TEHRAN (Iran News) –Karestan Baharestan, the largest innovation complex for culture and art in Iran, was inaugurated during a ceremony on Tuesday.

The ceremony was attended by 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, along with several cultural figures and artists.

In his address, Qomi emphasized the enduring characteristics of the people and nation, who have continuously preserved their cultural principles while embracing innovation and creativity.

He noted that the ability to safeguard and innovate cultural principles is a testament to the richness of their culture. He highlighted the importance of creating platforms that can deliver remarkable cultural events, with a special focus on children and teenagers.

“Remaining faithful to cultural principles does not hinder innovation and creativity but rather nurtures and benefits them,” he noted.

Qomi also emphasized the significance of demonstrating creativity in relation to the situation of children in Gaza. He stated that if a complex fails to exhibit such creativity, it has not fulfilled its responsibilities adequately. He expressed hope that the innovative approaches implemented by such complexes would make a meaningful impact.

“By remaining faithful to the authentic pillars of cultural innovation, these complexes have the potential to alleviate economic challenges and have a more profound cultural influence,” he concluded.

In his speech, Seyyed Amir Hossein Chavoshi, the CEO of the complex, emphasized the vision of Karestan Baharstan, stating that their goal is to ensure that artists have no concerns other than producing their creative work.

He highlighted that Karestan Baharstan is not just an accelerator or innovation factory, but rather it offers a range of facilities and infrastructures, including a filming studio, live broadcast capabilities, a black box, and chroma-key technology.

Chavoshi further elaborated on the structure and content of the complex, explaining that they have different divisions dedicated to visual and auditory arts as well as general culture and the arts. He emphasized that in the first year, their priority is to focus on the domain of children and teens.

For his part, Dadman emphasized the bureau’s mission, stating, “At the Art Bureau, our mission is to establish a platform that fosters networking, formation, and growth of cultural and artistic teams. We believe that these teams embody a collective identity capable of addressing the actual challenges faced in the realm of culture and art, without being reliant solely on media, institutions, and existing structures.”

However, it is important to clarify that this does not imply opposition to structures, but rather an aspiration for an independent cultural identity and a dedication to sparking a movement within the public sphere of society, he added.

Dadman underscored the importance of the complex, stating, “It is crucial for this establishment to embrace its responsibility in the construction and advancement of the cultural and artistic ecosystem. Our aim is to provide a nurturing environment for the development and acceptance of cultural and artistic teams, aligning with our vision of propelling the transformational agenda within the artistic realm.”

Furthermore, he added, “We firmly believe that the cultural consumption ecosystem in our country is not yet fully realized. Cultural consumption, which must be considered alongside production, plays a pivotal role in shaping the future of Iran, yet it has not formed a complete and cyclical system.”

Dadman expressed the need for the complex to address its limitations, stating, “In order to overcome these shortcomings, it is crucial for this establishment to serve as a networking platform for teams, facilitating a seamless cycle of production and consumption, and fostering connections among individuals active in this sphere.”

Moreover, Dadman highlighted 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 subjected to relentless attacks within intellectual, cultural, media, and lifestyle realms, without adequate efforts being made to cater to their specific needs.

He further emphasized, “We have made it our priority to prioritize children and teenagers, emphasizing both quantity and quality in the production chain, spanning from books to movies, animations, and TV series. Additionally, alongside the direct emphasis on producing artistic products, it is essential to establish a network of young individuals associated with the artistic domain, providing them with opportunities for talent discovery and enabling them to become agents of transformative change.”

Karestan Baharestan, situated in Tehran’s Baharestan neighborhood, stands as the country’s largest innovation complex dedicated to the cultural industries. Spanning an impressive area of approximately 4,800 square meters, it boasts a combination of shared and dedicated workspaces capable of accommodating over 400 individuals simultaneously.

The complex offers an extensive range of cutting-edge facilities and capabilities. These include a spacious studio for programming and live broadcasting, a versatile black box, and a chroma-key studio. Additionally, it houses a sound studio for audio production, a music and sound recording studio, a design and construction workshop, a cinema and film screening hall, workstations and rooms, a gallery and exhibition space, as well as an area dedicated to hosting events.

Karestan Baharestan is fully equipped and prepared to welcome creative and innovative teams working in the cultural industries, particularly those focused on children and youth