Et Cetera

Even though a collectivist and masculine culture is predominant in Armenia, it’s often challenged by smaller segments of the society that are proponents of individualistic values and/or advocate gender equality.

The inclusion of two conflicting Armenian artists from different eras on a prestigious platform of global contemporary art reveals the need to fundamentally reconsider and rethink the Armenian artistic heritage of the recent past.

In this review of the film “It Is Spring” dedicated to the Artsakh conflict, Sona Karapoghosyan writes that cinema should be a tool for critically revealing and interpreting the world, and not a bandage to hide our collective complexes and fears.

During March 2022, the Word—not only allegorically, but in the most literal sense—finds itself outstretched like the Vitruvian man strung from the corners of our Armenian-Russian-Ukrainian semiotic triangle.

How a tightly rolled bundle of negatives taken by Hamo Kharatyan in the 1930s slowly began to reveal astonishing, quite unfamiliar aspects of Vanadzor's life that were already on the verge of disappearing.

Known as the mother of modern sculpture, Lilit Teryan left an indelible mark on Iran’s art scene. Although teaching sculpture was banned following the 1979 revolution, Teryan continued creating and eventually returned to instruct a new generation of Iranian artists.

In its quest to rediscover itself, Gyumri is continuing the traditions of the textile industry which in turn is inspiring new initiatives.

The first Armenian-owned photo studios in Constantinople and Tbilisi at the end of the 1850s not only immortalized people’s lives, they were an effective shortcut to modernity and a powerful symbol of cultural emancipation.

While contemporary dance is still seen as a very niche and esoteric “corner” of Armenia’s performing arts landscape, it is starting to flourish with many young dancers from Armenia and abroad involved in making this change.

Most exhibitions organized in Armenia in the post-war period refer either to the war or to related topics. Two recently-opened shows depart from this context, referring to a more broadly “warlike” situation—the issue of waste.