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Manouchehri’s response explores the merging of traditional Persian techniques with contemporary abstraction that Farmanfarmaian not only pioneered but continues to influence a subsequent generation of artists.

This event is free but the relevant Exhibition entry fee will apply.

About the Speaker

Roxana Manouchehri is a professional visual artist based in Dublin. Having received an MFA in fine art from the Tehran University of Art, she has been teaching art since 1995 in different universities in Tehran, Seoul and the Chester Beatty Library in Dublin. She has have more than 50 group shows internationally and 10 solo exhibitions in Tehran, Seoul, London and Dublin including the RHA and the Kevin Kavanagh Gallery. Her upcoming solo exhibition will be on November 30th, 2018 in the Etemad Gallery in Tehran. Her main interests and skills include, calligraphy, geometrical patterns, mirror work and reverse painting on glass, Persian miniature and the techniques in medieval manuscripts. Find more details on the artist’s work here.


About the Artist

Monir Shahroudy Farmanfarmaian  b.1924

Born in Qazvin, Iran in 1924, Monir’s distinguished career has spanned more than six decades. The artist attended the Fine Arts College of Tehran before becoming one of the first Iranian students to study in the United States after World War II. She graduated from Parsons School of Design in 1949 and then became a Member of the New York Art Students’ League (1950-53). — View Artist »

About the Exhibition

Sunset, Sunrise is a new retrospective exhibition of works by Monir Shahroudy Farmanfarmaian. With a career spanning more than six decades, Farmanfarmaian is one of the most prominent contemporary Iranian artists working today.  Sunset, Sunrise reflects a life lived between two cultures, across histories of East and West. It investigates the abundance and mystery of nature, the universe and our place within it. More than seventy artworks are on display ranging from painting, sculpture, jewellery and tapestry to collages and works on paper. There are previously unseen drawings such as Untitled 4 (2017) and Untitled (2012) together with her signature mirrored pieces. Often kaleidoscopic with rich geometric and architectural forms, these works encapsulate Farmanfarmaian’s ability to merge traditional Persian techniques with contemporary Western abstraction.