Page Title
Tigran Khachatryan
tigran_khachatryanThere is hardly a form of audio-visual art which has like video art, resisted any attempt at categorization and thus for nearly 30 years, the video phenomenon has overturned the usual practices of perception, in Armenia like elsewhere, putting them to the test of post-modernism.
The Armenian video art is a medium of passage, doubt, of the post Soviet cut-off, of a certain dissolution and replacement of the systems of training the senses.
Artists like Sona Abgarian, Diana Hakobyan, Tigran Khachatrian, Arman Grigorian and the others blame traditional methods of analysis and propose media fragments which they assemble by joining, handling, transforming or reconstituting. Video creation uses fragments of the most diverse origin, both in the field of the history of mentalities and that of social and cultural history.
In a rather unitary Armenian culture, video art is the expression of the negation of data and traditional processes. Everything can be combined with everything, video is a labyrinth of new space-time structures. The young Armenian video scene, proclaims a major rearrangement of sensitivity and human and environmental relations, as well as an epistemological rupture which shakes knowledge and information.
In an Armenian society which is still dedicated to traditional aesthetic expectations, based on the aptitude of objects to arouse feelings of beauty, video creation scrambles the tracks of every cultural reference point. But live poetry remains, resulting from the intermingling of feelings and senses which these works distil.
It should not be forgotten that the virtual arts scene was most independent in Armenia and that from the Eighties, in particular with the foundation of the "Third floor" group in 1987, of which Arman Grigorian was one of the initiators, a period marked by a transitional character repeated today, as Ruben Arevshatian stresses. for reasons linked to a socio-economic situation.
The question which then arises seems to be does video in Armenia give an account of a mental or real loss?
The digging down of the social fracture, a disillusioned vision of the relations involves it sometimes in deploying the process of loss and disappearance. Moreover the video image escapes easily and it is often necessary to deploy spectacular scenographic devices "to oblige" the spectator to remain. The video is an introspective tool, instrumentalized for the purposes of self-knowledge and very short-lived knowledge, the videos of Diana Hakobyan are the perfect demonstration. Jean Luc Godard has already emphasized the analytical potential of this art.
Analyze oneself through private and daily behaviour, instantaneity and memory on the one hand, simultaneity of perception and representation on the other, this is what seems to determine the Armenian videographic company.
Armenian video art involves a process of dematerialization of the work started in the 20th century in the west, playing on the merger of the real and the virtual. This artistic change in the Armenian scene will certainly entail an evolution in the Armenian artistic world, as in the social field there is obviously an evolution of museography.
Once again, we return to this "transitional state", between immobility and movement, figuration and disfiguration which obliges the Armenian video directors to choose the images by which to bring into existence a world and an art.
The Western artistic world, seeking its places, the more "contemporary" works of Armenian artists generally turn to video, a medium more obvious to apply a speech on the art, which for a certain time, has caused the division between art and criticism to disappear. Hans Belting has already put the question about the way of revealing the common characters of recent, modernistic art and of old art, the privileged choice of a medium and perhaps its over-valuation, involves the loss of confidence in a significant continuity and in a sense of history. Michael Baxandall stressed that the man "reads" a work of art only according to the visual categories compatible with the structures of his language, it would thus be significant for the Armenian artistic scene that this famous post-modernism does not become a fiction without one ounce of reality and perhaps in the last place it would be necessary to emphasize that this "crisis" of the art about which one does not cease talking would in fact only be that of the avant-gardes.
The specificity of the "artistic worlds" of countries such as Armenia is still for the moment not to fall into an "absolutism" of creation, a kind of conflict between current art and contemporary art. It thus seems essential that the actors in the world of art, critics, conservators, curators, do not subject art to the diktats of aesthetic perception and "do not seek new objects for a curiosity which turns into emptiness". To retain an extreme diversity of artistic values is perhaps the seal even of modernity. If the absence of references can characterize contemporary culture according to certain thinkers, if one can talk of planetary homogenisation, it seems quite as significant certainly to preserve an ensemble of values offering an anchoring point, but also subjects for reflections, it does not of course amount to talking about sclerotic "traditions".
In this sense, the art of the Armenian video directors is certainly anchored in a future discourse which would no longer be "how art, nor why art but indeed art in the name of what".

Alain Navarra-Navassartian

Born in 1980, Yerevan, Armenia.
Lives and works in Yerevan, Armenia

1998-2004 M.F.A Yerevan academy of Arts, Yerevan, Armenia

Personal Exhibitions
2010 - Video review, Jerome Zodo Contemporary. Milan, Italy
2009 - "Fair Politics". Regina Gallery, Moscow
2003 - "Instinct to create", project in ACCEA. Yerevan, Armenia

Group Exhibitions
2010 - (ex)communicate, Jerome Zodo Contemporary. Milan, Italy
2009 - "The Generational: Younger than Jesus". New Museum, New York
2008 - "Diagnosis/Interdiagnosis". Union of Artists, Yerevan, Armenia
2007 - "One stop". Tbilisi, Georgia
2007 - "Armenie contemporaine: une actualite de l’art video". Lyon Museum of Contemporary Art
2007 - "Armenian contemporary video art", Toulouse. Espace Croix Baragnon
2007 - "Glorious futilities". Saint Etienne Metropole Museum of Modern Art
2007 - 2nd Moscow Biennale of Contemporary Art, Monuments of our Discontent: Expiration of Place. Moscow, Winzavod
2006-2007 - "Art without borders" an exhibition of contemporary art from Armenia, Georgia, Iran and Turkey
2006 - "Armenian international style". Akanat art gallery, Yerevan, Armenia
2005 - "Liberte Egalite Fraternite". ACCEA, Yerevan, Armenia
2005 - Memory and Identitu group exhibition in the framework of the festival "Culturescapes". Basel, Switzerland
2005 - "Photo +". ACCEA, Yerevan, Armenia
2005 - "One Step..." Utopiana. Yerevan, Armenia
2005 - 51st International Art Biennale of Venice
2004 - "Kinoshok" international film festival. Anapa, Russia
2003 - Adieu Parajanov. Kunsthalle Project Space, Vienna, Austria
2003 - Politic under 180°. ACCEA, Yerevan, Armenia
2002 - Decade of ACCEA, Yerevan, Armenia
2002 - Afermative art. ACCEA, Yerevan, Armenia
2002 - Crosse Line. Hay Art, Yerevan, Armenia
2002 - Gyumri international Biennale-3. Gyumri, Armenia
2002 - Armenian contemporary art. Tehran, Iran
2002 - Migration of images. Yerevan, Armenia
2001 - Utopiana. Hay Art, Yerevan, Armenia
2001 - 49th International Art Biennale of Venice
2000 - Armenian artists on ciber sprtial relations. ACCEA, Yerevan, Armenia
2000 - Gyumri International Bienniale-2. Gyumri, Armenia
2000 - Art and modern art. Hay Art, Yerevan, Armenia
2000 - Civic commotion. ACCEA, Yerevan, Armenia
1999 - Crisis. ACCEA, Yerevan, Armenia
1999 - Tree tendencies. Hay Art, Yerevan, Armenia
1999 - Closed City. Hay Art, Yerevan, Armenia
1999 - Great athrophy. Hay Art, Yerevan, Armenia
1999 - Fanatics of body and mind. ACCEA, Yerevan, Armenia
1998 - Text Landscape. Charlie Khachaduryan Gallery, Yerevan, Armenia
1998 - Artificial flowers in the nature. RA Artist congress, Dilijan, Armenia
1998 - 10-30 Never mind. ACCEA, Yerevan, Armenia
1997 - 15-35-97. ACCEA, Yerevan, Armenia

2007 - Residence Arts Visuels "Saison [est oust]". Die, France

• [ex]communicate. Jerome Zodo Contemporary, Milano, 2010 (exh. cat.)
• Younger Than Jesus. The Generation Book, ed. by. L. Cornell, M. Gioni, L. Hoptman, B. Sholis, New York: New Museum, 2009
• The Younger than Jesus. Artist Directory, ed. by. L. Cornell, M. Gioni, L. Hoptman, Phaidon Press, London, New York, 2009.
• Transitland. Video Art from Central and Eastern Europe, 1989-2009, ed. by E. András, Budapest: Ludwig Museum, 2009
• "Monuments of our Discontent: Expiration of Place", in Second Moscow Biennale of Contemporary Art, Biennale’s Special Projects, Moscow, 2007 (exh. cat.)
• Armenian Landscape in Contemporary Art and Architecture. Zurich, 2007 (exh. cat.)
• Yerevan Crisis. ACCEA, Yerevan, 2007 (exh. cat.)
• One Stop: International Art Project,.RAM, Tbilisi, 2007 (exh. cat.)
• Art without Borders: An Exhibition of Contemporary Art from Armenia, Georgia, Iran and Turkey. ACCEA, Yerevan, 2006 (exh. cat.)
• "Resistance through Art (Armenian Pavilion)," in 51st International Art Exhibition: Participating Countries; Collateral Events, la Biennale di Venezia, Venice, 2005
• Resistance through Art: Armenian Pavilion 51stInternational Venice Biennale, ACCEA, Yerevan, 2005 (exh. cat.)
• Utopia: Zum Dokumentarischen in der kaukasischen Fotografie. IFA, Berlin, 2005
• Adieu Parajonv: Contemporary Art from Armenia, ed. by H. Saxenhuber, G. Schöllhammer, Springerin, Vienna, 2003
• Caucasus: Cultural Aspects of Armenia, Azerbaijan, Georgia, Appolinia, Pulnoy, 2003
• Politics Under 180°: Aspects of Politics, ACCEA, Yerevan, 2003 (exh. cat.)
• Third International Gyumri Biennale. Gyumri Center for Contemporary Art, Gyumri, 2002
• "Republic of Armenia," in 49th Esposizione Internatzionale D’Arte, la Biennale di Venezia, Vol. 2, (English version), Venice, 2001
• Armenian Pavilion: 49thInternational Exhibition of Art. ACCEA, Yerevan, 2001 (exh. cat.)
• Second International Gyumri Biennale, Gyumri Center for Contemporary Art, Gyumri, 2001
• Civic Commontion. ACCEA, Yerevan, 2000 (exh. cat.)
• Closed City. Yerevan, 1999 (exh. cat.)
• Crisis. ACCEA, Yerevan, 1999 (exh. cat.)

• Brian Droitcour, "Revew -Tigran Khachatryan: Regina Gallery", Artforum, January 2010
• Peter Schjeldahl, "Their Generation: "Younger Than Jesus" at the New Museum", The New Yorker, April 20, 2009
• Chester Higgins Jr, "Young Artists, Caught in the Act", The New York Times, April 10, 2009
• Valentin Dyakonov, "Camera Revolt", Komersant, No. 157, 27.08.2009 (in Russian language)
• Vardan Azatyan, "On the Ruins of Soviet Past: Religion, Nationalism and Artistic Avant-Gardes in Armenia", Springerin, Vol., 14, No. 4, 2008
• Damien Sausset, "Etre artiste en Arménie aujourdi’hui", Connaissance des Arts, fevrier 2007
• Demir Anaïd, "Arménie mutante", Le Journal des Arts, No. 253, 16 février 2007