At just 33 years old, Anahita Sadighi has established herself as one of Europe's most influential art dealers. From her 1,055-square-foot Berlin apartment that she shares with her partner, Sadighi seamlessly blends ancient Asian art with contemporary works, creating a living space that reflects her curatorial vision and commitment to amplifying historically underrepresented voices in the art world.
Sadighi's apartment serves as both her sanctuary and an extension of her professional work, located directly above one of her two Berlin galleries. Rather than viewing this proximity as a drawback, she embraces it with humor, joking that "all that's missing is a staircase like in Ghostbusters." This 'old school' arrangement allows her to eliminate commuting time and maintain productivity, though she admits it can be challenging to draw clear boundaries between her personal and professional life.
The living room showcases Sadighi's sophisticated aesthetic sensibility, featuring a large Freistil Rolf Benz sofa paired with Paolo Piva's Alanda coffee table for BB Italia. Three crystal lamps by Eloa float like small clouds, evoking what the gallerist describes as "constellations." A striking dialogue emerges between a female Bedu mask from the Bondoukou region of Côte d'Ivoire and an antique Chinese window, representing traditional architectural elements that span continents and cultures.
For Sadighi, redecorating has become what she calls a "professional deformation." Her philosophy is heavily influenced by Chinese thinking, which advocates that household objects should be original and constantly evolving. "If you always leave things in the same place, they take root, like plants," she explains. "Your living space is something alive and must be modified regularly so that you can continue to flourish." This evolution isn't merely aesthetic but energetic, as the harmony of space directly influences well-being.
The apartment's hallway features photographs from the "Temporal Memory" series by London-based photographer Kalpesh Lathigra, captured in Mumbai. A spatial suspension light by Bent Karlby provides illumination, demonstrating how contemporary photography can transform transitional spaces into meaningful artistic statements.
When describing her home, Sadighi uses a carefully chosen list of adjectives: "Versatile, lively, warm, attentive to details, orderly, spacious, welcoming, contrasted, romantic, and fun." Each corner of her home reflects her aesthetic sensibility and her conception of interior decoration as a personal extension in constant evolution.
Among her current favorite pieces is the Freistil sofa, where she would spend all day if possible, especially in good company. Another particularly meaningful object is the female Bedu mask from Côte d'Ivoire's Bondoukou region. Created by the Bafana, Kulango, and Degha tribes, these pieces carry deep symbolism with protective qualities and close ties to beliefs about fertility and health, particularly among women.
The dining area features a Chinese buffet displaying three masks from the Qing Dynasty. Above them hang abstract paintings on paper created by Sadighi's father, artist and collector Hamid S. Neiriz. Below are bronze ornaments shaped like mythical lions. "I love the overall composition," confides the gallerist. "It gives me strength." Ceramics on the dining table are by Frank Jimin Hopp, adding contemporary artistic elements to the historical display.
In the bedroom hangs an 18th-century Korean painting that Sadighi believes "was probably painted for the Year of the Tiger. The motif of the tiger with its cub can be interpreted as a sign of good luck. It's said that representations of these animals ward off evil spirits." Opposite this traditional work stands an acrylic glass relief by Dieter Detzner, whose mysterious tones ranging from green to anthracite to black immediately captivated her with its ability to transform spatial perception.
Sadighi's educational background in Islamic art and architecture led her far beyond the academic world. She currently directs two galleries in Berlin: Anahita Arts of Asia, focusing on ancient pieces from Asia and cultures that flourished along the Silk Road (to which she has added tribal and pre-Columbian art in recent years), and Anahita Contemporary, inaugurated in 2018 and dedicated to international contemporary artists.
Intercultural and interdisciplinary dialogue forms the core of her curatorial approach, aimed at creating bridges between generations, contexts, and ways of understanding art. "The combination of both galleries' programs creates a unique mix of ancient and contemporary art in Germany," she explains, convinced this approach will be decisive for the future.
Many of the works she represents find their way into her daily life. "I don't present my artists in the gallery just for fun," she says laughing. "I'm a fan of each of their works, and I can't help but take them home with me. Living with them also influences my collaboration with the artists. Ultimately, they become part of the family, so to speak."
For the gallerist, art at home isn't just about decoration—it's a way of being in the world. "A good work of art has several levels of reading that gradually reveal themselves to the viewer," she believes. In her home, each piece has personal, emotional, or symbolic value. "There's always a story behind it that makes a work attractive to my eyes. For me, what's important is that it brings qualitative improvement to my daily life, that it inspires me and nourishes my creativity."
This vital approach has deep roots. Sadighi grew up surrounded by art, as her father owns Germany's most important kilim collection. "Our house was really special. I've never seen such a diverse and unique collection of works, objects, and furniture as what was found there," she remembers. Far from keeping pieces hidden or locked away, her parents encouraged her to play in her father's workshop and interact with everything that caught her attention, even with friends.
The kitchen maintains a typically German aesthetic with built-in oven and tiles. The cooktop is by Smeg, and copper utensils come from Iran, reflecting Sadighi's multicultural background. An old IKEA console, highly prized in the second-hand market, demonstrates how accessible pieces can integrate successfully with high-end art.
Accessibility remains important to Sadighi's gallery practice. Many works are surprisingly affordable, with numerous pieces costing less than $1,000. Her goal is to attract a new generation of young collectors and encourage them to invest in art. Her advice for beginners is to focus on works on paper, such as numbered and signed prints with beautiful frames, which can provide an excellent entry point into the collecting world. Photographs, generally more affordable, are also ideal for first purchases.
The apartment features additional cultural treasures, including a textile mushroom work by Nina Lamiel Bruchhaus above a doorway and a side table by New Tendency holding the head of a Greek scholar from the 3rd and 4th centuries BC. "I love the elongated shape of the head, the fine curls, and the contemplative gaze of the character. The object exudes stoic calm and wisdom," explains Sadighi.
A Chinese cabinet made around 1900 from tropical elm showcases furniture craftsmanship, while sofa cushions made from Bakuba fabrics from Congo add African textile artistry. "They are unique in their manufacture, the complexity of their pattern, and their surface decoration. Only women created these fabrics, which were used for ceremonial skirts and headdresses, among other things. Picasso was a great admirer and was inspired by their artistic power," Sadighi notes.
The apartment represents more than a home—it embodies Sadighi's belief that cultural diversity and artistic dialogue can create meaningful connections across time periods and geographical boundaries. Through her living space and gallery work, she continues to make visible the dialogue between cultures, media, and eras, highlighting connections and facilitating exchanges that enrich our understanding of global artistic traditions.
