Interview: Loussiné Ghukasyan, Artist

Interview by Laure Raffy for HAYP Pop Up Gallery
Original text in French below. Download pdf:
Lussine Ghukasyan – interview – HAYP_En
Lussine Ghukasyan – interview – HAYP_Francais


 

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The visual artist Loussiné Ghukasyan exhibited at the previous HAYP Pop Up Gallery, “12 | 12 | 12 RETROSPECTIVE”, in Yerevan last December 2018. She was also a contributing artist at HAYP Pop Up Gallery’s “Lips of Pride” in 2016, and “Downshift” in 2017.

Laure Raffy: You studied design for 5 years at the State Academy of Fine Arts in Yerevan, what did this training bring you and how did it influence your artistic practice?

Loussine Ghukasyan: Initially, I applied to study etching and print media. In Armenia, the situation for artists is quite complicated. It’s not easy to take paths that differ from traditional ones, or to practice a profession that allows you to earn enough money to make a living. I decided to integrate design into my studies, thinking it would help me find work afterwards. But in the end, I chose to follow yet another path, specializing in painting. I loved the medium but not the pedagogy at the Academy. The environment was quite rigid.

So, I used to take my tools upstairs, alone on the terrace where I would paint the whole day before coming back down to the studios to present my work. This reminds me of a funny anecdote, I used to leave lots of empty space on my canvas. One day, a teacher came to me and told me that I had forgotten to complete some parts, as the entire canvas wasn’t covered.

I started to move away from the academy. Realism as a style and as a teaching method didn’t suit me. I felt like something was missing, like I couldn’t realize my ideas, my desires. I concentrated on drawing, which gave me more freedom. I felt more free to use white and black, a pallet I generally feel close to.

Loussine_Ghukasyan1LR: Your works are quite abstract with distinct lines. We don’t immediately guess what is hidden in these paintings, maybe that’s why we could find your works a bit frightening?

 

LG: I think that “beauty” hits you at first sight- a first glance. What you discover afterwards interests me more. I hope that my work escapes from what I call “first look”, I try to focus on the second encounter. My canvases reveal what emanates from the form: noise, emptiness, agitation … Occasionally I integrate color into my paintings. For instance, there’s a lot of blue in my works exhibited at 12 | 12 | 12. The work is actually called “In the Blue”. I have to say, naming my works is something really difficult for me. Titles don’t matter in my artistic practice. But blue is an important color for me. It’s the color of the night, thoughts, flowing water…

LR: Could you tell us about the context in which this work was produced?

LG: Two of the paintings presented in the installation were made when I lived in Marseille. I painted the third canvas when I was back in Yerevan. These paintings are the transcriptions of a wide range of emotions, encounters, important events … You can read the agitation, the movement, the fall, the trouble. The blood flowing at full speed in the veins and the body at rest. That is what I tried to express.

LR: What does the video projected on your canvases bring to the work?

LG: My video reveals fragments of life: the footsteps of passers-by in the street, their feet, the blinking of a woman’s eyes, all this slowed down. We don’t always pay attention to the gestures of everyday life. I wanted to play with the paint / video contrast in this installation. Video is essentially a moving image. In that sense, it contrasts with painting, a fixed image. I decided to slow down the images of the video and project them on my paintings which are agitated and dark, in order to bring serenity and a slower pace to the experience. The second part of my video, a white screen without image, illuminates the painting. It represents the only moment when we can distinguish the works on canvas in isolation, without distraction or filter; exposed.

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LR: Are your works on canvas preceded by sketches?

LG: My practice is spontaneous. I paint directly on canvas. I do not make a preliminary sketch. I like being alone when I paint, I like working without the eyes of others. When I make street art, for example, I usually don’t talk to anyone about it beforehand. These pieces are discovered later, through photos, traces .. I’m not really interested in live-painting, I prefer to produce and reveal later.

For example, during exhibition openings I used to escape when visitors arrive. I let them discover the work in the space. It’s not me directly that I reveal but my work, which of course, is also a part of me. I like to disappear and to erase myself through my artworks.

These last few weeks I’ve been working outside in the street, more than in my studio. I really try to choose specific places that connect to the landscape in order to make my art.

LR: We can see that language, words, are also very present in your practice.

LG: Indeed, I don’t always draw. I also like to write … When I make murals, I use a paint brush or marker. I like to use the brush more on the wall. It allows me to feel the space, the movement and textures.

I remember a project I did in Greece last summer. I went for a walk and brought some materials along with me, brushes, oil paints. Sitting in front of a huge wall, I thought about the notion of image. I wondered if it was really more useful than words and language. Spontaneously, I wanted to make a large-scale work. I grabbed a stick of wood to lengthen my brush and paint on this gigantic wall.

Here is what I wrote: “Be alone. Listen to the sound of the sea. Dance “

I was on a remote, wild beach. I thought about the people who would come to the sea and see this message. I imagined them dancing. I thought at that moment of the peace they could find, alone with themselves, in this almost deserted place.

I made other pieces when I returned to Armenia, other messages. For instance, a glorious day spent by the river, away from [the city of] Yerevan. The river flow was forked by a hydro company so that some of the water would flow into large concrete pipes that would produce electricity. Meters and meters of tubing. On one of them I wrote: “Listen to the sound of the river. Dance.”

A suggestion to listen to the water flowing in the tube, to try at least … These tubes completely break the cycle, the natural rhythm, I found it sad. These few words hoped to bring back a little poetry.

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LR: How do you make a living here as an artist?

LG: It’s not easy. When I paint, I’m not thinking about selling my works.

I don’t think they would interest collectors. They are quite dark and people would not necessarily want to exhibit them in their homes. To make an income, I do book illustrations for an agency in New York, mostly children’s books.

Shortly after this interview was done (and prior to publishing), Loussiné GHUKASYAN’s works were on view at the Urban Festival in Yerevan in March 2019, a collaboration initiated by “Visual Gap Gallery” and the Goethe Institute in partnership with the German Embassy, where Loussiné participated in workshops led by a group of street artists from Hamburg, Germany.


 

L’artiste plasticienne Loussiné GHUKASYAN était présentée lors de la dernière exposition d’HAYP Pop Up Gallery, 12|12|12 , en décembre dernier, à Yerevan. Elle a aussi contribué à « Lips of Pride » en 2016 et « Downshift » en 2017 initiés par cette même galerie.

Laure Raffy: Vous avez durant 5 ans étudié le design à l’Académie des Beaux Arts d’État d’Erevan. Que vous a apporté cette formation, en quoi a-t-elle influencé votre démarche et vos choix artistiques?

Loussiné Ghukasyan: Initialement, j’ai déposé ma candidature pour apprendre la gravure. En Arménie, la situation des artistes est assez compliquée. Ce n’est pas évident d’emprunter des chemins différents des schémas traditionnels :exercer une profession qui permette de bien gagner sa vie.

J’ai décidé d’intégrer la fac de design en pensant trouver du travail par la suite. Finalement, j’ai choisi de suivre une autre formation, spécialisée en peinture. Même si le medium me plaisait beaucoup, je ne me reconnaissais pas dans les méthodes d’enseignement, la pédagogie de la formation. Le cadre était assez rigide.

Donc, je prenais mon matériel, je montais au dernier étage, seule, sur la terrasse et je peignais des journées entières avant de redescendre pour présenter mes travaux.

J’ai une anecdote amusante, j’avais l’habitude de laisser du blanc sur mes tableaux, de l’espace. Un jour, un professeur est venu me voir et m’a signalé que j’avais oublié des parties, que l’ensemble de la toile n’étais pas recouvert. Au fur et à mesure je me suis éloignée de cet enseignement de peinture réaliste car il ne me convenait pas vraiment. J’éprouvais un manque, j’avais l’impression de ne pas pouvoir concrétiser mes idées, mes envies. Je me suis ensuite concentrée sur le dessin, qui m’offrait davantage de liberté. Je me sentais plus libre d’utiliser le blanc et le noir, dont je me sens proche.

LR: Vos œuvres sont assez abstraites, vous utilisez des lignes, des traits. On ne devine pas de suite ce(ux) qui se cache(nt) dans ces toiles, c’est peut être en cela que l’on peut trouver vos pièces angoissantes, anxiogènes.

LG: Je pense que la « beauté » relève du premier regard, du coup d’oeil. Ce que l’on découvre ensuite m’intéresse davantage. Je souhaite que mon travail échappe à ce que j’appelle « premier regard », qu’il se concentre sur le second. Mes toiles dévoilent ce qui émane de la forme : le bruit, le vide, l’agitation… Il m’arrive tout de même d’intégrer des couleurs à mes toiles. On trouve notamment du bleu dans mes travaux exposés lors de 12|12|12. L’oeuvre s’appelle même In the Blue. D’ailleurs, il est pour moi difficile de nommer mes travaux. Les titres n’ont pas d’importance dans ma démarche.

Le bleu est une couleur importante pour moi. Il s’agit de la couleur de la nuit, des pensées, de l’eau qui s’écoule sans arrêt.

LR: Pourriez-vous nous parler du contexte dans lequel cette œuvre a été produite ?

LG: Deux des tableaux présentés dans l’installation ont été réalisés lorsque je vivais à Marseille. J’ai peins la troisième toile à mon retour à Erevan. Ces peintures sont la retranscription d’une large palette d’émotions, de rencontres, d’évènements importants… On peut y lire l’agitation, le mouvement, la chute, le trouble. Le sang coulant à toute vitesse dans les veines et le corps au repos, voici ce que j’ai cherché à exprimer.

LR: En quoi consiste la vidéo et qu’apporte-t’-elle au travail?

LG: Ma vidéo dévoile des détails de la vie : les pas des passants dans la rue, leurs pieds, le clignement des yeux d’une femme, tout cela ralenti. On ne prête pas toujours attention aux gestes de la vie quotidienne.

J’ai souhaité jouer avec le contraste peinture / vidéo dans cette installation.

La vidéo est par essence, une image en mouvement. En cela elle contraste avec la peinture, image fixe et immobile. J’ai décidé de ralentir les images de la vidéo et de les projeter sur mes peintures, agitées, sombres, afin d’y apporter du calme, de la lenteur. La seconde partie de ma vidéo, écran blanc, sans image, apporte de la lumière à ma peinture. Seul moment où l’on peut distinguer les toiles précisément.

LR: Vos travaux sont-ils rythmés par des protocoles, d’esquisse, de croquis, par exemple?

LG: Ma pratique est spontanée. Je peins directement mes toiles. Je ne réalise pas d’esquisse préliminaire. J’aime être seule lorsque je peins, j’aime travailler sans le regard de l’autre. Lorsque je réalise des pièces de street art par exemple, je n’en parle généralement à personne. Elles sont découvertes plus tard, au travers de photos, de traces.. Je ne m’intéresse plus vraiment au livepainting, je préfère produire et dévoiler par la suite.

Par exemple, lors des ouvertures d’exposition auxquelles je participe, je m’échappe lorsque les visiteurs arrivent. Je les laisse découvrir le travail dans l’espace. Ce n’est pas moi directement que je dévoile mais mon travail. J’aime disparaître et m’effacer au travers de celui-ci.

Ces derniers temps, je travaille beaucoup dehors, dans la rue, davantage qu’en atelier.

J’essaie vraiment de choisir des endroits précis qui respectent le paysage pour réaliser mes oeuvres.

LR: On peut remarquer que le langage, les mots sont aussi très présents dans votre démarche.

LG: En effet, je ne dessine pas toujours. J’aime aussi écrire…

Lorsque je réalise des muraux, j’utilise des pinceaux ou le marqueur en général.

J’aime utiliser le pinceau sur le mur. Ça me permet de sentir la matière, l’espace, le mouvement. Le feutre ne me permet pas vraiment de distinguer les textures.

Je me souviens d’un projet réalisé en Grèce. J’étais partie marcher un moment. J’avais avec moi du matériel, des pinceaux, de l’huile. Assise devant un immense mur, je réfléchissais à la notion d’image. Je me demandais si elle était vraiment plus utile que les mots et le langage.

Spontanément, j’ai eu envie de réaliser une grande pièce. J’ai saisi un bâton afin d’allonger mon pinceau et pouvoir peindre sur ce mur gigantesque.

Voici ce que j’ai écrit : « Be alone. Listen the sound of the sea. Dance »

Je me trouvais sur une plage éloignée, sauvage, j’ai pensé aux personnes qui pourraient arriver par la mer et voir ce message. Je les imaginais entrain de danser. Je pensais au moment de solitude qu’ils auraient, de retrouvailles avec eux même, dans cet espace presque désert.

J’ai réalisé d’autres inscriptions à mon retour en Arménie, d’autres messages. Notamment ce fameux jour où nous étions sortis d’Erevan pour passer la journée au bord de la rivière. Ce cours d’eau a été divisé en deux par une entreprise de sorte à ce qu’une partie de l’eau s’écoule dans de grands tubes en béton et qu’elle produise de l’électricité. Des mètres et des mètres de tube.

Sur l’un d’eux j’ai inscrit : « Listen to the sound of the river. Dance ». Une incitation à écouter l’eau qui s’écoule dans le tube, essayer du moins… Ces tubes rompent totalement le cycle, le rythme naturel, je trouve ça triste. Ces quelques mots y apporte peut être un peu de poésie.

LR: Comment est-ce que tu t’en sors pour vivre ici en tant qu’artiste?

LG: Ce n’est pas évident. Lorsque je réalise mes toiles, je ne pense pas à les vendre. Je pense d’ailleurs qu’elles n’intéresseraient pas beaucoup de collectionneurs. Elles sont assez sombres et des gens n’auraient pas forcément envie de les exposer chez eux. Pour gagner ma vie, je réalise des illustrations pour des livres, avec une agence installée à NY, des livres jeunesse notamment.

On rencontrait Loussiné GHUKASYAN il y a quelques semaines, à l’Urban Festival , manifestation initié par la Galerie « Visual Gap Gallery » et l’Institut Goethe, où elle participait aux ateliers menés par un collectif d’artistes Hambourgeois.

Interview: HAYP chats with the core team of URVAKAN Festival

You may have heard the buzz about URVAKAN Festival, (“GHOST” Festival in Armenian) a cultural festival that aims to reanimate neglected/phantom urban spaces through music and performance. As a gallery that thrives on bringing art into the public space, HAYP Pop Up couldn’t resist the opportunity to partner when the URVAKAN team invited us to co-curate several site-specific installations at some of the venues. URVAKAN Festival will take place in Yerevan, Armenia from May 3-5, 2019 with a full day and night program principally at the Children’s Railway Station in the Hrazdan Gorge, with other locations still TBA. In an attempt to de-mystify the ghost, we had a little chat with the team behind the magic. Take a look at the below interview for some insider info on who, what, where, and why URVAKAN is happening, and how to book your tickets.


 

HAYP Pop Up Gallery: Let’s start by you guys introducing yourselves. As we understand, you’re quite a big group of creatives, whose on the team and what brought you together?

URVAKAN Festival: That’s true. The core of the team mostly consists of people with Armenian roots, but who actually cares about nationality nowadays? We believe in a world without borders, that’s why our team consists of young creatives currently residing in New York, Moscow, Saint Petersburg and more, with rather different backgrounds: from digital marketing and cultural events, to restaurant business, mobile apps and even beauty salons. Of course, there’s a lot of amazing people from Yerevan helping us – obviously, this couldn’t happen without local expertise. We also inspired some of our international friends who quickly jumped on board and became the puzzle’s missing pieces. All in all, everyone who’s on board is attached to the creative industries and hopes to promote and develop this area in every way possible.

What brought us together? Well, some of us know each other for more than a decade, some got close just several months ago, but our common story starts in December 2018, when the core of the team accidentally visited Armenia. Since then there have been a number of trips around the country, and dozens of new acquaintances that showed us a different side of Armenia. So here we are, trying to bring together our experiences with a humble desire to give back to the country that inspired us so much. With a proper respect to the roots – that’s why the collaboration with the local scene is so important for us and you can see a lot of Armenian artists in the line-up. It’s up to the public to decide if we succeed.

HPG: Why “Urvakan”? Where does the festival name come from, and what format should people expect?

UF: We started by traveling around Armenia. Throughout these trips, we found that aside from historic cultural attractions, the country is filled with numerous astonishing locations that you simply can’t find in a tourist guide. Examples like the Composers’ Creativity House hidden in the mountains of Dilijan, where Dmitri Shostakovich was staying for four years in the 1960’s. His piano is still there – standing in a cold, partly destroyed cottage. Or the Writers’ Resort on the shore of Lake Sevan, a unique example of early Soviet architectural avant-garde, just to name a few. All of them are striking architectural forms, with layered histories and meanings, however, most of them are in a terrible condition, abandoned and forgotten. There’s a certain “ghostly” state of these spaces [which is what the word “urvakan” means], neither “alive” as they were decades ago, nor dead. Something in between. A fascinating, uneasy beauty. We hope that our approach to the festival locations will help investors see these half-abandoned spaces from a different angle – filled with contemporary music of various genres, performance, street and digital art, food markets and whatever else; they have all the potential to become important public spaces in the future. We’d really love to share our vision and show rather than tell that these landmarks are more than cultural heritage, they’re also a great opportunity for the city’s new culture.

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Lake Sevan Writers’ Resort, Armenia.

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Amphitheater at the Composers’ Creativity House (also known as Composers’ Resort) in Dilijan, Armenia.

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Archival image of Yerevan’s Master Plan by Tamanyan exhibiting the importance of parks and greenery to the city’s original urban design.

HPG: Can you tell our readers a little bit about the main location you chose for the festival at the Children’s Railway station? Why this location and what makes it so special to you?

UF: The Yerevan Children’s Railway “Paros”, part of a park named after Abovyan, was built in the 1930’s, designed by architect Mikael Mazmanyan. It turned out to be his last work in Armenia. It was one of the pioneer’s [Soviet Youth organization] railways, which were serviced by children and supposed to raise interest in working on the railway. The railroad loop passes [til this day] through the Hrazdan gorge for 2 km. Alexander Tamanyan, the author of Yerevan’s master [urban] plan, believed that the Hrazdan gorge should be a place of rest for Yerevan residents, giving them the opportunity to enjoy nature and breathe fresh air. He planned for the two tunnels, which are still the shortest path to the railway, to bring fresh air from the gorge to the city center. Isn’t this amazing?

Recently we found old albums with a lot of photos from city holidays, community work days, competitions, concerts held on the railway. This place was truly loved by townsfolk. Nowadays it’s still functioning, however, it’s in a semi-abandoned state. With the help of the city authorities and volunteers we’re going to clean the gorge’s landscape and turn the railway into “Urvakan” city with its own markets, art pieces and three stages celebrating the life-giving power of music.

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View of the Children’s Railway Station as seen descending from the steps of the Hrazdan Gorge gardens.

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The balcony of the Children’s Railway Station looking onto the river canal.

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One of the two tunnels connecting the Hrazdan Gorge to Mashtots Park, in Yerevan City Centre.

HPG: Who will be performing at Urvakan, and in particular, who on the line-up are you most excited about?

UF: Our three-day multifaceted program will feature some outstanding and challenging performances by more than 70 artists from 24 countries. It’s quite hard to pick favourites, but you would most definitely want to come for the opening concert [Friday, May 3], which will feature two pieces by Iranian composer Ata Ebtekar aka “Sote”, and Russian multidisciplinary artist and musician HMOT aka “Stas Sharifullin”. Ata’s “Sacred Horror In Design” is a marvellous audiovisual piece first presented at Berlin’s CTM Festival, which brings together traditional Middle East instruments and current music technologies, featuring Dutch visual artist Tarik Barri (he’s worked with Thom Yorke, Flying Lotus, Robert Henke). Whereas HMOT will present a commissioned, site-specific piece based on Yerevan’s architectural plans, to be performed by a group of local contemporary musicians alongside with Sergey Letov, the Soviet and Russian avant garde / free jazz music legend.

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Photo still from Ata Ebtekar aka SOTE’s “Sacred Horror in Design” audiovisual performance.

As for the rest of the program, there are lots of highlights – both during the day and night programmes. The performance by the one and only Russell Haswell is one you cannot miss for sure. Then, there’s American avant garde music legend Anna Homler, who will play one of her pieces with a little help from another great British artist Rupert Clervaux. You also definitely should catch Italy’s Mana presenting his debut album, just released at Hyperdub, and Egyptian ZULI. The night program is also a big thing: our friends from Moscow’s Gost Zvuk label will perform at the opening party (don’t miss Vtgnike’s live performance – he will present his new album just released on Nicolas Jaar’s Other People- and a lot more. Saturday night [May 4] will feature multiple stages filled with audiovisual shows and current dance music trends. As you can see, there’s a lot to experience! A detailed program will soon be published on our website – urvakan.com.

One important thing to mention is that we really wanted to focus on musicians from Eastern Europe and the Middle East – on those whose voices are often excluded from the global context. There’s a huge underground music scene in Russia, almost unknown to the West. During our research we stumbled upon lots of outstanding talents in Armenia, we have a certain focus on the Iranian scene as well. We believe in the uniting power of music. Last but not least to mention – the whole program is set together by the international group of curators behind Klammklang, Synthposium, Radio Morpheus, Rabitza, Richterfest and other internationally acclaimed new music initiatives.

HPG: You’ve been curating a series of events including the “Alabalanitsa” nights at the Mirzoyan Library, and live streamings with Radio Morpheus. How does this fit into your overall concept and what are you trying to achieve through this?

UF: Besides the festival itself, Urvakan’s mission is to offer a platform for musicians and artists working in Armenia and worldwide through a wealth of year-round projects. Besides “Alabalanitsa” and Radio Morpheus, our curators from Proun Gallery held a “Bring Your Own Beamer” event at the Hay-Art exhibition space. This is just the start, but we’ve already achieved some results in building new formats for connecting between local and foreign creative communities.The most important thing is that all these events give us a chance not only to share our views and experience, but also to receive new, unique knowledge from locals. That’s what Urvakan is about.

HPG: As a group of individuals with a lot of experience in the music and festival industry, what is your vision for the future of such events in Armenia? 

UF: It’s hard to say, we can’t predict the future. But for sure we can invent it together. There’s a great tradition in jazz, classical and popular music, dance music is also becoming a worldwide phenomena, so it’s time to step up with something existing on the margins of these genres. Something that definitely offers a challenging experience, but this experience is quite rewarding as well.

HPG: And on a practical note, where can people go to learn more about URVAKAN and buy tickets?

UF: For the latest news and updates follow our accounts on Facebook, VK, Instagram and Telegram. And, of course, don’t forget to visit our website – urvakan.com – and get your ticket. The early bird main pass tickets are already on sale, and they’re quickly selling out! 


Early Bird Tickets are on sale on Resident Advisor until April 14, 2019.

Tickets also available on Tomsarkgh.

URVAKAN Festival will take place from May 3-5, 2019 at several venues in Yerevan, Armenia. Follow them on social media for more info!

“Tbilisi” Impressions by Laure Raffy

Photos and text by Laure Raffy
Translation by Anna Gargarian

Original text in French language below English text.


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A four day trip for the HAYP Pop Up team to the Georgian capital, Tbilisi. Objective: to feel the city’s pulse and feed our plans to establish a permanent gallery space in Yerevan in the upcoming months. An opportunity to meet key players and to weave the initial threads of partnership with a neighboring country, as we begin to envision future collaborations.

Ambling through a city full of stories, historic buildings, and wonders to discover veiled behind urban facades, we take in (on the fly) inspiration, ideas, and lots of images.

A meeting with Tamara Janashia leads us to many others: gallerists, printers, artists.
The Nectar Gallery, perched on a small hill, reveals the colossal work of Elene Chantladze that combines writing, drawing, collage, and painting on stone; a lifetime’s work that offers a narrative about intimate space and important moments.

Time to catch our breath and grab a coffee on the terrace of Stamba Hotel, former printing house renovated into hotel complex. An industrial space that highlights the gears and mechanisms of the machines it once housed. It is here that we meet Irina Popiashvili before she invites us to a private space where she collects the works of several artists; a creative incubator where she nurtures artists with a graceful rigor. She brings us to the department of Visual Art, Architecture and Design at the Free University of Tbilisi, where Irina is the Dean. A precious moment that invites us into discover creative studios, filled with ideas and treasures in the making. The chance to meet students, inspired and inspiring, impressive in their tenacity and strength, confronting materials as massive and rigid as wood and steel .. We (re)encounter some of them on Saturday night in an apartment atop the city’s outskirts; an intimate space that is home to an exhibition curated by the students themselves.

On this short trip we have the privilege of meeting artist Tamuna Chabashvili, who mainly uses textile as “final object” in an engaging work that brings together tedious research, investigation, and careful collecting of stories. Along the way, we discover the underground Patara art gallery, which urges us to explore the border between private and public space, and the importance of introducing art within the lived urban environment. A visit to the Window Project gallery reveals bold scenographic display, an intervention by a contemporary artist/designer that took inspiration from the exhibition’s focus: the art works of the late Vakhtang Kokiashvi.

Planning to develop a future print department, HAYP can’t miss out on a visit to Cezanne printing house, highly recommended for the quality of its catalogs and artist books. An encounter that revealed (or confirmed) the vast range of possibilities for book formats, textures, and binding methods … revealing, yet again, that the book serves as both archive and extension of an art work, an artifact in its own right.

Four days of meetings, a perpetual dialogue between the historic and contemporary, industrial and artisanal, massive and undeniably refined. Sprinkled with impressions, scribbled papers, porcelains, and found objects along the unbeaten path.

And so, more to come….


original text:

Déplacement de l’équipe de HAYP Pop Up dans la capitale Georgienne, Tbilisi. Ce, afin d’en prendre le poul et alimenter encore le projet de galerie physique et permanente qui prendra place à Yerevan, dans les prochains mois. L’occasion de rencontrer des acteurs, tisser une première toile de partenaires dans un pays voisin et imaginer de possibles collaborations.

Un détour dans une ville emplie d’histoire(s), d’édifices historiques, de merveilles à découvrir au verso des façades. Un moment permettant d’attraper en vol, inspirations, idées, et beaucoup d’images.

Une rencontre avec Tamara Janashia nous mène vers bien d’autres : galeristes, imprimeurs, artistes. La Galerie Nectar perchée sur une petite colline dévoile le travail colossal d’ Elene Chantladze, mêlant écriture, dessins, collages, peintures sur roches. Oeuvre d’une vie proposant une lecture de l’espace intime et de certains faits marquants. Le temps de reprendre son souffle et commander un café sur la terrasse du Stamba Hotel, ancienne imprimerie réhabilitée en complexe hôtelier. Un espace industriel où sont aujourd’hui sublimés, les rouages et mécaniques des anciennes machines.
C’est ici que l’on rencontre Irina Popiashvili avant qu’elle nous conduise dans un espace où elle conserve plusieurs travaux d’artistes. Une pépinière de créateurs qu’elle soutient avec force et velour. Cette visite nous mène à l’école d’Arts visuels et d’architecture dont Irina est la doyenne. Moment précieux nous permettant de découvrir quelques ateliers emplis d’idées et de trésors en devenir. L’occasion de rencontrer des étudiants, inspirés et inspirants, impressionnants par leur tenacité et leur force, faisant face, à des matériaux aussi massifs et rigides que le bois et l’acier.. On en (re)découvre certains d’entre-eux, le samedi soir, dans cet appartement, planté sur les hauteur de la ville. Espace intimiste, abritant une exposition commissariée par les étudiants eux même.
S’offre durant ces quelques jours, le privilège de rencontrer l’artiste Tamuna Chabashvili, qui utilise principalement le textile comme « objet final » d’un travail engagé, fastidieux de recherches, d’enquêtes, de collecte d’histoires. Sur notre passage, on découvre l’espace galerie souterrain Patara qui nous interroge encore sur la lisière entre espace privé et public et l’intérêt d’introduire l’art où les individus circulent. Nous visitions la galerie Window Project mêlant des choix scénographiques audacieux et l’intervention d’artistes/designers sur les œuvres d’un créateur initial, aujourd’hui disparu, Vakhtang Kokiashvi.

Dans son souhait de développer un volet « publication », HAYP se doit un passage à l’imprimerie Cezanne, recommandée pour la qualité d’impression de catalogues et livres d’artistes. Un moment révélant (ou confirmant) le large panel de possibilités en termes de format, texture, mode de reliure… Une visite révélant de nouveau que si le livre peut accompagner l’oeuvre, il peut aussi se penser comme « objet d’art », à part entière.

4 jours et un mélange de rencontres, un perpétuel dialogue entre historique et contemporain, industriel et artisanal, massif et indéniablement fin. Parsemés de notes, de papiers griffonnés, de porcelaines, d’objet chinés au fil des marches.

A suivre, donc.

Reading fortunes and being seen

Aramazt Kalayjian is a multi-disciplinary artist from New York, currently based in Yerevan, Armenia since 2011. The below text is a reflection on “If walls could see” a collaborative project with installation by Armenuhi Yeghanyan, and durational performance by Aramazt Kalayjian. The project took place in the framework of HAYP 12 12 12 RETROSPECTIVE, an exhibit that looked at the medieval caravanserai as metaphor for cultural meeting point. Themes of exchange, travel, displacement, fantasy, translation and encounters pervaded the works on view from December 12 -24, 2018 on the third floor of the Armenia Market.


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Hayku 30.0
Coffee is Seeing
Sometimes we need the other
Here we are all one

We all want to be seen and we do it in very different ways.

I had created a set of wall-hanging sculptures featuring haiku poetry, separated into three layers of glass, 4cms apart, making a visual puzzle. It was simple and playful.

Complimenting this I performed coffee cup readings. My guest would arrive and I would prepare coffee and read their fortune.  I would write a haiku poem on an Armenian language typewriter and give them their reading to remember. 

The door opens, I have received another guest. I greet them warmly and light the gas stove. She sits before me, asking questions. She seems familiar but I do not recognise her.  “Do you remember me?” she asks. I mention a certain familiarity but that is all. “Then good, I won’t tell you anything more to see if your cup reading is authentic.”

I laugh and we drink our coffee and flip the cup. I was being tested but I had faith in the coffee grains creating their story on the white porcelain walls and in my ability to read the symbols and weave meaning.

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My mother had an abortion before I was born. She was 19 and not ready for motherhood. Then, as now, taboos surrounded her decision. She was depressed, ashamed and in reclusion before my birth. I came along, like Simba, a joy for our family and community. The first-born of the youngest child in her family.

She had not had the childhood she would have hoped for. Her father passed away when she was just three. She had taken on the role of helper of the house, cooking, cleaning and babysitting cousins. She had become a mother before she was a woman. I understood why she began to train me, and later my brothers, to be her aids around the house.  She later confessed she had always wanted a daughter.

On days off from school we were handed individual lists of chores in my mother’s handwriting or we were given extraordinarily inconvenient tasks such as reading a book aloud into a tape recorder so that there was proof of our having practiced reading that day.  My father would take the cassette and listen to us read 40 Days of Musa Dagh or Nancy Drew or the Hardy Boys on his commute to work. This was his way to make us present in his life. He could listen to our voice despite his absence from home.

It is here that I learned to cook and clean and learn and evolve. It wasn’t the best nor the worst childhood; there was love and anguish; there was appreciation and neglect; guilt and innocence; polarity also revealed duality.

The very first thing I learned from my mother was to make coffee. And this was a profound desire of mine.

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Observing the family gatherings of my youth, the ceremonial aspect of receiving coffee at the end of a meal or an evening was divine. The first sips were spiritual ecstasy when the coffee was good.  When it wasn’t there was criticism sprinkled in with gossip and conversation. It became a challenge I wanted my skills to meet.

Cups of coffee. Something human and universal being shared. First dates and breakups. Beginnings, interviews, being fired or laid-off. All can start with a cup of coffee and often do. Friends gather over coffee, families end gatherings with it. You can drink it before and after sex and at any other time!

Coffee is said to have been discovered by shepherds in the village of Kaffa, Ethiopia. Their goats were, according to legend, exceptionally frisky and energetic after eating the seed and flesh of the coffee fruit. It was considered to have magical or spiritual qualities and in Ethiopian culture today the coffee ceremony remains a staple in welcoming guests. Upon a bed of grass, several people gather around a clay pot and coals while the coffee beans are roasted on a pan over a naked fire. Frankincense is burnt. The coffee seed is roasted until the beans are browned and crushed by a mortar and pestle and then poured into the Jebenna, the aforementioned thin-necked clay pot Ethiopians use for coffee ceremonies.

Since then, the bean has been cultivated in a variety of different ways and its export from Ethiopia to the Ottoman Empire popularized the drink as a commodity and a pastime. As the grinds became more refined, so too did the tastes and methods of preparation. Mixes with milk and sugar, sometimes with tea or honey. The culture of coffee was born and it was widespread by the late 19th century.

We, humans, have sought meaning in patterns since the early cave paintings depicting man and nature. Cloud gazing, I-Ching coins, tea leaves, all offer a canvas from which patterns and meaning have been cultivated for centuries. Coffee grounds, naturally, offer this too.

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I learnt how to read a cup from my mother and uncle. The reading always took place at the very end of a meeting or a gathering in our home. My mother read the cups as if to offer relief from worry emphasizing the positive and reminding the listener to be more aware of opportunities and others. My uncle, however, approached the matter as if reading tarot cards. His own interest in spirituality gave him a foundation to both see and to connect with the person before him when reading the coffee cup.

Having witnessed this throughout my childhood, I sensed that there was magic in the cup. Here was a way to truly connect with the love and attention channelled into it. It seemed like people felt they were being seen for who they truly were.

We trust the foreigner. We trust the neutral, non-attached person that is disconnected from our lives. People seek this possibility and coffee cups offer it.

I wanted to create this experience a long time ago and the caravanserai with HAYP offered the perfect opportunity, in the land of open doors and tinted windows.

The response at the exhibition was completely unexpected. I had imagined sitting in a room and having maybe one or two people arrive for coffee.  Instead, the demand was great. Perhaps people have an inherent desire to sit and be heard. There is a comparison with Catholic confession, with the priest and the sinner.  In our case the roles are perhaps more nebulous, beyond reader and listener.

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What was most astounding was how readily people shared openly, with the cup between us. I was asked if I could see people looking negatively on them and their life. One woman described an emotional affair with another man and asked if that was worse than a physical affair.  Someone else told me their entire story, from youth to marriage, and how her husband had became a brutal person, triggering a suicide attempt. All of this to me! I am no one. A man that made cups of coffee, a man that told stories as a way to see and be seen.

I was surprised by the variety of people that came along. Two women working in the wig store below the exhibition space arrived one by one. The quirky owner of the building with his right-hand man, seeking advice based on his profound belief in fortunes. An elder, an adult, and one of our youth, arrived at one point representing three generations of women. Artists, designers, performers, dancers, architects, musicians, writers, hopefuls, seekers, lovers of life, ordinary folk, all lined up for a free cup and a fortune, written in short form, as a memento.

I felt a deep responsibility. To remain as neutral as possible when sitting in front of another. To try to be totally absent of ego and present in the moment while interpreting the grains and the patterns, however subtle or bold. I did not want to color the story with my own and instead took symbols from the cup, interpreting meaning, somehow, to reveal simple truths.

I was left feeling exhausted and full of gratitude.  


written by Aramazt Kalayjian
edited by Raffi Ouzounian
photography by Ed Tadevossian
video by Karén Khachaturov

#SpotLight: Aramazt Kalayjian

by Lori Kassabian

Disclaimer:

December 12, 2018 HAYP Pop Up Gallery celebrates 4 years of pop up exhibitions, performance and more with one final project – 12-12-12 – as the gallery closes one chapter and begins another. During this 4 years, we curated 12 exhibits and worked with over 80 visual and performing artists — local and international —  who explored the most unconventional liminal space that we could find.  In this blog series we are paying tribute to our artists that have been part of HAYP community and now will join us for the final celebration of our work. 

 

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INTERVIEW: “Is Armenia ready for a major art biennale?” Laure Raffy interviews curator Mazdak Faiznia of ICAE 2018

interview by Laure Raffy
photos by Ed Tadevossian, courtesy of ICAE2018 and Shaula International

On the occasion of the ICAE 2018 (International Contemporary Art Exhibition) that took place in Yerevan from September 28-October 28, the HAYP Pop Up team was able to interview curator Mazdak Faiznia, artistic director of the Faiznia Family Foundation (FFF) based in Kermanshah, Iran. The FFF encourages and promotes contemporary art creation nationally and internationally.

Original interview in Italian below.


 

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LR: Could you clarify why you chose “Soundlines” for the exhibition theme, and in particular what is its connection to Armenia?

MF: I guess first off, I’d like to address the notion of silence. Armenians have always been and continue to be, all around the world. Their culture dates back thousands of years, and they’ve contributed greatly [to culture] wherever they’ve been.

I’m Kurdish Iranian and I am aware that Armenians have played a key role in our region as bearers of innovation, cinema, photography, medicine, industry and the arts – but in silence and discretion. Geographically, Armenia is not so big, but its voice is far-reaching.

One of the ICAE ‘s goals was to create a dialogue through artistic and cultural environments in Armenia with the rest of the world. For this reason, I was looking for an element of Armenia’s contemporary history that successfully engaged in international discourse and represented the Armenian voice, and it’s not by chance that I came to the traditional Armenian flute, or “Duduk”. It’s a small instrument with a full voice. Anchored in Armenia’s history, this globally recognised symbol of Armenian identity has been able to dialogue with all forms of music, from pop to rock to electronic music and even classical music since the 1980s.

“Soundlines” is also a reference to the novel Songlines by Bruce Chatwin, which looked at how the oral tradition of Australian Aborigines created a [sonic] map of the territory.

Sound as a metaphor for artistic practice, which places at its core concepts of identity, collective and personal memory, landscape memory, mobility, and international cultural dialogue. Line as sound, as real or mental borders, and also as a formal and conceptual element; idealised maps and their relationship to the territory . This is not unlike how the sound of an Armenian Duduk might integrate itself harmoniously within an orchestra of diverse instruments from the rest of the world. I’m interested in the relationship between sound, identity and tradition.

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LR: How did you make the selection of artists and works in the program, and where did they come from? Did institutions also participate in the exhibit?

MF: The selection of artists and works was based on their relationship to the theme and character of the project, which was shaped for both the Armenian and international publics that would be present during the Francophone Summit in Yerevan. The works were loans from artist studios, the galleries that represent them, and international private Collections and Foundations. 

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LR: Do you plan to renew ICAE next year?

MF: Bringing to life ICAE2018 was arduous, from the complexity of the theme to its production… it was really a “Mission Impossible”, especially considering the scale of the project and the invited international artists. We had very little time, and the added challenge of bringing a world audience to Armenia. If it weren’t for everyone’s support and openness, especially on behalf of the artists, our international and local partners, the incredible efforts of the team and their organisation, it would have been difficult to bring to fruition and it was almost a miracle.

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But miracles aren’t always possible. And so, if a major objective [for Armenia] is to insert Yerevan and the country on the map as a cultural destination for contemporary art, this could be considered a first step. But continuity is essential, and there needs to be a long term program to generate important cultural events like biennales, triennales, and art fairs, and establish infrastructure for museums, foundations, independent and non profit spaces, artists, academies etc, that are globally connected. In order to make all of this happen, there needs to be a program with a vision, and certain synergies that enable the commitment and support on behalf of the public and private sectors. Lastly, it needs to continue – never give up- continue, continue, and continue! 

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In occasione dell’ICAE (International Exhibition of Contemporary Art) tenuto a Erevan il mese scorso, abbiamo avuto la possibilità di intervistare Mazdak Faiznia, curatore della mostra e direttore artistico della Faiznia Family Foundation in Kermanshah, Iran.

intervista da Laure Raffy

foto da Ed Tadevossian per ICAE2018, Courtesy di Shaula International


LR: Potresti specificare come mai hai scelto “Soundlines” come tema, e qual’è il legame particolare con l’Armenia?

MF: Forse la prima cosa che devo dire è proprio il silenzio. In tutti sensi, gli Armeni sono stati e sono [ancora] da per tutto il mondo. Hanno una cultura millenaria, hanno contributo tantissimo dove sono stati, ed in effetti io che sono curdo Iraniano, in Iran gli armeni hanno avuto un ruolo fondamentale nella nostra zona: sono stati i portatori d’innovazione, del cinema, della fotografia, la medicina, l’industria, la cultura e l’arte, ma con un silenzio naturale. L’Armenia geograficamente è un paese non molto grande ma ha una voce ampia.

Uno degli obiettivi di questo evento è [stato di] creare un dialogo tra atmosfera artistica e culturale in Armenia con il resto del mondo. Per cui cercavo un elemento che nella storia contemporanea di questo paese è riuscito a dialogare a livello internazionale, rappresentando la voce dell’Armenia e non per caso sono arrivato al Duduk, il flauto antico e strumento tradizionale Armeno. È uno strumento piccolo ma ha una voce ampia. Il Duduk è ben radicato nella storia ed é riconosciuto come [simbolo di] l’identità Armena in tutto il mondo, ma è riuscito a dialogare con tutte le forme della musica, dalla musica pop al rock alla musica elettronica ed anche nella musica classica soprattutto dopo gli anni 80.

Invece Soundlines evoca “La via dei canti” (The Songlines), il celebre libro di Bruce Chatwin sulla tradizione orale degli aborigeni Australiani da cui deriva una mappatura del territorio. Per cui il suono come una metafora della pratica artistica che mette al centro della sua attenzione concetti importanti come: identità, la memoria collettiva e personale, anche la memoria del paesaggio, la mobilità, ed il dialogo culturale a livello internazionale. La Linea come il Suono, come confini reali o mentali, anche come elemento formale o concettuale, cioè, le mappe ideali ed il rapporto con il territorio. In maniera analoga a quanto avviene in un’orchestra in cui il suono del Duduk Armeno, si integra perfettamente con gli altri strumenti del resto del mondo. [Mi interessa] Questo rapporto tra il suono ed il suo rapporto con l’identità e la tradizione.

LR: Come hai fatto la scelta degli artisti? Hanno partecipato anche delle istituzioni?

MF: La scelta degli artisti e le opere è stato basato sul tema [della mostra] ed il carattere del progetto che è stato creato per l’Armenia e il pubblico Armeno ed anche internazionale che visiterebbe la mostra nel periodo del Summit dei paesi Francofoni a Yerevan. Praticamente le opere provengono dallo studio degli artisti, dalle loro gallerie rappresentanti, e dalle collezioni e fondazioni privati internazionale. 

LR: Ci sarà un altro ICAE per l’anno prossimo?

MF: Per la realizzazione dell’ICAE 2018 – essendo stato un obiettivo arduo da raggiungere, a causa della complessità del tema e della produzione..è stata davvero una “Mission Impossible”, nel senso che considerata la mole del progetto e degli artisti internazionali invitati, il poco tempo [avuto] e la difficoltà di far approdare il mondo in Armenia, se non fosse stato per la disponibilità di tutti e soprattutto degli artisti, i partner internazionali e locali, e lo sforzo incredibile del team e della organizzazione, sarebbe stato difficile da realizzare, quasi quasi è stato un miracolo.

Ma non sempre si possono fare i miracoli. Per cui se l’obbiettivo da raggiungere sarebbe di inserire Yerevan e l’Armenia nella mappa come destinazione culturale per l’arte contemporanea, questo sarebbe un primo passo ma bisogna soprattutto mantenere una continuità, avere un programma di lungo termine, di creare delle rassegne importanti come Biennale, triennale, le fiere, creare le infrastrutture per i musei, le fondazioni, gli spazi indipendenti e non profit, per gli artisti, le Accademia, eccetera, e metterli in contatto a livello internazionale. Per fare tutto questo ci vuole un programma per raggiungere l’obiettivo, [e] creare sinergie per avere l’impegno e il sostegno da parte del settore pubblico e privato, ed alla fine, non mollare. Continuare, continuare e continuare.

HAYP #StudioVisit: Narek Barseghyan

Hasmik Badoyan

Photo credits: Katya Golotvina

Disclaimer:

HAYP has been inviting artists to be part of our pop-up exhibits for over three years. During this time, we curated 11 exhibits and worked with over 80 visual and performing artists — local and international —  who explored the most unconventional liminal space that we could find. In 2018, HAYP is turning an inward eye from the public space to the personal creative space of artists through a special blog series #StudioVisit. A HAYP envoy will meet with our beloved artists at their natural habitat for a studio visit, talk and coffee, in order to ask existential questions and see art in its nascent stage…

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HAYP takes a trip to the USA…

You may have been wondering what the HAYP Pop Up Gallery team has been up to since our last event in September, “LOVE (ICA) Is electrIC Again”. For the past two weeks HAYP curator and executive director, Anna Gargarian, traveled stateside for work (and a little bit of play) to Boston and New York. Here’s an update by Anna as she reflects on the highlights from her trip: 

New York, New York

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My time in New York was brief but intense. Although neighborhoods and loci of activity shift, the beauty and awesomeness of the city never change. What stood out from my trip were two very different, but equally interesting museums: The Cooper Hewitt Museum, and the Museum of Art and Design (MAD). 

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The Cooper Hewitt re-opened its doors in 2014 at its 5th avenue location, the 64-roomed Andrew Carnegie Mansion; its home ever since 1976. The museum’s historic architecture offers a stark contrast to the touch-screen tables, large-scale projections, and personal design “pens” that allow visitors to engage with historic and contemporary design objects in a unique and interactive museum experience.

 

Tapping the back of your individual “touch pen” to the description of an object allows you to “save” the object to your personally curated collection of online images. The tip of the pen allows you to draw, select, and play on the tables located at the center of the mansion’s main atrium and corridors. Visitors are invited to make and save their own designs inspired by various objects from the collection. 

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The MAD museum was originally founded in 1956 under the name the Museum of Contemporary Crafts. In 2008, the museum reopened under its more catchy name, MAD (the Museum of Art and Design) to embody a broader spectrum of interests that include design, crafts, and artisanal practice, but also architecture, fashion, technology, interior design, and the performing arts. Personally, what stood out was the museum’s display of traditional, artisanal “crafts” (something you’d imagine your grandmother making) in a bold, fresh, and contemporary way. Also unique to this museum is that it not only exhibits works, but also gives you insight into the process of craft making with its open studio artist residencies. 

I loved the exhibit “Toxic Seas” by artists, Margaret and Christine Wertheim and the Institute For Figuring. The exhibit featured large-scale crocheted coral reefs that often incoorporated bits of plastic and reusable materials as a commentary on the pollution we produce and its effects on the marine environment.

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Also noteworthy, the individual pieces were collectively crocheted by women from all over the world who contributed sections of the work. The feminist undertones of elevating what is traditionally “women’s work” to the museum gallery is an added plus. Each artwork wall label included the names of each contributor and her country of origin. This reminded me of our own feminist, “Craftivist” group in Armenia, “Free the Needle”. Maybe they should get involved? Just a thought…

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Another surprising exhibit was artist, Chris Antemann’s, “Forbidden Fruit”, a collection of risqué ceramic figurines inspired by 18th century ceramic decorative arts. Although I’m not usually partial to the ceramic arts, Antemann’s keen sense of humour, brilliant use of form and color, and her masterful use of a “high society” decorative objects to show “debased” and provocative subject matter were completely engaging and charming. I will think twice before judging ceramic figurines in the future…

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Of course, New York City wouldn’t be complete without some late night adventures with old friends….. so this happened in an abandoned factory somewhere in Brooklyn: 

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Back in the more green lands of Great Barrington, Massachusetts:

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While in my home state of Massachusetts, I travelled westward to Great Barrington (about 2 hours west from Boston) to meet Suzi Banks Baum, the artist I had been Skyping/emailing/facebook messaging for the past three months in order to design and coordinate the upcoming HAYP project, “New Illuminations”. I’ve mentioned Suzi and our project before, but I hadn’t actually physically met her until last week! And what a pleasure…

Suzi is a book artist among many other things. That is, she makes handmade artist books and has been teaching book binding techniques (including coptic stitch binding which she’ll teach at our workshop this November) for many years. For Suzi, handmade books are a unique tool and means of expression for writing, illustrating, and most of all story telling. We are in the process of fundraising for our 4-day workshop and 10-day exhibition in Gyumri this November (donate here!). And another bonus of this visit, I got to reconnect with Dana Walrath, the artist I worked with to curate “Mapping Identity: Figures, Borders, and Nations” for AGBU Exhibitions in Yerevan.

Celebrating 25 years of AIWA

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Arts & Entertainment Panel: Sona Movsesian (Conan O’Brien Presents), Anush Yemenidjian (Hollywood Reporter), Teni Melidonian (The Academy), and Nora Armani (SR Film Festival). Photocredits: AIWA.

Next in Massachusetts was my attendance and participation at the AIWA 25th anniversary conference, a truly amazing three-day event of inspiring talks, presentations, and conversations with women leaders from the US, Armenia, Turkey, Argentina, Lebanon and more. We even had a few celebrity speakers (always fun)!

Panel discussions were divided by category including: Global Leadership and Women, Arts and Entertainment, Entrepreneurship and Business, and Leaders in Politics. Keynote speakers included Linda Hill from the Harvard Business School (one of my favorites), Seline Dogan from the Turkish Parliament, Maro Martirosian of Armenia’s Women’s Resource Center, and Katherine Sarafian, longtime producer at Pixar Animation Studios. 

Re-occuring themes in the talks were: implicit bias and gendered perspectives, approaches to leadership, how to “break the silence” and empower women leaders, and various tools for leveraging one’s skills and how to be an effective leader. 

 

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My panel! Photocredits: Juliana Del Aguila

The speakers were many, and inspiring, and HAYP Pop Up Gallery was thrilled and honored to be a part of the conversation as a member of the “Business and Entrepreneurship” panel. Co-panelists included Hasmik Asatrian-Azoyan of Basen hotels in Sisian, Juliana Del Aguila of Karas Wines, and Vera Manoukian of Starwood Hotels. Our dynamic panel addressed questions like: 1) What are your biggest challenges, and how have you overcome them?, 2) What specificities are unique to your industry? etc.

The AIWA conference ended with a deluxe Gala, complete with awards, inspiring speeches, good food, and dancing. Below is a (blurry) picture from the evening.

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Artist Studio Visit:

And of course my trip to the states wouldn’t have been complete without a visit to an artist studio…. introducing: Marsha Nouritza Odabashian.

Marsha is among the many artists who inhabit Boston’s South End artist district. The space itself was invigorating: a large open studio on the fifth floor of a typical Boston “brown stone” building. Her studio mates include an Italian painter, and an American costume designer and tutu-maker.

Marsha works in oil paint, ceramics, acrylic, and other experimental media and uses just as wide a variety of surfaces for her works, including all types of paper, sponge, canvas, wood and more. Her work explores identity and shows reoccurring motifs of flora and fauna (based on reality but often times distorted into fantastical elements), figural processions, and sewing needles (a commentary on woman’s work that underlies the tool’s dual function as weapon). 

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If you haven’t already noticed, Marsha’s body of work is highly inspired by Armenian manuscripts….so of course a bell went off in my head for HAYP8.0’s “New Illuminations- Codex”. Let me just say that my suitcase back to Yerevan was slightly heavier than when I left…. (hint, hint).

What next?

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Coming up in Great Barrington, Massachusetts is our fundraising event for “New Illuminations”, hosted and organized by artist, Suzi Baum. The fundraiser will be on October 25, 2016 at the Elixir in Great Barrington. Come and join Suzi with an open heart (and an even more open wallet) to learn more about the New Illuminations project.

Meanwhile, in Yerevan the HAYP team will be moving forward full-throtle to find an exhibition space and key partnerships with experts and collaborators in Yerevan and in Gyumri. More coming soon!

Keep checking out the hype with HAYP Pop Up for news on this and many more projects.