Marjan Tajeddini: For decades, art galleries have served as venues for visual arts. First sound art experiences in galleries followed this simple rationale that ‘hearing is another form of seeing… Sound is meaningful only when understood in space and in connection with images.’ On the other hand, musical performances have always enjoyed their own venues and a particular  audience: one with a musical knowledge and specific musical taste and  background who has paid for the concert and sits in the concert hall all the way through. A musical performance for ‘visitors’ of a gallery, however, presents what is to be heard to those who have come to see. Without the routine formality of a concert, it gives spectators the chance of interacting with and connecting to musicians in a more intimate space, allowing them to leave it whenever they want. The piece performed by Vedad Famourzadeh, Peyman Sayyadi and two more musicians in Shalman Gallery, titled Melancholy of a Mirror, was an experience of this kind. Aside from staging a musical performance in a gallery, the fact that they put Persian instruments, Tanbur and Kamanche, into practice of contemporary electronic music was a rare event. Also, the music was not centred around a musician or a conductor, rather the sound of Kamancheh was processed in real time by the conductor of the group while the two Tanbur players improvised on it. What was heard as the outcome was the Gestalt of their interaction and joint desires.