s cultural and social life over roughly half a century.

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A report on Mojabi’s novel, published by Qoqnoos, describes its imagined setting as a way to examine human relationships and hidden structures of power. Mojabi says a writer’s role is to describe conditions carefully, leaving judgment and solutions to readers and society; the book is listed at 376 pages.

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At a University of Tehran seminar organized with the Iranian Studies Association, Mojabi discussed Dehkhoda as a modern intellectual. He defined intellectual work as a sustained, reasoned critique of the human condition, and reviewed Dehkhoda’s roles as scholar, journalist, public official, and compiler of a major Persian dictionary.

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The review describes a novel that interweaves the life of an unnamed man with the unsettling inner monologue of a painter and poet in his nineties. It discusses the book’s shifts between standard and invented language, its inheritance and father–son conflict, and the narrator’s painful memories of his mother and women in his paintings.

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Published by Cheshmeh, this book draws on proverbs, folk narratives, and humor to explore Iranian oral culture. In his introduction, Mojabi presents popular literature as the product of shared experience and collective wisdom, and recognizes the unnamed storytellers who pass these tales on.

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This retrospective reflection presents Mojabi as an artist working across literature, journalism, criticism, and visual art. The accompanying recollection traces the writer’s first meeting with him in 1354 (1975), their work around the arts desk at Ettela’at, and the cultural circles of Tehran in the 1970s.

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At the closing ceremony in Bagh-e Negarestan on 31 Khordad 1398, Mojabi spoke about a century of modern Iranian fiction and its relationship to Iran’s cultural heritage and world literature. He also discussed new literary experiments and young writers; Hassan Farzamand, Sasan Moeidi, and Safdar Taqizadeh were honored at the event.

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In remarks accompanying a book launch and exhibition of Iranian music posters, Mojabi reflected on graphic design from the 1340s to 1350s (1960s–1970s). He described how posters and illustration matured alongside modern visual arts and how Tehran’s expanding cultural venues created a wider audience for theatre, film, music, and the arts.

Mojabi met participants at the School of Writing and spoke about the long path of becoming a writer. He said painting had been a personal practice for about seventy years, while reading and writing—especially reading—had occupied most of his life.

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In a lecture on Obeyd Zakani, Mojabi argued that Obeyd was more than a comic poet: he was a thinker attentive to social conditions and the limits on public reason. Mojabi singled out Akhlaq al-Ashraf as a philosophical satire and called Obeyd a central figure in the tradition of Iranian satire.

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Mojabi attended the Berlin ceremony as a special guest, where Ralph Rothmann received the Uwe Johnson Prize. In a speech introducing a century of Iranian literature, he discussed the development of modern fiction, the influence of global cultural change, and the differing experiences of writers before and after the Revolution. The report records the organizers’ aim of opening German literary awards to writers from beyond Germany.

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At a conference on literary rights, Mojabi argued that copyright lacks practical force in Iran and that works in music, cinema, and literature are often used without permission. He also criticized misleading official language and urged closer attention to how language can disguise power and cultural practices.

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Artists and journalists gathered to recognize Jeyrani’s 43 years in journalism. Jeyrani recalled his good fortune in working with Mojabi early in his career; Mojabi, his first editor, was among the guests alongside actors, filmmakers, and critics.

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The Persian archive lists a gathering celebrating filmmaker Naser Taghvai at the Mahmoud Afshar Endowment Garden. The archived entry provides limited further detail.

In a tribute published in Iran newspaper, Mojabi said Kiarostami looked beyond political power and public judgment to focus on people, nature, and life. He praised the filmmaker’s simple yet layered way of expressing Iranian thought and his contribution to the international standing of Iranian cinema.

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After a performance of Hamidreza Naeimi’s The Good Soldier Švejk on 24 Mehr 1396, the company celebrated Mojabi’s birthday. He praised the production for presenting the tragedy of war through comedy and for making its human cost clear amid contemporary violence.

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During a visit to the restoration project, Mahmoud Dowlatabadi urged publishers to donate books so the house museum could become a living literary institution. Mojabi suggested that a board of trustees could provide an effective way to manage the project.

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To mark Mojabi’s birthday, the Iranian Book News Agency published a selection of photographs of the poet, writer, critic, painter, satirist, and journalist. The gallery credits photographer Javad Rahimi.

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At a Musicema event honoring Shajarian, Mojabi praised the singer’s energy and lifelong artistic work. The archive also links to a video of the speech on Aparat.

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The exhibition combined works from different periods of Ghasemizadeh’s practice, including pieces previously shown at Dante’s House Museum in Florence. At the Tehran opening, artists from the visual arts, poetry, literature, and music attended, and Mojabi was invited to comment on the works.

Mojabi presented the press medal to Amid Naeini, editor of Payam-e Emrooz. He praised Naeini’s independent, professional journalism, his openness to new but practical ideas, and his support for writers and visual artists.

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The documentary by Hassan Lotfi was screened at the Up Art Man cultural institute with Mojabi, Nastin and Poopak Mojabi, and a group of writers, artists, and critics in attendance. The event was hosted at the invitation of Lili Farhadpour.

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Mojabi attended a performance of Lamborghini with Nastin and Poopak Mojabi. The archived item links to Tiwall’s theatre listing for the production.

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The Cultural Heritage, Handicrafts and Tourism Organization installed an “Enduring Tile” at Mojabi’s home. The report described it as the second such tile honoring a cultural or artistic figure.

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The exhibition at Sales Gallery presented artistic and literary studies. The accompanying text describes a sketch as a brief flash of imagination: a first line or color that captures an artist’s perception before it develops into a finished work.