For Trebuchet 11 we decided to have two covers. One with the Berlin base sculptor Nairy Baghramian and the other with renowned light artist Chris Levine.
Nairy Baghramian was born in Isfahan, Iran in 1971. She has lived and worked in Berlin since 1984. Baghramian’s work comprises sculpture and installation often in reference to architecture and the human body. Her work addresses temporal, spatial and social relationships to language, history, and the present, with forms which materialize in response to contextual conditions or the premises of a given medium. These structures offer the possibility of an open and discursive dialogue in response to a site, or a freeing of the assigned relationship between an object and its meaning.
Recent solo shows include those at Galleria d’Arte Moderna (GAM), Milan, Italy (2021); MUDAM Luxembourg, Luxembourg (2019); Palacio de Cristal, Madrid, Spain (2018); the Walker Art Center, Minneapolis (2017); Statens Museum for Kunst, National Gallery of Denmark, Copenhagen (2017); Museum of Contemporary Art, Ghent, Belgium (2016); Museum Haus Konstruktiv, Zürich, Switzerland (2016); Museo Tamayo, Mexico City, Mexico (2015); Serralves Museum, Porto, Portugal (2014); MIT Visual Arts Center, Cambridge, Massachusetts (2013); Kunsthalle Mannheim, Germany (2012); The Contemporary Art Gallery, Vancouver, Canada (2012) and Serpentine Gallery, London, UK (2010).
Baghramian was recently announced as the 2022 Nasher Prize Laureate. Her previous awards include the Zurich Art Prize (2016); the Arnold-Bode Prize, Kassel (2014); the Hector Prize, Kunsthalle Mannheim (2012); and the Ernst Schering Foundation Award (2007). She has participated in the Yorkshire Sculpture International at The Hepworth Wakefield, UK (2019); Venice Biennale, Italy (2019 and 2011); Skulptur Projekt Munster, Germany (2017 and 2007); the 8th and 5th Berlin Biennale, Germany (2014 and 2008); and Glasgow International Festival of Visual Art, Scotland (2012).
In this issue of Trebuchet Baghramian spoke to Trebuchet about her relationship of processing materials to recontextualise the familiar as means to understand our history through the grooves we walked through language.
Nairy Baghramian, Misfits N, 2021 (detail). Photo: Rebecca Fanuele. Courtesy of the artist and Marian Goodman Gallery © Nairy Baghramian
The aim of art is to represent not the outward appearance of things, but their inward significance. – Aristotle