гÙÉ»ï Ðáíë»÷Û³Ý / Hamlet Hovsepian

îÇ·ñ³Ý ʳã³ïñÛ³Ý / Tigran Khachatrian

4@t

¶áé ¾Ý·áÛ³Ý / Gor Engoyan

ÈáõëÇÝ» ʳݹÇÉÛ³Ý / Lusine Khandilyan

*

Edward Ba lassan ian | Edward Tadevoss ian | ¾¹áõ³ñ¹ ä³É³ë³ÝÛ³Ý | ¾¹áõ³ñ¹ ³¹»õáë Û³ÝD a v i d K a r e y a n | L u s i n e K h a n d i l y a n | ¸ ³ í Ç Ã Î ³ ñ » Û ³ Ý | È á õ ë Ç Ý » Ê ³ Ý ¹ Ç É Û ³ Ý G a g i k G h a z a r e h | V a h r a m A k i m y a n | ¶ ³ · Ç Ï Ô ³ ½ ³ ñ ¿ | ì ³ Ñ ñ ³ Ù ² Ï Ç Ù Û ³ Ý

²í»ÉÇ ³éáÕç, áõñ³Ë, ³ñ¹Ûáõݳí»ï...

гÛÏ³Ï³Ý ³ñí»ëïÝ Çñ ͳ·áõÙáí, áñù³ÝÇÝùݳÍÇÝ, ÝáõÛÝù³Ý ¿É ѳٳٳñ¹Ï³ÛÇÝ ¿: Ø»ÝùÇñ³íáõÝù áõÝ»Ýù ²ñßÇÉ ¶áñÏáõÝ Ñ³Ù³ñ»É 20-ñ¹¹³ñÇ Ñ³Û ³ñí»ëïÇ Ýáñ³ñ³ñáõÃÛ³Ý Ý»ñϳ۳-óáõóÇã, μ³Ûó, ÙǨÝáõÛÝ ¿ ݳ å³ïϳÝáõÙ ¿ ³Ù»-ñÇÏÛ³Ý Ùß³ÏáõóÛÇÝ ÙÇç³í³ÛñÇÝ: Üñ³ ëï»Õ-ͳ·áñÍáõÃÛáõÝÁ ³ñ³ñí»É ¿ Ù»Ï ³ÛÉ Ùß³ÏáõÛÃÇ·»Õ³·Çï³Ï³Ý ˳éݳñ³ÝáõÙ, Ï»Ýë³¹³ßïáõÙ:²Ûëå»ë, ݳËáñ¹ ѳñÛáõñ³ÙÛ³ÏÇ ÁÝóóùáõÙѳÛÏ³Ï³Ý Ùß³ÏáõÛÃÇ å³ïÙáõÃÛáõÝÁ ëï»ÕͳͳÝáõÝÝ»ñÇ å³ïϳݻÉÇáõÃÛáõÝÁ, Áëï ¿áõÃÛ³Ý, ÇñËáñù³ÛÇÝ μ³ÕϳóáõóÇãáõÙ ÏñáõÙ ¿ Ù»ñ ÅáÕáíñ¹Çå³ïÙáõÃÛ³Ý, ϳ٠ݻñùÇÝ, ϳ٠³ñï³ùÇÝ ³½¹»-óáõÃÛáõÝÝ»ñÇ Ñ»ïùÝ áõ ѻ勉ÝùÁ: Øï³íáñ³Ï³ÝÙïùÇ ³ñï³·³ÕÃÝ áõ Ý»ñ·³ÕÃÁ »õ Ýñ³ÝóÇó μËáÕ÷áËϳå³ÏóáõÃÛáõÝÝ»ñÁ ÇÝùݳμ»ñ³μ³ñ ÑÇÙù »ÝѳݹÇë³ó»É Ñ³Û Å³Ù³Ý³Ï³ÏÇó ³ñí»ëïÇ Ñ³Ù³-Ù³ñ¹Ï³ÛÇÝ ½³ñ·³óÙ³ÝÁ:

²Ñ³ û ÇÝãå»±ë ó³ÝÏáõÃÛáõÝ ³é³ç³ó³í г-Û³ëï³ÝÇ Å³Ù³Ý³Ï³Çó ³ñí»ëïÁ Ý»ñϳ۳óÝ»Éø³ÙÛ³ñ øáçáõñÇÇ §²í»ÉÇ ³éáÕç, áõñ³Ë, ³ñ¹Ûáõ-ݳí»ï…¦ ϳñ× ÏÇÝáÝϳñáí: àã ÙdzÛÝ` áñáíÑ»-ï¨ Ëáë³ÏóáõÃÛáõÝ ¿ ͳí³Éáõ٠ųٳݳϳÏÇó`ï»ËÝá·»Ý, ³áõ¹Çáíǽáõ³É, ï»Õ»Ï³ïí³Ï³Ý˳éݳß÷áÃáõÙ, ³ÝÁݹѳï ϳåÇ áõ ѳÕáñ¹³Ï-óáõÃÛ³Ý ù³áëáõ٠ѳÛïÝí³Í Ù³ñ¹áõ Ý»ñùÇÝ ³Ý-μ³í³ñ³ñí³ÍáõÃÛ³Ý Ù³ëÇÝ: ܳ¨, áñáíÑ»ï¨ ³Ûëëï»Õͳ·áñÍáõÃÛáõÝÁ, áñù³Ý ¿É ѳñó³Ï³ÝÇ ï³Ï¿ ³éÝáõÙ ³é³ç³¹ÇÙáõÃÛáõÝÁ, ÙǨÝáõÛÝ Å³Ù³Ý³Ï·áí»ñ·áõÙ ¿ ³Û¹ ÝáõÛÝ ï»ËÝ᷻ݻëǽÁ, áñå»ë³ÝËáõë³÷»ÉÇ ÇñáÕáõÃÛáõÝ: ܳ ÏÇÝá ëï»Õͳ-·áñÍáõÃÛ³Ý ³ñ³ñÙ³Ý ë³Ñٳݳ·ÇÍÁ áõÕÇÕ Ï³-åáí ÝáõÛݳóñ»É ¿ ÁÝóóáÕ Å³Ù³Ý³ÏÇÝ:

ºÃ» ÈÛáõÙ»ÝÝ»ñÁ ëï»ÕÍ»óÇÝ å³ïÏ»ñÇ ÙÇçá-óáí ųٳݳÏÇ ß³ñÅáõÙÁ ųå³í»ÝÇ íñ³ í³í»-ñ³·ñ»Éáõ ÙÇçáóÁ`ÏÇÝáËóÇÏÝ áõ ÏÇÝá-ųå³í»ÝÁ, ø³Ù-Û³ñÝ Çñ Ù»Ï ñáå»ÏÇÝáÝϳñÇ Ñ³Ù³ñμ³ó³é»ó ÏÇÝáų-å³í»ÝÇó ÙÇÝ㨠íÇ-¹»á áõ Ãí³ÛÇÝ ³ÛÉٳϻñ»ëÝ»ñÇ ³Ý-Ññ³Å»ßïáõÃÛáõÝÁ, ¨Çñ³Ï³ÝáõÃÛáõÝÁ í³-í»ñ³·ñ»ó ѳٳ-ϳñ·ãÇ ³Ýë³ÑÙ³ÝÑÇßáÕáõÃÛ³Ý Ù»ç«³é³ç³ñÏ»Éáí ÏÇÝá-ëï»Õͳ·áñÍáõÃÛ³ÝÝáñ ÙÇçáóÇ, ÏñÇãÇÝáñ ݳ˳¹»å:

²Ûë ÷áñÓÁ, ³ÛÝå³ñ³·³Ý ã¿, »ñμ áñ¨¿ Ñ»ÕÇÝ³Ï û·ïíáõÙ ¿ ѳ-ٳϳñ·ãÇ Ý»ñëáõÙ, Íñ³·ñ³íáñáÕÇ ÏáÕÙÇó ݳ-˳å»ë ݳ˳·Íí³Í ·áñÍÇùÝ»ñÇó áõ ëï»ÕÍáõÙáñ¨¿ ÑáñÇÝí³ÍùÇ Ãí³Ûݳóí³Í í»ñ³ñï³¹ñáõ-ÃÛáõÝÁ: ²Ûëï»Õ Çñ»Ýó ï»ËÝá·»Ý ßÕóÛÇ ½³ñ·³-óÙ³Ý å³ïÙáõÃÛáõÝÝ »Ý ³åñáõÙ ÙÇ ù³ÝÇ ³ñí»ë-ïÇ ï»ë³ÏÝ»ñÇ` ýáïá, ÏÇÝá, TV, íǹ»á, ѳٳ-ϳñ·Çã, ÷á˳½¹»óáõÃÛáõÝÝ»ñÁ:

²Ûëï»Õ ѳٳϳñ·ÇãÁ ëï³ó»É ¿ û ÏñÇãÇ, ¨ ûí³í»ñ³·ñáÕ-óáõó³¹ñáÕÇ ýáõÝÏódzÝ, ³Û¹åÇëáíμ³ó³é»Éáí ÙÇÝã ³Û¹ û·ï³·áñÍíáÕ μáÉáñ ÙÇçáó-Ý»ñÇ ³ÝÑñ³Å»ßïáõÃÛáõÝÁ: ²Ûëûñ, ÏÇÝá, TV, íǹ»á³ñí»ëï³·»ïÝ»ñÇ Ñ³Ù³ñ μ³Ý³í»×Ç ³é³ñϳ ¿ÏñÇãÁ` ³ÛÝ Ù³Ï»ñ»ëÁ, áñÇ íñ³ ³ñï³ïåíáõÙ ¿å³ïÏ»ñÝ áõ áñÇó í»ñ³ñï³¹ñíáõÙ ¿ ¹ÇïÙ³Ý Å³-ٳݳÏ: ƱÝã ÝÛáõÃÇ íñ³ ¿ ϳï³ñíáõÙ ëï»Õͳ-·áñÍáõÃÛáõÝÁ: ø³ÙÛ³ñÇ ³é³ç³ñÏÝ ³ÝÝÛáõóϳݿ: ¸³ Çñ³Ï³ÝáõÃÛ³Ý ³μëïñ³ÑáõÙÝ ¿ ÃíÇ áõ Ãí³-ÛÇÝ ÑÇßáÕáõÃÛ³Ý Í³í³ÉÝ»ñáõÙ: ¸³, ÈÛáõٻݳϳݷÛáõïÇ` ųå³í»ÝÇ ³μëïñ³ÑáõÙÝ ¿ Ãí³ÛÇÝ ÑÇßá-ÕáõÃÛ³Ý Ù»ç, áñå»ë ëï»Õͳ·áñÍáõÃÛ³Ý ãßáß³÷-íáÕ, ³ÝÙ³ñÙÇÝ ÏñÇã:

¶³·ÇÏ Ô³½³ñ¿

Computers have facilitated our daily jobs, but havethey really made us happier and more productive? Wereceive hundreds of junk mails every day, we spendhours chatting, we download documents we neverread, we have unlimited access to pornography, wespend a lot of time debugging and removing virusesfrom these machines. Is there any time left for living ahappy life and being more “productive”?

Kamyar Kojouri

Þ³ï»ñÇ Ï³ñÍÇùáí ÇÝï»ñÝ»ïÁ ³ÝÇíÇó Ñ»-ïá Ù³ñ¹ÏáõÃÛ³Ý ³Ù»Ý³Ù»Í ·ÛáõïÝ ¿: ÆÝãáõ±»õ ÇÝãá±í ¿ ³ÛÝ Ï³ñ»õáñ: Ü³Ë »õ ³é³ç ÇñÇÝùÝáõÃÛ³Ý ëÇÙáõɳódzÛÇ Ñݳñ³íáñáõÃÛ³Ùμ:ìÇñïáõ³É ï³ñ³ÍùÁ ³ÛÝ ³ß˳ñÑÝ ¿, áñï»Õ³ÝѳïÁ ϳñáÕ ¿ ÉÇÝ»É ³ÛÝù³Ý ³½³ï, áñù³ÝÏó³Ýϳݳ: ܳ ³½³ï ¿ ÷áË»É ³åñ»Éáõí³ÛñÁ, ųٳݳÏÁ, ë»éÁ, Ù³ßÏÇ ·áõÛÝÁ: ÆÝù-ÝáõÃÛ³Ý ³Ûë ëÇÙáõɳódzݻñÇ ÑÇÙùáõÙ ÁÝϳͿ ÇÝùݳ׳ݳãáÕáõÃÛáõÝÝ áõ ÇÝùݳμ³ó³Ñ³Û-ïáõÙÁ, áñÇ íñ³ ¿É ϳéáõóíáõÙ ¿ ·Éáμ³É³óٳݹ³ñ³ßñç³ÝÇ ³ÝѳïÇ Ýáñ ÇÝùÝáõÃÛáõÝÁ£ÆÝùÝáõÃÛáõÝ« áñÁ μ³ó³Ñ³Ûï»Éáí Ù³ñ¹Ï³ÛÇÝÑݳ-ñ³íáñáõÃÛáõÝÝ»ñÇ ³Ýë³ÑÙ³ÝïÇñáõÛÃÝ»ñÁ, ëï»Õ-ÍáõÙ ¿»ï³ñ¹Ûáõݳμ»ñ³Ï³Ý ³ß˳ñÑÇ Ýáñ ³é³ë-å»ÉÝ»ñ:

§4@t¦ ݳ˳·ÇÍÁ »ñ»ù ³ñí»ëï³·»ïÝ»ñÇ Ñ³-Ù³·áñͳÏóáõÃÛ³Ý ³ñ¹ÛáõÝù ¿, áñáÝù ÙdzëÇÝÙï³Í»É »Ý ëï»Õͳ·áñÍáõÃÛ³Ý Ã»Ù³Ý, ·ñ»É »Ýëó»Ý³ñÁ »õ ³Ù»Ý Ù»ÏÁ ÛáõñáíÇ Ù»Ïݳμ³Ý»É ³ÛÝ:êó»Ý³ñÇ ëï»ÕÍÙ³Ý Ñ³Ù³ñ ËÃ³Ý »Ý ѳݹÇë³ó»ÉÇÝï»ñÝ»ï³ÛÇÝ ã³Ã»ñÁ »í ýáñáõÙÝ»ñÁ: â³ÃÁ ¹Ç-ï³ñÏí»É ¿ ·ñ³Ï³Ý ÙÇ Å³Ýñ, áñÇ μáí³Ý¹³Ïáõ-ÃÛáõÝÁ ëï»ÕÍíáõÙ ¿ ËÙμ³Ï³ÛÇÝ Ñ³Ù³·áñͳÏóáõ-ÃÛ³Ý ³ñ¹ÛáõÝùáõÙ: êÛáõñ黳ÉÇëï³Ï³Ý Ë³Õ ÑÇ-ß»óÝáÕ ³Ûë ݳٳϳ·ñáõÃÛáõÝÁ ÏáÙÇùëÝ»ñáí ÇÉáõë-

гٳϳñ·ÇãÝ»ñÁ Ñ»ßï³óñ»É »Ý Ù»ñ ³éûñÛ³³ß˳ï³ÝùÁ, μ³Ûó ³ñ¹Ûáù Ù»ñ ÏÛ³ÝùÁ ³í»ÉÇ»ñç³ÝÇÏ áõ ³ñ¹Ûáõݳí»ï »Ý ¹³ñÓñ»É: ²Ù»Ý ûñÙ»Ýù ëï³ÝáõÙ »Ýù ѳñÛáõñ³íáñ ³Ýå»ïù¿É»ÏïñáݳÛÇÝ Ý³Ù³ÏÝ»ñ, ųٻñ »Ýù ͳËëáõÙã³Ã ³Ý»Éáí, ù³ßáõÙ ¹áÏ»ñ, áñáÝù ³Û¹å»ë ¿É ã»Ýùϳñ¹áõÙ: àõÝ»Ýù ³Ýë³ÑÙ³Ý åáéÝá ë³ÛûñݳۻÉáõ Ñݳñ³íáñáõÃÛáõÝ, Å³Ù³Ý³Ï »ÝùͳËëáõÙ íÇñáõëÝ»ñ áõ μ³·»ñ Ù³ùñ»Éáí: ØÝá±õÙ ¿³ñ¹Ûáù ųٳݳÏ, »ñç³ÝÇÏ ÏÛ³Ýù ³åñ»Éáõ ¨³í»ÉÇ §³ñ¹Ûáõݳí»ï¦ ÉÇÝ»Éáõ ѳٳñ:

ø³ÙÛ³ñ øáçáõñÇ

ïñ³óñ»É »Ý ³ñí»ëï³·»ïÝ»ñ` ÈáõëÇÝ» ʳݹÇÉ-Û³ÝÁ, ²ÝŻɳ γñ³å»ïÛ³ÝÁ »õ ¶áé ¾Ý·áÛ³ÝÁ£Üñ³Ýù ݳËÁÝïñ»É »Ý ÇÝù³³ñï³Ñ³ÛïÙ³Ý ï³ñ-μ»ñ ÙÇçáóÝ»ñ: ²Ûëå»ë, »Ã» ÈáõëÇÝ»Ç ·Í³Ýϳñ-Ý»ñÁ ³í³Ý¹³Ï³ÝÇ »õ Ýáñ ï»ËÝáÉá·Ç³Ý»ñÇ Ñ³-Ù³ÏóáõÙ »Ý, ÇëÏ ²ÝŻɳÛÇ ÇÝëï³É³óÇ³Ý »ñÏã³÷ٳϻñ»ëÁ »é³ã³÷áí ͳí³Éáí ÷á˳ñÇÝ»ÉáõÓ·ïáõÙ, ¶áéÁ ³Û¹ ³Ù»ÝÁ í»ñ³Í»É ¿ ÏáÝó»åïáõ³ÉÇÝùݳ³Ý¹ñ³¹³ñÓÇ: ä³ïÏ»ñ»Éáí û ÇÝãå»ë »ÝùÙ»Ýù Ùï³ÍáõÙ Ùï³Í»Éáõ Ù³ëÇÝ` ¶áéÁ ϳñÍ»ë û»½ñ³÷³ÏáõÙ ¿ ³å³·³Ûáí ³Ýѳݷëï³ó³ÍÏáÙÇùëÇ Ñ»ñáëáõÑáõ ÑdzóÙáõÝùÝ áõ ë³ñë³÷ÁμÝáõÃÛ³Ý Ñ³Ý¹»å Çß˳ÝáõÃÛ³Ý Ù»Í³óáõÙÇó:

¸³íÇà γñ»Û³Ý« ѳٳ¹ñáÕÈáõëÇÝ» ʳݹÇÉ۳ݫ ûÅ© ѳٳ¹ñáÕ

* ÆÝï»éÝ»ïÇ ïÇñáõÛÃáõ٠ѳۻñ»Ýáí §chat¦³ñï³Ñ³ÛïáõÃÛáõÝÁ ɳïÇÝ³Ï³Ý ³Ûμáõμ»Ýáí ·ñ»Éáõѳٳñ §4¦-Á ·áñÍ ¿ ³ÍíáõÙ §ch¦-Ç »õ §@¦ Ýß³ÝÁ ³-Ç(ÇÝãå»ë ÑÝãáõÙ ¿ chat μ³éáõÙ) ÷á˳ñ»Ý£ ÆëÏ §Ã¦ï³éÇ Ñ³Ù³ñ ·áñÍ ¿ ³Ííáõ٠ɳïÇÝ³Ï³Ý ³Ûμáõμ»Ýǧt¦ ï³éÁ£

²Ýç»É³ γñ³å»ïÛ³Ý / Angela Karapetyan

Many are of the opinion that after the wheel internet isthe biggest invention of the mankind. Why is it impor-tant and for what? First and foremost it is for its capa-bility of simulating identity. The virtual space is theworld where one can be as free as desired. Here, one isfree to change place of residence, time, gender andcolor of skin. At the foundation of these simulations ofidentity lay self-awareness and self-discovery. The newidentity of the man of the globalization era is built onthis fondation. This, by exposing boundless domains ofhuman potentials creates new legends of the post-in-dustrial world.

“4@t” project is product of three artists’ collabora-tion, who, together, came up with the theme of thework, wrote its “screenplay”, and each interpreted it inhis or her unique way. Internet chats and forums havebeen the stimulus for creating the screenplay. Chat hasbeen considered a literary genre, the content of whichis the product of group collaboration. Artists LusineKhandilyan, Angela Karapetyan and Gor Engoyan,have illustrated this surrealistic-looking play withcomic strips. They have adopted different means ofself-expression. Lusine’s drawings bring together the

traditional and the new technologies, while Angela’sinstallations are attempts of transforming two-dimen-sional surfaces to three-dimensional volumes. Gor, onthe other hand, has turned all of these into a process ofconceptual self-reflection. By picturing how we thinkabout thinking, Gor seems to conclude with admirationand horror of the comic-book heroine, who is con-cerned for the future, for ever-increasing domination ofrulers over the nature.

David Kareyan, CuratorLusine Khandilyan, Assist. Curator

* In the realm of internet when one wants to write “chat” inArmenian text with Latin letters “4” stands for “ch”, @stands for “a” (as prnounced in chat), and “t” in Armenianis the same as “t” in the Latin alphabet.

Fitter, Happier, More Productive...

Armenian art by its origin is as much global asit is indigenous. We have the right to consider Ar-shile Gorky representative of Armenian 20th Cen-tury contemporary art, but nonetheless he belongsto the environment of American culture. His arthas been created in the aesthetic milieu and atmos-phere of a different culture. Thus, the associationof individuals who have molded Armenian cultureof the past century, in essence, deep inside, bearstraces and impacts of the influence of our people’sinternal and external history. Exodus and repatria-tion of intellectuals and their ensuing interactionhave inevitably served as the foundation for globaldevelopment of Armenian contemporary art.

This is how the idea of representing Armeniancontemporary art by Kamyar Kojuri’s “Fitter, Hap-pier, More Productive...” short film came about.This is not only because it stimulates discussionabout man’s internal discontent from unendingchaos of communication in the contemporary tech-nological, audio-visual, information technologies’mish-mash, but also because this work as much asit questions progress, praises this very technologi-cal phenomenon as unavoidable reality. By directassociation he made the boundaries of the creativeprocess of cinema identical with contemporarytrends .

If Lumens created the camera and film—themeans of recording movement of time by image—Kamyar excluded the imperative of using film,

video and otherdigital technolo-gies for makinghis one minutefilm. Herecorded the re-ality in the un-limited memoryof the computer,and set theprecedence fora new means ofmaking cinemaby introductionof a new carrier.

This is not the case where an artist, using prede-termined tools within the computer, produces adigital image of his or her creation. Here, the inter-action of several modes of art: photo, cinema, TV,video and computer, live the history of their tech-nological chain of development.

Here, the computer has assumed functions of thecarrier as well as the documenting presenter. It hasexcluded the necessity of using all of the meansused in the past. Today for artists of cinema, TV,and video the subject of debate is the carrier: Theplain on which the image is recorded and regener-ated for screening. Where is the work located?Kamyar proposes a non-material location. It is ab-straction of reality in the domain of digits and digi-tal memory. It is abstraction of the invention of theLumens—the film—within digital memory, as anon-touchable, bodiless carrier.

Gagik Ghazareh

_

γÛëñáõÃÛ³Ý ÷Éáõ½áõÙÇó Ñ»ïá ÷³-ñ³ç³ÝáíÝ»ñÇ« ùáã³ñÝ»ñÇ »õ ã³-ñ»ÝóÝ»ñÇ á·ÇÝ ß³ñáõݳÏí»ó ³ñí»ë-ï³·»ïÝ»ñÇ Ýáñ ë»ñÝ¹Ç ³ß˳-ï³ÝùÝ»ñáõÙ£ àÙ³Ýù Ù³ë ¿ÇÝ Ï³½-ÙáõÙ »õ ÏñáõÙ ¿ÇÝ Ý³Ëáñ¹Ý»ñÇ ³Ûɳ-ËáÑ³Ï³Ý ³ñí»ëïÁ£ ´³Ûó ݳ»õϳÛÇÝ ³ñí»ëï³·»ïÝ»ñ« áñáÝùãáõݻݳÉáí ³ÝóÛ³ÉÇ áõÕÕ³ÏÇ ÷áñÓÁ«Çñ»Ýó ÇÝùÝáõÃÛáõÝÁ Ï»ñï»óÇÝ ëÝí»-Éáí ųٳݳϳÏÇó Ñáõ½ÙáõÝùÝ»ñÇó»õ Ùï³Ñá·áõÃÛáõÝÝ»ñÇó£

гÙÉ»ï Ðáíë»÷Û³ÝÁ Ý»ñϳ۳óÝáõÙ¿ ³ÛÝ ë»ñáõݹÁ« áñÁ ·Çï»ñ« ³ß˳-ï»É ¿ñ Ù»Ïáõë³óÙ³Ý Ù»ç« »õ ͳÕÏ»ó³éÇÃÁ ³é³ç³Ý³ÉáõÝ å»ë£ îÇ·ñ³Ýʳã³ïñÛ³ÝÁ« ÙÛáõë ÏáÕÙÇó« Ýáñųٳݳϳßñç³ÝÇ ³ñ¹ÛáõÝù ¿ª ÙÇÁÙμáëï á·Ç« áñÁ ëáíáñ»ó Ùïùáí«μ³Ûó ³ñï³¹ñáõÙ ¿ μݳ½¹³μ³ñ©©©

¾¹áõ³ñ¹ ä³É³ë³ÝÛ³Ý

After the collapse of the Empire thespirit of Parajanov, Kotchar, Charentsand their cohorts carried over in theworks of the new generation of artists.Some were part and carriers of theirpredecessors’ art of the dissent© How-ever, there is also a generation of artistswho, except intellectually, were de-tached from the past and built an iden-tity fed by burning anxieties andconcerns of the time.

Hamlet Hovsepian represents the gener-ation who knew, worked in seclusion,and flourished when opportunity oc-curred. Tigran Khachatrian, on the otherhand, is a product of the new era. A re-bellious soul who learned intellectually,but produces intuitively…

Edward Balassanian

вز¸ðàÔܺðÆÀÜîðàôÂÚàôÜCURATORS CHOI C E

¹ » Ï ï » Ù µ » ñ / d e c e m b e r 1 9 « 2 0 0 8 - Ñ á õ Ý í ³ ñ / j a n u a r y 3 1 « 2 0 0 9

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Cafesjian Museum Foundation / ¶³ý¿ë×»Ý Â³Ý·³ñ³Ý ÐÇÙݳ¹ñ³ÙJean and Albert Boghossian / Ä³Ý »õ ²Éμ»ñï äáÕáëÛ³Ý

Ü à ð ² ð ² ð ö à ð Ò ² è ² Î ² Ü ² ð ì º ê î Æ Î º Ü î ð à ÜA R M E N I A N C E N T R F O R C O N T E M P O R A R Y E X P E R I M E N T A L A R TFOUNDERS: Sonia Balassanian, Founder and Senior Artistic Director; Edward Balassanian, Co-Founder and Cjeif Executive Officer; ARTS COUN-CIL: David KAreyan, Director of Fine Arts Department; Gagik Ghazareh, Director of Cinema, Theater and Video Department;ADMINISTRATION: Albrik Abrahamian, Executive Director; Armine Antikian, Public Relationsö³íëïáë ´Ûáõ½³Ý¹, 1/3, ºñ¨³Ý | 1/3 Pavstos Biuzand Blvd., Yerevan, Armenia | T. +37410-568225, 568325, 560218 | F. +37410-560216 |E.info@accea.info | W. www.accea.info 81 Murray Street, Ste 2, New York, NY 10007, USA | T. +1212 732-3598 | F. +1212 732-1175. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Usually every exhibition is organized by a curator, who decides on the theme of the exhibi-tion, makes selection of art to be exhibited, “hangs” the works and writes the text for thecatalogue. The curator has the full responsibility of the artistic quality and standard of theexhibition. Internationally an interesting alternative approach has been devised, which is called“Curators’ Choice” whereby the organizers determine the theme and conduct organiza-tional chores of the exhibition« and several curators, independent of each other present theirselection of art and the concept of their selection.“Curators Choice” is conglomeration of independent projects, which is intended to showthe interrelation between exhibitions and differences of diverse curatorial approaches andpractices. Viewer is given the opportunity of delving in differing approaches and interpretations, andviewing issues relative to one-another, on a wide landscape. Such condition is seldom, ifever, in the case of a single-curator exhibition. This year the Armenian Center for Contemporary Experimental Art (NPAK in Armenianacronym) has decided to try this concept in Armenia. The theme has been decided to be“Contemporary Art In Armenia”.This project follows the general tenet of ACCEA/NPAK, which consists of casting vigilantview over state of cultural landscape in Armenia, trying to keep creative environment ac-tive, fighting against continuously growing and seemingly overwhelming commercializa-tion of culture« and most importantly, discover young and aspiring talents and provide themopportunities for growth and development.Most of the practicing curators in Armenia were invited to take part in this exercise. Onlythe ones presented in this exhibition took up the challenge:Edward Balassanian, Edward Tadevossian, Assistant Curator Sonia Balassanian, Arpa Hagopian, Assistant Curator Gagik Ghazareh, Vahram Akimyan, Assistant Curator David Kareyan, Lusine Khandilyan, Assistant Curator

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ϳÝáñ»Ý ϳåíáõÙ ¿ ù³Õ³ùÇ Ñ»ï: ø³Õ³ùÁ ³ÛÝí³ÛñÝ ¿ áõñ ³åñáõÙ »Ý ù³Õ³ù³ÏÇñà ٳñ¹ÇÏ:

ÆÝãå»ë Ù³ñ¹áõ ³ñï³ùÇÝÇó ¹³ï»Éáí, ³ÛÝå»ë¿É ù³Õ³ùÇ ³ñï³ùÇÝ ï»ëùÇó, ß³ï μ³Ý ϳñ»ÉÇ ¿³ë»É ³Û¹ï»Õ μݳÏíáÕ Ñ³ë³ñ³ÏáõÃÛ³Ý Ù³ëÇÝ:ÆÝãåÇëÇÝ »Ýù Ù»Ýù »õ Ù»ñ ù³Õ³ùÁ, ³ñ¹Ûá±ù ³Ûë-ûñí³ ù³Õ³ù³Ï³ÝáõÃÛáõÝÁ Ýå³ëïáõÙ ¿ ù³Õ³ù³-óÇ³Ï³Ý Ñ³ë³ñ³ÏáõÃÛ³Ý ëï»ÕÍÙ³ÝÁ:

îÇ·ñ³Ý ²é³ù»É۳ݣ ²ÝóÛ³ÉÇó Ùݳó³Í ß»Ýù»-ñÁ ѳٳñ³Ï³ÉíáõÙ »Ý, áñ í»ñ³Ï³Ý·Ýí»Ý ÝáõÛÝÏ³Ù Ù»Ï ³ÛÉ í³ÛñáõÙ: ²å³·³ÛÇ Ñ³í³ÏÝáõÃÛáõÝáõÝ»óáÕ ÑÛáõëÇë³ÛÇÝ åáÕáï³ÛÇ ß»Ýù»ñÁ ³Ûɨë³ÝóÛ³ÉáõÙ »Ý: äáÕáï³ÛÇ Ñ»ï ÙdzëÇÝ îÇ·ñ³ÝÁѳٳñ³Ï³É»É ¿ ³ÛÝ ³Ù»ÝÁ, ÇÝãÁ ·ïÝíáõÙ ¿ Ýñ³ÝóÙ»ç ϳ٠Ýñ³ó ßáõñç:

²ñÙ»Ý Ð³ÏáμÛ³ÝÁ ß³ñáõݳϻÉáí ù³Õ³ù³ßÇ-ÝáõÃÛ³Ý Ã»Ù³Ý Ù»½ ¿ Ý»ñϳ۳óÝáõÙ ß»Ýù»ñÇ ë»õ áõëåÇï³Ï Éáõë³ÝϳñÝ»ñ, áñáÝù ϳñÍ»ë Ù³ñÙݳ-íáñÙ³Ý Ó·ïáÕ ³ÝódzÉÇ Ñáõß»ñ ÉÇÝ»Ý: ²ÝóÛ³Édz۹ μ³ó³ñӳϻóáõÙÁ ÍÝí³Í ¿ ÇÝùÝ»ñë Ù»ñ ѳÝ-¹»å áõÝ»ó³Í ³Ý÷áõÛà í»ñ³μ»ñÙáõÝùÇ ùÝݳ¹³-ïáõÃÛáõÝÇó: ²ñÙ»ÝÁ Çñ §·áñߦ Éáõë³ÝϳñÝ»ñáíß³ñáõݳÏáõÙ ¿ îÇ·ñ³ÝÇ ÙÇïùÝ áõ ³í»É³óÝáõÙ, áñËáñ¹³Ýáó Ý»ï³Í ³ÝódzÉÁ ³í»ÉÇ Ï³ñ»õáñ ¿ ù³Ý³ÝÁݹѳï μ³ó³Ï³ÛáÕ ³å³·³Ý:

ºñÏáõ »ñÇï³ë³ñ¹ ³ñí»ëï³·»ïÝ»ñÇ ³ß˳-ï³ÝùÝ»ñÁ ÝÙ³Ý »Ý Ñݳμ³ÝáõÃ۳ݪ ù³ñ»ñÇ Ñ³-Ù³ñ³Ï³ÉáõÙ« ßÇÝáõÃÛáõÝÝ»ñÇ ÷³ëï³·ñ³Ï³Ý Éáõ-ë³ÝϳñáõÙ« ù³Õ³ùÇ ×³ñ³ï³å»ïáõÃÛ³Ý Ï»ñ-å³ñ³Ý³÷áËáõÃÛ³Ý áõ Ýñ³ Ùß³ÏáõóÛÇÝ« ѳë³-ñ³Ï³Ï³Ý »õ ù³Õ³ù³Ï³Ý ÏÛ³ÝùÇ ï³ï³ÝáõÙÝ»-ñÇ í³í»ñ³·ñáõÃÛáõÝ« áñÁ í»ñ³ÍíáõÙ ¿ ÙÇ Ûáõñ³-ѳïáõÏ ³ñËÇíÇ£

¸Ç³Ý³ гÏáμÛ³Ý / Diana Hagopian

²ñÙ»Ý Ð³ÏáμÛ³Ý / Armen Hagopian

¸Ç³Ý³ гÏáμÛ³ÝÇ ³ß˳ï³ÝùÝ»ñÁ Ù»¹Çï³-ïÇí μÝáõÛà áõÝ»Ý »õ ³ñï³Ñ³ÛïáõÙ »Ý ³ñÅ»ùÝ»ñÇëÇÙíáÉÇÏ ÷á˳ݳÏáõÃÛáõÝÝ»ñ£

Üñ³ íǹ»á³ß˳ï³ÝùÁ Çñ ݳËÏÇÝ ëï»Õͳ-·áñÍáõÃÛáõÝÝ»ñÇ å»ë Ç óáõÛó ¿ ¹ÝáõÙ ÏÝáç ³½³-ïáõÃÛáõÝÁ, áñÁ Ù»Í ç³Ýù»ñáí Ýí³×í»É ¿ ËáñÑñ¹³-ÛÇÝ ÙÇáõÃÛ³Ý ï³ñÇÝ»ñÇÝ:

Æ ï³ñμ»ñáõÃÛáõÝ ÊêÐØ-Á áõÕÕ³ÏÇ ùÝݳ¹³-ïáÕ Ï³Ù Ï³ñáïáÕ ³ñí»ëïÇ ëï»Õͳ·áñÍáõÃÛáõÝ-Ý»ñÇ ¸Ç³Ý³ÛÇ íǹ»áÝ»ñÁ ϳñÍ»ë Ù»Ï ³é Ù»Ï ÃÁ-í³ñÏáõÙ »Ý ³ÛÝ μáÉáñ ³ñÅ»ùÝ»ñÁ, áñáÝù ÏÇÝÁÓ»éù ¿ μ»ñ»É í»ñçÇÝ Ñ³ñÛáõñ³ÙÛ³ÏÇ ÁÝóóùáõÙ:ìǹ»á-ÇÝëï³É³ódzÛáõÙ Ñ»éáõëï³óáõÛóÇó-Ñ»éáõë-ï³óáõÛó ï»Õ³÷áËíáÕ áïù»ñÁ` ³é³çÇÝ Ñ³Û³ó-ùÇó ËáñÑñ¹³ÝßáõÙ »Ý ³½³ï ï»Õ³ß³ñÅÙ³Ý ù³-Õ³ù³óÇ³Ï³Ý Çñ³íáõÝùÁ:

¸Ç³Ý³Ý μ³ñ¹ »ñ»õáõÛÃÝ»ñÇÝ å³ñ½ μ³ó³ï-ñáõÃÛáõÝ ï³Éáí Ù»½ ѳÕáñ¹³ÏÇó ¿ ¹³ñÓÝáõÙ ÇñÙÇëïÇÏ³Ï³Ý ÷áñÓÇÝ, áñåÇëÇÝ»ñÁ å³ïÙáõÃÛ³ÝÁÝóóùáõÙ ³ÝÁÝ¹Ñ³ï ³Ýï»ëí»É áõ ×Ýßí»É »Ý:

CITY No. 12345678 .........Civic society is directly related to the city. City is

where civilized people live.As from the appearance of a person, much can be

learned about the society from the images of the city.What are we and our city? Does the prevailing politicscontribute to creation of a civil society?

Tigran Arakelyan numbers stones of old buildings tobe reconstructed at the same place or somewhere else.Supposedly futuristic buildings of the Northern Avenueare already in the past. Together with the buildingsTigran has numbered everything which is in or arroundthem.

Following on the theme of urbanism Armen Hagop-ian presents buildings’ black-and-white photos, whichseem to be past memories aspiring to come true. Asense of the past being absolute is borne from criticismof our careless treatment of our own selves. By his

“dark” photos Armen continues Tigran’s thought andadds that the past thrown in the storage is more impor-tant than continuously absent future.

Works of these two young artists are like archeolo-gists’ work, consisting of numbering the building

stones, taking snapshots of the buildings, docu-menting transformation of architectural, cul-tural, social and political environment,culminating in a unique archive.

Diana Hagopian’s works have meditative na-ture with symbolic exchange of values.

Her videos, as her older works, representwomen’s emancipation, which has beenachieved during the soviet years by enormouseffort.

In difference with works directly criticizingthe USSR or “longing” for it, Diana’s videosseem to list all of the achievements womenhave had during the past centenary. In thisvideo-installation feet moving from one moni-tor to the other seem to symbolize the civicright of freedom of movement.

By providing simple explanations to complexphenomena, Dian conveys to us her mysticalexperiences, which have been continuously ig-nored and depressed in the span of history.

îÇ·ñ³Ý ²é³ù»ÉÛ³Ý / Tigran Arakelyan