Institutional critique looms large over contemporary art. In a moment when power is being held to account and representation matters, recent interventions into the formal, conceptual, and systemic workings of the art institution by artists and activist communities remind us of the urgent necessity of this practice. However, among the protests and hashtags for change that have emerged, a quiet radical critique can also be found that is neither weak nor literal, but strong in its subtlety. In this latter category, I would include the work of Iranian-born New York artist Kamrooz Aram and his current exhibition of paintings, sculptures, objects, and photographs at Atlanta Contemporary titled “Ancient Blue Ornament,” on view through April 1.
Like other artists who engage the classic tenets of institutional critique, Aram heightens our awareness of the established frameworks that shape our understanding and valuation of art objects. Yet, his encounter with the exhibition space is informed by a certain empathy towards materials, artworks, and architecture—a refreshing gesture that frustrates the cold, reductive aesthetic that accompanies much of the movement’s practices. Thus, instead of ignoring or fetishizing the gallery space and its immovable conditions, Aram incorporates the gallery into the work to allow institutional space and art to activate one another.
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