Nairy Baghramian, “Formage de tête” (Gardemanger bleu), 2011, color photograph, metal, lacquer, glass, 31 7/8 x 25 3/4 x 1 1/2".

THE ORGANIC AND THE GEOMETRIC, the corporeal and the mechanical, the biomorphic and the technical: At first glance, Nairy Baghramian’s sculpture appears firmly grounded in these antinomies, inevitably recalling the decisive role played by such dualisms in the history of post-Minimalism and Arte Povera.¹ The Berlin-based artist’s invocation of this legacy is not aimed at posthistoire or pastiche, however. Rather, it serves to draw attention to those forces that today put the production and reception of aesthetic objects under permanent duress. At a time when much contemporary sculpture has replaced the traditional parameters of mass, volume, weight, scale, surface, and texture with either accumulations of readymades or the sprawling environments typical of installation art, Baghramian employs various counterstrategies in order to reflect on the conditions of current artistic practice

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