The way in which Navid Nuur (b. 1976) relates to material, the space around him and his observations therein, can almost be regarded as devout. The attention for detail and the careful fine-tuning of the various elements of a work or exhibition make the audience part of an 'inner' world. In Nuur’s work - although very conceptual at first sight - a very personal visual problem becomes the central question. What Nuur has in common with the conceptual artists from the sixties is the relation between concept and form. Form for him however, is not necessarily the result of the idea, but materializes through a subjective program of requirements or rules in which intuition has the upper hand. He applies concepts that often relate to a temporary in-between state that places his work between the audience and an often abstract phenomenon, such as light, energy, air, or 'rest space'. Nuur's form-language and meaning are therefore principally purely process-oriented.
Image: The Tuners, 2005-2016, prepared linen canvas, mixed media, 140 x 110 cm; 55 1/8 x 43 1/4 in.; 143 x 113 cm; 56 1/4 x 44 1/2 in. (framed)
Selected Institutional Exhibitions
la mia ceramica
Lynda Benglis, Ida Ekblad, Lucio Fontana, Günther Förg, Liz Larner, Fausto Melotti, Navid Nuur, Pablo Picasso, Sterling Ruby, David Salle, Josh Smith, Rosemarie Trockel, Rebecca Warren, Edmund de Waal
Galerie Max Hetzler / Holzwarth Publications, Berlin 2016
With an introduction by Edmund de Waal
Darren Almond, Tauba Auerbach, Mark Barrow & Sarah Parke, Jeff Elrod, John Houck, Navid Nuur, Albert Oehlen, Michael Raedecker, Tursic & Mille, Kelley Walker, Christopher Wool, Toby Ziegler
Galerie Max Hetzler Berlin | Paris 2014
With a text by Pierre-Nicolas Bounakoff
Karel Appel, Navid Nuur et al.
CoBrA. The colour of freedom (group show)
Stedelijk Museum, Schiedam
1 June – 4 October 2020
Directly after World War II, they were in need off a free way of painting. And that included colour. They often painted animals and fantasy ...