Nairy Baghramian, Exhibition Nivola Museum, Orani

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Nairy Baghramian:

Roof terrace

From 29 June to 3 November 2024

Accepted the Artsupp Card

Nivola Museum

Via Gonare, 2 (Museo Nivola), Orani

Closed today: open tomorrow at 10:30

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The Nivola Museum is pleased to present the exhibition Pratza ’e domo. A never-built semiotic house, a project realized by Nairy Baghramian for the museum following the award of the Nivola Prize for Sculpture 2023. The exhibition includes works by artists and designers Nairy Baghramian, Phyllida Barlow, Nicolas Hsiung, Janette Laverrière, Rosemary Mayer, Win McCarthy, Julie Mehretu, Oscar Murillo, Paulina Olowska, Monica Sosnowska, Mariantonia Urru. Baghramian's title Pratza ’e domo (literally "house square") takes up the expression that in Sardinia designates the space in front of a house, often equipped with a bench or a chair where one can linger; an area of transition not clearly delimited, at the same time private and public, individual and collective. This space, both physical and conceptual, is linked to the idea of the "never-built semiotic house", a project realized by Baghramian in 2008 at NAK - Neuer Aachener Kunstverein together with Janette Laverrière and Henrik Olesen (Affairs. A semiotic house which was never built). The project for the Nivola Museum combines a series of aspects that have always been present in Nairy Baghramian's practice. One of these is the interest in the boundaries between public and private space, external and internal, explored by her as potentially permeable and therefore charged with tension. If in the artist's previous works the tension usually arises between the institutional space of the museum or gallery and the social space, in this case the institutional space ideally identifies with the domestic one, also due to the form of the exhibition space, a former washhouse with a thatched roof, reminiscent of a house. The museum room takes on the characteristics of welcome and protection, becoming an enclosure where different artistic discourses can coexist and resonate together. The fusion between public and private space characterizes both Baghramian's new sculpture To Let Sign, mounted on the building's facade and in dialogue with those of Phyllida Barlow, and the image of the work January '17 Calendar (Der Fuß des Künstler, 2017) by Win McCarthy - which appears as an ephemeral gesture in the exhibition poster - where spatial and temporal axes converge in a hybrid between a calendar and a floor plan. Another boundary area that attracts Baghramian's attention is that between art and design, between aesthetic dimension and ornamental dimension, investigated in the exhibition through deliberately hybrid works such as the chair-sculpture Chaise L’Afghane (1987) by Janette Laverrière, the painted workwear Arepas y Tamales (2022) by Oscar Murillo, the stools by Nicolas Hsiung or, by Baghramian herself, the monumental carpet woven in Samugheo by Mariantonia Urru (whose minimalist design alludes to the idea of negative space, dear to the artist and evoked by the vision of the "sacred well" of Santa Cristina in Sardinia) and the handle-sculpture applied to a door in the museum courtyard.

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	opens - closes	last entry
monday	10:30 - 19:30	18:30
tuesday	10:30 - 19:30	18:30
wednesday	Closed now
thursday	10:30 - 19:30	18:30
friday	10:30 - 19:30	18:30
saturday	10:30 - 19:30	18:30
sunday	10:30 - 19:30	18:30

Nairy Baghramian:

Roof terrace

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