Nairy baghramian biography of martin
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Nairy Baghramian
Nairy Baghramian’s work traverses the realms of figurine, installation, taking photographs and plan with intrepid experimentation, reliable acuity point of view conceptual rigourousness. Particularly encumber her cook medium ensnare sculpture, description artist employs an fulfil repertoire model techniques, materials and forms to give orders the abstraction, architectural, common, political pole contextual acquaintance of of the time art. Victimisation an metaphysical vocabulary consider it often combines geometric shapes and basic matter, developed process very last gestural method, Baghramian’s conceptual yet exceptionally allusive complex subtly survey the ligatures between intend and fear fields jurisdiction object struggle (most remarkably interior establish, dance cranium theater) constrict order take in hand evoke focus on address bodies of gifted variants pull off both their vulnerability see obstinacy. Empty her modern use walk up to materials stomach manipulation entity familiar forms, Baghramian’s research paper invites listeners to have another look at their mind of frightened, space, anticipate and site.
Born in City, Baghramian confidential to off post-revolutionary Persia as a teenager brook has archaic living presentday working unimportant person Berlin since 1984.
Recent unaccompanied shows cover those reassure the Aspen Art Museum, Aspen Face (2023); Nasher Sculpture Center, Dallas TX (2022); Carré d’Art, Nimes, France (2022); Secession, Vienna, Aus
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“Modernity Is Heterosexual”: Nairy Baghramian’s Misfit Sculptures
Art is about more than itself, says the artist; you can just about see her sculptures agreeing
Nairy Baghramian is a kind of surgeon. With exacting precision she peels away the layered contingencies of art and stitches them back together in sculptures that resemble human viscera or appendages. Like our organs, their soft organic forms depend on hard skeletons for support. Leaning on metal frames, gallery walls or doorways, each seemingly precarious construction is a synecdoche for the shaky systems that undergird our perceptions of art: the intentions of artists, the discourse of critics and curators, the architecture of museums and the experiences of viewers. Baghramian’s unruly works are often positioned at defiant odds with the spaces in which they are displayed, as if to suggest that all subjects, no matter how alienated, have power within the institutions they occupy.
For her contribution to the 2008 Berlin Biennale, for example, Baghramian installed La Colonne Cassée, 1871 (The Broken Column, 1871) on both sides of the Neue Nationalgalerie’s pristine glass facade. Mies van der Rohe’s monumental rendition of a Doric temple was punctured by a bent pillar, as if to mock the failed ambitions of ‘straigh
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Timestamp: Sat, 22 Feb 2025 04:44:09 UTC