TEHRAN- In an era when printed newspapers are rapidly fading from everyday life, Iranian painter Behdad Najafi has turned the ephemeral medium of newsprint into a lasting artistic statement. 

His latest exhibition, “Palimento,” underway in Tehran’s Nian Gallery, reimagines newspapers not merely as carriers of daily headlines but as cultural artifacts rich in memory, history and visuality. 

The exhibition centers on Najafi’s artistic exploration of newspapers published in Iran over the past four years. Using inspiration from the concepts of palimpsest—an intricate and complex narrative where the past persists and reemerges through new layers—and pentimento, the visible traces of earlier work beneath a finished surface—Najafi manipulated the underlying surfaces of the newspapers by applying paint. This process allowed fragments of text, images, and layout to subtly surface through the layers, creating a complex relationship between history and renewal.

“For me, newspapers have always played a special role in life,” Najafi explained. “From childhood, they were not just sources of news in our home; later, in different jobs I held before dedicating myself fully to art, I was constantly in contact with news and journalism.” This personal connection led him to challenge the transient nature of newspapers—objects that are read and often discarded within a day. 

Through “Palimento,” Najafi sought to strip newspapers of their purely consumable function and instead stabilize them as permanent works of art. The artist made no distinction between newspapers based on political orientation, language or subject matter. Sports pages, social and political dailies, and even English- and Arabic-language publications were all treated equally. 

“My only criterion was that it had to be a newspaper,” he said. “The content or political tendency did not matter. What mattered was the concept of news itself.” 

Although Najafi has worked on a wide range of newspapers published over the last four years—many of which no longer exist in print—only 40 works are displayed in the exhibition. Some of the newspapers featured have since ceased publication or moved entirely to digital formats, a reality that further underscores the exhibition’s themes of disappearance and preservation. 

Among the works is a piece based on Tehran Times, a newspaper that holds particular significance for the artist. Najafi recalled that Tehran Times was a constant presence in his childhood home and played a role in his early efforts to learn English. Over time, it also became, in his view, one of Iran’s most credible newspapers and a consistent supporter of artistic and cultural activities. 

“Beyond the nostalgia, Tehran Times has always had a serious and respectful approach to covering art and supporting artists,” he noted, adding that the newspaper’s influence both within Iran and internationally has given it a distinct and well-defined position. 

Looking ahead, Najafi expressed concern about the future of printed newspapers. While preparing the installation section of the exhibition, he was struck by how difficult it had become to find physical newspapers, even in central parts of the city. Many kiosks, he observed, now sell snacks instead of newspapers. “I think in five or ten years, printed newspapers may become luxury or even historical items,” he said.

Beyond form and material, the exhibition also carries a broader cultural message. Najafi believes newspapers are capable of more than transmitting negative or stressful news. Much like art, they can inform while offering analysis, solutions and hope.

“Just as people enjoy these artworks made from newspapers, they should also be able to enjoy reading newspapers themselves,” he said. “Media can choose approaches that raise awareness, provide perspective and inspire positive change in society.”

In closing, Najafi expressed gratitude for media support of the arts and voiced hope for improved conditions within Iran’s artistic community. “I hope to see the continuous movement of the wheel of art and the art economy, and better days ahead for artists and the cultural sphere as a whole,” he said.

Curated by Rosa Matinfar, the “Palimento” painting exhibition, which was opened on December 19, will be running until December 29 at the Nian Gallery located at 5 Abhari Alley, Vafai St. off Tur St. off South Mofatteh St.

SAB/