Basel

For the commissioned site-specific project at Messeplatz, Nairy Baghramian reimagines Basel’s iconic fountain through an expansive sculptural intervention that extends her longstanding exploration of the relationships between bodies, objects, architecture, and systems of support. Conceived specifically for the public square, Modèle vivant (S’empilant) unfolds across the length of the fountain as a rhythmic assembly of biomorphic forms and geometric structures, transforming a place of transit and gathering into a space of reflection, pause, and encounter.

Balancing abstraction with bodily associations, Baghramian’s large-scale aluminum forms appear stacked, suspended, and precariously supported by polished steel armatures that traverse the fountain without interrupting its flow. Characteristic of her practice, the sculptures inhabit an intermediate state, suggesting bodies that are continually reshaped through processes of dependence, adaptation, and change. Fragmented yet connected, the work embraces vulnerability and transformation, foregrounding sculpture as something provisional and open-ended.

Extending beyond the sculptural assemblage itself, Baghramian incorporates a bench-like structure alongside the fountain, inviting visitors to linger and become participants within the work’s shifting constellation. Photographic imprints of flies appear across tiled surfaces, introducing an allegorical population that mirrors the movement of fair visitors gathering, dispersing, and reassembling in ever-changing formations. As viewers occupy the space, they become part of the work’s choreography, entering into a dynamic relationship with the sculptures and with one another.

Modèle vivant (S’empilant) responds to the unique context of Art Basel, where international audiences converge for a brief moment before dispersing again. The installation proposes a different understanding of public sculpture, rooted in transition and the possibility of future transformation beyond its initial presentation. While firmly anchored in the Messeplatz, the work remains open to an afterlife elsewhere, anticipating its own reconfiguration even as it occupies the square.