2007 Song Of Bulbuls [Nightingales] Of OilRicj Regions – The Museum Of Contemporary Art – Isfahan
2006 The Selected New Generation – Exhibition Homa Gallery – Tehran
2005 Nature & Easter Artist – Saba Gallery
2004 Group Painting Exhibition – Beirut
2003 Niavaran Cultural – Tehran
Ghasem Mohammadi's paintings are rather unspoken.
They invite us to the silence of a sunny view, to a nature freed and left from human invasions. A coded Doomsday pregnant of natural disorders and cities deprived of mankind are displayed by his paintings. Even if a figure is arisen from its lakes or is walking within its buildings is serving more as the dramatic mysteries
Of his paintings than the casual or practical action. These mysteries, in terms of from, are originted from a medium poised between media world and realistic one.
His inner excitement is being transformed by his world into a poem illustrated on the canvas. The outcome is a mirror reflecting the horror, distress and beating of the contemporary world.
Ghasem Mohammadi is creating his works through a technique, seemingly easy which is achieved by experiences seriously gained during a lifetime. He consciously refrains from presenting what happens for the world and its peoples. Ghasem Mohammadi's paintings keep us in their arms, at the top of a precipice, enable us to stare downhill.
The post apocalptic landscapes Anyone who has seen his previous knows that his work is Mainly comprised of urben and industrial items which have been left in empty and abandoned spaces. This feature, along with his particular use of colour scheme and technique , has made his work unique. His former series are characterized by a non-spatiotemporal aspect through which the abandoned scenes and constructions remind one of the film of cormac McCarthy’s the Road amongst many other post-apocalyptic examples. Given that there are many similarities between Mohammadi’s new series and his previous work , the new series nevertheless heralds a new period ror the artist as well as revealing a gradual transition in the development of his works. The animals and human being-as though they have appeared hurriedly and in a state of agitation from around the world of the image_indicate a sense of change, although they cannot bring any prosperity to the dese rted landscape through their meager presence. The writings and colour attach a spatial aspect to the works: here a number plate, there Iran’s tricolour flag on a locomotive, and somewhere else the warning sing on an electrical box-all are the elements linking Mohammadi’s location-less scenes to a particular context of life. This connection seems to be related to the social conditions surrounding the artist. Such a reading would make little sense without taking into consideration the period and phase the following the changes in his work as well as the singificance of the continuity between phases. "Ali Ettehad "