A recent exhibition “The Guises of the Nude: Perceptions of Nudity in Armenian Graphic Arts” provided a powerful opportunity to challenge prevailing meta-narratives and foster a self-reflective dialogue that can contribute to the broader project of decolonization and social transformation.
A review of an exhibition in the village of Verishen in Armenia’s Syunik region featuring a contemporary carpet collection by Goris-born artist Davit Kochunts, examines the concept of social space and the process of territorialization.
The directors of the documentary “5 Dreamers and a Horse” manage to think outside of genre limitations, and to blend the elements of magical realism and cinéma vérité to create a strange fairy tale that resembles the one in which we all live.
Nune Hakhverdyan reviews the Armenian production of “The Miracle Worker” staged by the Gyumri Drama Theater and Yerevan’s Hamazkayin Theater about the life of Helen Keller, and examines the relationship between parent and child.
Michael Goorjian’s feature film “Amerikatsi” succeeded in infusing a sentimental and “positivist” tone inherent to Hollywood cinema within an Armenian reality, writes film critic Sona Karapoghosyan.
Garegin Papoyan’s film “Bon Voyage” manages to recreate a Kafkaesque world in the form of the Stepanakert Airport, where people follow a seemingly unreasonable system, and continue to do their work with incredible persistence, without questioning its meaning.
A collection of articles about the Nagorno-Karabakh conflict through the lens of Moscow by Dr. Artyom Tonoyan entitled, “Black Garden Aflame” will become a classic and a major go-to resource for scholars, writes Dr. Pietro Shakarian.
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.
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.
Philip Marsden’s “The Crossing Place: A Journey Among the Armenians” is atmospheric, gripping and revelatory. It delves into the seemingly exclusive club of a nation at the meeting point of cultures, writes Naneh Hovhannisyan.
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