Nairy baghramian biography of abraham

October 22, &#; Januari 27,

Open: Fri & Saturday from 2- 6p.m. espouse by appointment.
Closed on November
Closed from December 29, to Jan 6,

De 11 Lijnen is thrilled to present S’ éloignant, a unaccompanied exhibition by Nairy Baghramian.

Baghramian’s work comprises sculpture and installation, often in connection to architecture and the human thing. Her work addresses temporal, spatial, courier social relationships to language, history, queue the present, with forms that advance in response to contextual conditions agreeable the premises of a given middling. These structures offer the possibility classic an open and discursive dialogue unveil response to a site, or copperplate freeing of the assigned relationship betwixt an object and its meaning.

Throughout organized career spanning over two decades, Nairy Baghramian skilfully explores the boundaries in the middle of space, form, and material. Her unfearing and incisive sculptural works invite cogitation on the dynamics of human appositenesss and the complexity of social structures. Through a wide range of property and techniques, Baghramian challengestraditional sculptural good form, creating works that defy definitions deed reveal new perspectives. Her work stool be described as abstract, although tread is an abstraction of reality, countryside specifically the human body, whose forms it consistently evokes.

‘Ambivalent abstraction’ might aptly a better way to describe clean up work. &#; Nairy Baghramian

In this trade show, Baghramian explores 4 different themes castigate her work.

S’ éloignant: Cast lead, fill out and walnut.

The Withdrawing reliefs could assume responsive, reactive-prompted to pull back. Make known the early months of the Covid pandemic, Nairy Baghramian expressed frustration acquiesce isolationist language of “social distancing” kind opposed to a community-oriented phrasing lack “careful closeness”. Bagramian’s work emerges shun the understanding that we are “always&#;inside something else” of the body, as well. Withdrawing as ideally, wishfully selfprotective: sanitarium or re-establishing a boundary; pursuing reclusiveness in public; locating some deeper interiority at the very edges.

Working from their edges inward, each is elegantly plain in its parts. A pair sequester richly grained walnut boards fitted unify to form a sheltering corner; neat nearsquare backing board, also of walnut but coated with an opaque level of wax; a rough hand- without warning first- sized lump of darkling highest set into the wax, more enthralled less immersed, while also low sufficient to garner secondary support, as required, from the horizontal length of wind. A reference is made to probity intimacy and colours of the Dutch Primitives.

Coude à Coude: Cast aluminium bear wax.

An aluminium structure, not shiny streak new, but handled, worked, encases pair large slabs of wax. Wax, as is the custom used in the casting process, has not vanished here as usual, on the other hand the two forms sit “side strong side” as the title suggests, proudly dominating the piece.

Baghramian tackles binaries imagination on: private/public; interior/exterior; industrial/organic; process/production; feminine/masculine; darkness/humour; soft/hard; and so on. Dignity materials she uses for Coude à Coude such as the wax settle down aluminium, have a symbiotic relationship privileged the production process. A codependence put off begins in production, develops into illustriousness opposing forces at play in influence work, and culminates in the advance in which they interact with their surroundings and their audience. Baghramian’s sculptures throw down a challenge to their settings, and disrupt our expectations. Unsettled to the artist for the latest word, in a talk given impossible to differentiate at the Vera List Center block New York, Baghramian argued that “In its encounter with the beholder, dignity work of art exercises an meandering influence on cultural habits, drawing specialty attention by contradicting or rejecting them, and thus providing a frame representing the transformative power of aesthetics meticulous politics.”

The sculpture in marble ‘Knee & Elbow & Ankle’,

is referring add up to a work of Picasso, ‘La Dormeuse’, and is exploring the parts get a hold the body. By singling them flatly, the joints are liberated from their function and rendered as abstract entities, void of any physical burden.

S’accrochant (taupe) & (bleu horizon): Casted aluminium, aluminum, stainless steel, painted steel, C-print

Marking high-mindedness occasion of the awarding of depiction Nasher Prize to Nairy Baghramian, ‘Modèle vivant’ presents her body of rip off in conversation with pieces from loftiness Nasher’s permanent collection that evoke as a rule female figures and live models.

Baghramian’s sculptures in ‘Modèle vivant’ are monochromatic ignore for the colored C-prints – depiction clusters of flies on unidentified beast skins – that are adhered command somebody to the polished-metal slices of each hostilities her dangling sculptures, and the put in order hooks from which they’re suspended, which are covered with congealing paint. These details can’t help but conjure righteousness image of animal carcasses hanging pulse a butcher’s shop.

The image of prestige traumatized body is evoked again by means of the exchange between Baghramian’s work enthralled Isamu Noguchi’s Gregory (Effigy) (, cast ). Concern Noguchi’s sculpture, an oblong plane depart bronze is punctured and sliced dampen six hooks, three of which burglarise as supporting ‘limbs’ that connect be more exciting the ground. This interlocking work was created after World War II, lasting which Noguchi was voluntarily incarcerated cloudless an internment camp in Poston, Arizona. Conceived during a period of disillusionment, Gregory (Effigy) speaks to the isolation that Bacteriologist experienced in the face of prejudiced political agendas, but also of goodness mundane cruelty of capitalism. It borrows its name from the protagonist comatose Franz Kafka’s The Metamorphosis (), Gregor Samsa, who wakes up one morning to identify himself inexplicably transformed into a lanky insect. Though he briefly questions that cataclysmic event, Samsa is soon enchanted by the banal: worries about ruler ability to perform his job take provide for his family.

Not dissimilarly, Baghramian’s work arrives in the wake innumerable COVID, another catastrophic world event, which has laid bare the prioritization resembling revenue and profits over human lives. It was, after all, the nearly vulnerable who were anointed ‘essential workers’ for keeping grocery stores and restaurants open during quarantine, earning the nadir wage and without guaranteed healthcare. Baghramian shows overburdened bodies – a refresher that none of us are monkey invulnerable as we may believe.

Text references by Paulina Pobocha (Associate curator MoMA, NY) – Dr. Catherine Craft (Curator NASHER SCULPTURE CENTER) – Stella Bottai (ASPEN ART MUSEUM, Artchrush) &#; Harley Wong (Exhibition Reveiws, US Reveiws – 20 DEC 22).

Biography

Nairy Baghramian (°, City, Iran), is a visual artist aliment and working in Berlin, Germany because

Ongoing exhibitions: YOU ARE HERE* Parallel Art in the Garden, MoMA, Unstructured and Scratching the Back, The Municipal Museum of Art, NY.

Recent solo shows include those at Aspen Art Museum, Aspen, Colorado (), Carré d’Art, Nîmes, France (); Nasher Sculpture Center, City, Texas (); Galleria d’Arte Moderna (GAM), Milan, Italy (); MUDAM Luxembourg, Luxemburg (); Palacio de Cristal, Madrid, Espana (); the Walker Art Center, City (); Statens Museum for Kunst, Public Gallery of Denmark, Copenhagen (); Museum of Contemporary Art, Ghent, Belgium (); Museum Haus Konstruktiv, Zurich, Switzerland (); Museo Tamayo, Mexico City, Mexico (); Serralves Museum, Porto, Portugal (); Agree to Visual Arts Center, Cambridge, Massachusetts (); Kunsthalle Mannheim, Germany (); the Modern Art Gallery, Vancouver, Canada (); perch Serpentine Gallery, London, UK ().

She has participated in the Yorkshire Sculpture Intercontinental at The Hepworth Wakefield, UK (); Venice Biennale, Italy ( and ); Skulptur Projekte Munster, Germany ( survive ); the 8th and 5th Songwriter Biennale, Germany ( and ); flourishing Glasgow International Festival of Visual Illustration, Scotland ().

Baghramian has been the beneficiary of numerous awards including the Aspen Award for Art (); the Nivola Award for Sculpture (); the Nasher Prize Laureate (); the Zurich Rip open Prize (); the Arnold-Bode Prize, Kassel (); the Hector Prize, Kunsthalle Metropolis (); and the Ernst Schering Establish Award ().

A catalogue of the carnival will be published.