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Shahryar Nashat, Fruit, 1996–2011, still from a color film in Super 8 transferred to video, 1 minute 28 seconds.

Shahryar Nashat

Studio SALES di Norberto Ruggeri

Shahryar Nashat, Fruit, 1996–2011, still from a color film in Super 8 transferred to video, 1 minute 28 seconds.

Shahryar Nashat investigates and questions the fetishization inherent in the display of works of art in museums, and, more broadly, the mechanisms for the presentation of art and the opulence of its symbols, rich with political and economic significance. In various articulations, his work reflects on the concept of dominance—that of the artwork, architecture, and museum institutions over the viewer, but also the subtler power of one individual over another inherent in seduction. The terse, formal manner of his photographs and videos heightens the dichotomy between a conceptual coolness and a warm and sensual physicality.

The subject of the photographic works Downscaled Upscaled 1 and 2, both 2011, is the plinth; each image shows two plinths identical in all but size, the smaller atop the larger. These cold, self-referential masses relate nothing about any sculpture they may

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