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The Yerevan Biennial Art Foundation is pleased to share that Fabio Lenzi, Co-Founder of YBAF, is featured in the latest Forbes Elite Reports special edition, Fashion Forward Armenia: Creativity in Motion.In an interview with Jeb Adams, Fabio discusses the vision behind the Yerevan Biennial and its ambition to establish Yerevan as a leading regional platform for contemporary art.The conversation explores how a biennial can become more than an exhibition. It can serve as a long-term cultural platform that supports artistic production, encourages international collaboration, and creates meaningful connections between Armenia and the global art community.Rather than replicating existing models, the Yerevan Biennial is being developed around Armenia's own cultural identity while creating opportunities for artists, curators, institutions, and audiences to engage in an ongoing international dialogue.As Fabio writes, &nbsp; &nbsp; "The Caucasus' next cultural chapter begins in Yerevan, the future art capital of the region." This vision reflects the Foundation's broader mission to strengthen Armenia's creative ecosystem while contributing to the country's cultural, educational, and economic development through contemporary art.We are grateful to Melinda Snider, Jeb Adams, and the Forbes Elite Reports team for sharing this vision with readers around the world.<figure id="figure-lzepjlgw3smqzjrvqn"><img id="lzepjlgw3smqzjrvqn" src="https://cdn.durable.co/blocks/11JMwnBcUXxVmSXTwOgP3RSMXzjjDHkuujgI9bUuhXL9vlKalmysrm7NyE5dHGTC.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/11JMwnBcUXxVmSXTwOgP3RSMXzjjDHkuujgI9bUuhXL9vlKalmysrm7NyE5dHGTC.png" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure><a data-mce-href="https://www.forbes.at/files/banner/fashion-forward-armenia-online-report-for-forbes-at.pdf" href="https://www.forbes.at/files/banner/fashion-forward-armenia-online-report-for-forbes-at.pdf">Read the complete Fashion Forward Armenia: Creativity in Motion edition </a> <a data-mce-href="https://www.forbes.at/files/banner/fashion-forward-armenia-online-report-for-forbes-at.pdf" href="https://www.forbes.at/files/banner/fashion-forward-armenia-online-report-for-forbes-at.pdf">through the link below.</a> Source: Forbes Elite Reports | Fashion Forward Armenia: Creativity in Motion Interview by: Jeb Adams Project Director: Melinda Snider﻿

YBAF Co-Founder Fabio Lenzi featured in Forbes Elite Reports

The latest edition of Forbes Elite Reports, Fashion Forward Armenia: Creativity in Motion, explores the people and ideas shaping Armenia's growing creative landscape. Among the featured voices is Nina Hovnanian, Co-Founder of the Yerevan Biennial Art Foundation, who shares her perspective on culture, community, and the importance of creating spaces where creativity can thrive.In her conversation with Jeb Adams, Nina reflects on her journey from New York to Armenia and on the experiences that inspired the creation of initiatives dedicated to supporting the country's creative ecosystem.She discusses how spaces such as A1 Art Space, Latitude Art Space, and the Art Factory Building were established with a shared purpose: to provide artists, designers, writers, and creative thinkers with places to meet, collaborate, and exchange ideas.For Nina, cultural spaces are more than venues. They become environments where conversations begin, collaborations emerge, and communities grow.As she states in the interview, &nbsp; &nbsp; "Creativity, imagination &amp; innovation are shaping Armenia's future."These ideas continue to guide the work of the Yerevan Biennial Art Foundation and its commitment to strengthening Armenia's cultural landscape through year-round programming, partnerships, and creative initiatives.We extend our sincere thanks to Melinda Snider, Jeb Adams, and the Forbes Elite Reports team for highlighting Armenia's creative community and sharing these conversations with an international audience.<figure id="figure-2wj8fxo64bmqziqxam" class=""><img id="2wj8fxo64bmqziqxam" src="https://cdn.durable.co/blocks/12Qm5jdNMds5uFnSOpeESG5pw78scNO5AKaP6xC5tHT1x8AjTRSmqs32n326kEYH.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/12Qm5jdNMds5uFnSOpeESG5pw78scNO5AKaP6xC5tHT1x8AjTRSmqs32n326kEYH.png" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure><a data-mce-href="https://www.forbes.at/files/banner/fashion-forward-armenia-online-report-for-forbes-at.pdf" href="https://www.forbes.at/files/banner/fashion-forward-armenia-online-report-for-forbes-at.pdf">Read the complete Fashion Forward Armenia: Creativity in Motion edition through the link below.</a>Source: Forbes Elite Reports – Fashion Forwa Source: Forbes Elite Reports Special Edition: Fashion Forward Armenia: Creativity in Motion Interview by: Jeb Adams

YBAF Co-Founder Nina Hovnanian featured in Forbes Elite Reports

Just a few miles outside of Yerevan proper, along the sometimes-dusty Ashtarak Highway that leads to Armenia’s second largest city Gyumri, right before reaching the gated community of Vahakni, rises a colorful mysterious four-story building known simply as The Art Factory. &nbsp;A large painted rock sculpture stands guard in front of the building. Combined with the gravel driveway and swirling graffiti-like paint on the building itself, the center gives off the feel of an intriguing moonscape. The brainchild of brother and sister team Nina and Shant Hovnanian, The Art Factory serves as a modern multipurpose “artclave” of sorts, wedged between the Vahakni Country Club and the residential real estate development itself. &nbsp;Started by their father, the late Vahakn Hovnanian, today the development numbers some 800 houses with plans to build a large adjacent Smart City in the works. As for The Art Factory itself, it pays homage to Andy Warhol’s Factory, which attracted New York’s demimonde and art elite from 1963 to 1987, when it officially closed. The Factory produced much of Warhol‘s work, which was then sold along with its own ideology—the founder of Pop Art once famously quipped that “Art is what you can get away with.” <figure id="figure-jq6umy8cmmqf0vuvr" class=""><img id="jq6umy8cmmqf0vuvr" src="https://cdn.durable.co/blocks/29yQkkUJE6VQQ5VshKMUUkqRIaYUUdDwUp7FX8B4K4B266O7m9XZYlDaNIPm0OVy.jpg" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/29yQkkUJE6VQQ5VshKMUUkqRIaYUUdDwUp7FX8B4K4B266O7m9XZYlDaNIPm0OVy.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>The Art Factory is designed to nurture culture and creativity, with each floor housing a different art-related endeavor. Fabio Lenzi, the dashing Italian in charge of several of these undertakings, explains: “The different parts of the building are meant to meld, invite art happenings and serve as a place where artists, writers and everyday people interact.” The ground floor of the building houses Latitude Art Space, an area dedicated to exhibitions, residencies, and various programs. &nbsp;The second through fourth floors house studios where artists of all types including photographers and painters, as well as jewelry and fashion designers, practice their craft. &nbsp;I stayed in one of the studios for a few weeks the last time I was in Yerevan and several times ended up in conversation with neighbors who shared their interest in art with me over a glass of brandy or their favorite wine. On one occasion, I was indebted to a fellow renter who knew how to jigger the sliding wood entrance door to my place, so that it would open—just like the old days in Soho! Take the elevator at The Art Factory to the fourth and top floor and the doors open out onto The Beach, a lively bar and café where resident artists and guests can connect, host events, or simply enjoy an evening together. The Beach is a popular destination for young well-heeled Yerevanites on a date or night out. And it’s covered in sand—just like a real beach. The nighttime views are among the most spectacular in Yerevan, as one can see Turkey and much of Armenia in the distance.The heart of this complex, Latitude Art Space, has in the past showcased a wide range of talent. On any given day, you can take in a new art show or peek in on a fashion shoot or another exciting art-related happening. Some of the most interesting events that I’ve caught include a runway show by Yerevan designer Carutsel and a fantastically “other” exhibition by the wonderfully transgressive photographer Sirin Anoush in September 2023, titled “Chiarosuro: Inner and Outer Observations.” Other recent exhibitions have included Sam Saghatelyan’s “The Hero and the Feminine”, which depicted war heroes returning from the Nagorno-Karabakh war. &nbsp;It explored the pivotal role of women in those turbulent times, creating a moving narrative on resilience and strength. And Spanish artist Andrés Lozano spent several weeks as a 2023-2024 resident artist at The Art Factory. Lenzi highlights some of the other artists who have shown their work at Latitude: “These range from Sveta Gas, whose performance art explored the archetypal hero’s journey, to Armen Hakobjanyan’s breathtaking mountain landscapes, and David Galstyan’s 2023 Nebula, which presented alchemical images through scanned photography. And the clever artist Garegin bridged the world of street art and gallery exhibitions, blurring the boundaries of contemporary art.” Latitude Art Space has also served as a cultural hub and space for refugees from Nagorno Karabakh, showcasing art that speaks to both personal and collective experiences. As Nina Hovnanian notes: “Its future promises continued diversity, innovation, and meaningful dialogue through the arts.” <figure id="figure-m3vs31fczmqf0z0zs"><img id="m3vs31fczmqf0z0zs" src="https://cdn.durable.co/blocks/2ccxNopcWsKAZ9dz48aN4wcj3HF81QEgEuPnSCqw358irI5BaZwoHhk5MtmMzTk8.jpg" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/2ccxNopcWsKAZ9dz48aN4wcj3HF81QEgEuPnSCqw358irI5BaZwoHhk5MtmMzTk8.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure> Latitude has also helped to place Yerevan on the world art map by hosting the first ever Yerevan Art Biennale in 2019. The biennale revolved around the theme The Time Complex and was curated by another Italian, Lorenzo Fusi. &nbsp;Nina Hovnanian explains that COVID-19 temporarily disrupted more ambitious plans for the Biennale: “Although initially planned as a physical exhibition, it transitioned to a digital format due to the pandemic, hosting over 45international artists and garnering positive reactions despite the virtual pivot.” &nbsp;As Shant Hovnanian avers, the umbrella Yerevan Biennale Art Foundation (YBAF) oversees The Art Factory Art Studios, Latitude Art Space, and A1 Art Space, a quiet meeting place and gallery on Abovyan Street steps away from Republic Square: “While each venue hosts distinct programs, they share a unified mission under the guidance of the YBAF team. They work collectively to foster cultural dialogue and artistic development.”&nbsp; <figure id="figure-v01ox7qe6lmqf0wo3g"><img id="v01ox7qe6lmqf0wo3g" src="https://cdn.durable.co/blocks/34Sbj0AbXCI0gCdU4aOAuhZP2t7F2ripupnfxftrpVKo2yWk9zuN6icPyqWCFf3m.jpg" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="null" data-positiony="null" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/34Sbj0AbXCI0gCdU4aOAuhZP2t7F2ripupnfxftrpVKo2yWk9zuN6icPyqWCFf3m.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>Given the fact that Lenzi is Italian in upbringing and heritage, I was curious what he makes of Yerevan and its art scene, which is little-known outside of Armenia: “It’s dynamic and &nbsp;it offers everything from underground modern art to historic monuments, blending classical and contemporary influences.” Lenzi continues: “The National Gallery and independent galleries provide platforms for a wide range of artists, including those previously underrepresented. The influx of international artists is enriching local dialogue and there are many workshops and exhibits that promote cross-cultural exchange.” As curator Choghakate Kazarian recently explained in another Artspeak column however, local art professionals sometimes ignore global trends or pay scant attention to accepted curatorial standards, though this too is changing as Armenia progresses. The Hovnanians concur: “The scene could benefit from enhanced educational and licensing programs to bring certain aspects up to international standards.”&nbsp;To understand the uphill battle that YBAF and other leading arts organizations face, one must first reckon with the dearth of serious collectors in Armenia. As Lenzi explains: “It’s difficult to pinpoint exactly, but I’d say that there are probably a dozen or so serious art buyers in Armenia, though there are probably many more, less visible ones. The latter include a mix of locals, tourists, diasporans, and some foreign buyers, mainly Russians.” All told, that’s not a whole lot of people, and according to Lenzi they operate in somewhat piecemeal fashion: “The lack of an established, formal collectors’ community, as seen in other countries, makes it challenging to engage with these individuals on a broader scale. It also makes outreach and market growth more complex.”&nbsp;But the brother and sister duo share a vision with other art workers and established curators such as Tamar Hovsepian, who all have in mind the creation of a world art market in Armenia. They hope to build on collectors such as the late Gerard Cafesjian who established the splendid Cafesjian Museum at the centrally located Cascade Monument in central Yerevan, and Aso Tavitian who recently bequeathed a priceless collection to the Clark Art Institute in Massachusetts. The art market in Armenia proper has historically been seen as more of a cultural and expressive outlet that reflects the country’s eternal themes of resilience and survival. The entire idea of art as a commodity is only now beginning to infiltrate the mindset of both artists and buyers. When asked what can be done to develop the art market, Lenzi is clearheaded: “Developing art sales platforms, organizing local auctions, and fostering a collectors’ network to facilitate connections between artists and buyers—these things would all be beneficial. Additionally, educational programs about the art business could help artists and galleries build sustainable financial models and lay the groundwork for a more vibrant market in Armenia.” &nbsp;As someone born in Italy, Lenzi appreciates the opportunity to work in Armenia developing its post-Soviet cultural and art scene: “Working in Yerevan’s art scene is a rewarding experience, especially as we try to bring together local and international artists.” Nina Hovnanian is quick to add: “Residencies, exhibitions, workshops, and events such as the Yerevan Biennale are key to this culture; Yerevan can establish itself as a hub for global artistic dialogue and continue to grow its art market and cultural footprint.” &nbsp;The Hovnanians envision the next Yerevan Biennale to take place in 2026 and are already hard at work raising funds to make it an international success. Supporting the upcoming Yerevan Biennales should be in the interest of all art lovers, as well as those with the foresight to realize that culture is the ultimate weapon in today’s ongoing cultural conflicts.&nbsp;Art is many things. It presents unique aesthetic experiences and translates the human experience like nothing else, save perhaps writing. Art also provides an important way of affirming one’s cultural relevance, and in Armenia’s case, its millennial presence in the South Caucasus. Rome wasn’t built in a day, but as locals are quick to remind you, Yerevan just celebrated its 2806th anniversary, making it technically older than the Italian capital. So, friends, Romans and countrymen lend me your ears: the Hovnanians and their team at Yerevan’s Art Factory intend to help turn Yerevan into a cultural beacon. It’s already a vibrant hub where you can relax, take in some art or as Andy Warhol would have touted, become famous for 15 minutes. Source: <a data-mce-href="https://evnreport.com/columns/the-art-factory-armenias-answer-to-andy-warhol/" href="https://evnreport.com/columns/the-art-factory-armenias-answer-to-andy-warhol/">EVN Report&nbsp;</a> By: Christopher Atamian

The Art Factory: Armenia’s Answer to Andy Warhol

CULTURAL CAPITAL WHY ARMENIA SHOULD BE ON THE RADAR OF TRAVELING ART ENTREPRENEURS<img id="552ko7fi8cm7ypmiz2" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg selected" style="aspect-ratio: 16/9; object-position: 50% 100%;" title="" src="https://cdn.durable.co/blocks/311S171rGkSpjlk7qzdiPFNAdd6mx2HwHSL5OM9nHgbz8WA2Z4PG1OII6Fpy38ui.jpg" alt="" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="50%" data-positiony="100%" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/311S171rGkSpjlk7qzdiPFNAdd6mx2HwHSL5OM9nHgbz8WA2Z4PG1OII6Fpy38ui.jpg" data-mce-style="aspect-ratio: 16/9; object-position: 50% 100%;" data-mce-selected="1">Last year, I had the pleasure of meeting and interviewing Fabio Lenzi, an Italian who relocated to Armenia and settled in Yerevan several years ago. He is the visionary behind the Yerevan Biennial Art Foundation and its’ A1 Art Space, a unique cafe, coworking space, and art venue in the heart of Yerevan. Scrolling through Instagram during my January travels in the Emirates, I stumbled upon a post on A1’s account. It highlighted several upcoming cultural events, including a tango night, art speed dating, a sketching workshop, and a sculpting workshop. What truly captivated me was the realization that all these events were organized by international residents – individuals who, like Fabio, found a home in Armenia and a platform to share their artistic and cultural perspectives through A1. Immediately, I texted Fabio to learn more about the mastermind behind these events. Hoping to gain a deeper understanding of Yerevan’s cultural landscape, I expressed a strong desire to meet this key figure. He promptly connected me with Nane Taguhi Yeghikyan, the Director of the Yerevan Biennial Art Foundation (YBAF), who, like him, has a vision of A1 being an international hub serving the mission of the foundation: to bridge the worlds of international and local art scenes. Standing on A1’s balcony overlooking the sun-drenched Abovyan Street, I met Nane a couple of weeks back. Introduced by Fabio, a warm smile lit up the young lady’s face. From the moment our conversation flowed, I knew I could talk to her for hours, even days. She continued: Stroll through Yerevan, and you’ll witness the majestic architecture of the Soviet era juxtaposed with the sleek minimalism of the modern design. This duality extends to every aspect of life, from the vibrant street art to the thoughtfully curated galleries. Everywhere you turn, the past resonates alongside the future. It is a time in Yerevan that showcases what the alchemy of the old and new actually looks like, striving to birth the new. This moment in time feels historic as it is a micro example of what can happen globally: to have the strength to “hold the tension of opposites” such as classical art and contemporary art until they merge together and give rise to something completely new, something creative, something that can change the world, as Art often does. For Nane, the chance to be part of Armenia’s current cultural movement was powerful enough to bring her back from the United States. Now, she resides here with her family, raising her almost two-year-old daughter. This dynamic environment feels deeply meaningful, a place “that is real and raw.” Additionally, her role as director of YBAF grants her access to the world she thrives in, an artistic community where she truly belongs. I asked Nane why she chose to organize such events in Yerevan. She explained that these events are all part of a broader cultural shift YBAF, through projects like A1, aims to spark within the country. Their mission isn’t merely to contribute to Armenia’s cultural landscape but to actively preserve its heritage while also shedding a spotlight on new and upcoming artists. This vision welcomes artists from around the world to flourish in Armenia while fostering an appreciation for various artistic expressions among Armenians. Nane points out that A1 Art Space activities are mainly organized by Ani Israelyan, the manager of the space and head of business of YBAF, and through her. Unlike Buenos Aires’s bustling tango scene, Yerevan hadn’t yet offered regular tango nights for passionate dancers. Similarly, introspective sketching workshops were a rarity in Armenia. A1, however, is changing the landscape. By introducing these unique experiences, they’re not just making them accessible but also infusing them with their signature touch of elegance and class, elevating the cultural atmosphere in the city.A1’s art speed dating event promised the original concept with a dash of artistic flavor and the venue’s signature class. While I anticipated a predominantly foreign crowd, given the novelty of speed dating in Armenia, I was surprised to learn that almost all participant ladies were Armenians, with just one coming from Russia. This highlighted the subtle cultural shift underway - an openness to adopting foreign concepts when presented with finesse and respect for local sensibilities. A1, through such initiatives, sees itself as a catalyst for this positive change. Join the blossoming scene, showcase your unique creations, and discover your niche within this vibrant, ever-expanding community. Visit Armenia, along with your art projects, to embrace the opportunity to share your vision in a land rich with culture and beauty. <a href="https://lifeinarmenia.com/magazine" target="_blank" rel="noopener" data-mce-href="https://lifeinarmenia.com/magazine">&nbsp;Life in Armenia by Mathew Zein</a>

By  Award-Winning Chief Editor and Professional Writer Mathew Zein

“As a child I would observe people around me and wonder why they do the things they do or say things they say,” Yerevan-based artist Sarko Meené told The Calvert Journal. “I am always paying attention to details and wondering how nature controls our surroundings — or even how it gives us freedom.”Her work is currently on show at Telos, a solo exhibition in Yerevan’s Latitude Art Space. The exhibition features pastel-coloured watercolour paintings from the series Something Small, inspired by nature’s geometrical figures, as well as a conceptual installation made of metal mesh, called Identity. Meené has fully devoted herself to art since her early 20s, following her career as a professional tennis player. She uses her art as a reminder to modern society to escape the digital realm and instead focus on the present moment and the intrinsic beauty of our surroundings. “Tactility and materials are so important in art, because the energies that generate from an artwork are all lost when it is digitised. Art is very real, it should not be transformed into a platform that can one day easily cease to exist.”For the exhibition, Meené teamed up with Armenian composer Hayk Karoyi to design a sound experience for the viewer. “Although I love silence, and I believe that art should be viewed in silence and still be able to shake the viewer, I noticed that with music, I am able to help people focus on it more,” explains Meené. “Maybe we are too distracted nowadays, and we need a third element in order to create the bond between the viewer and the artwork.”The show also marks the reopening of the gallery, set in an industrial space in the outskirts of Yerevan. Latitude Art Space was inaugurated in 2019, yet it had to first close its doors due to the coronavirus pandemic, and then the space served as a shelter for refugees during the 2020 Nagorno-Karabakh War. <a data-mce-href="https://www.new-east-archive.org/contributors/show/11439/lucia-de-la-torre" href="https://www.new-east-archive.org/contributors/show/11439/lucia-de-la-torre" data-mce-selected="inline-boundary">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;By Lucía de la Torre</a> <a data-mce-href="https://www.new-east-archive.org/articles/show/12717/armenian-artist-sarko-meene-watercolour-art-installation-latitude-art-space" href="https://www.new-east-archive.org/articles/show/12717/armenian-artist-sarko-meene-watercolour-art-installation-latitude-art-space">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; New East Digital Archive</a>

Armenian artist Sarko Meené wants you to break free from digital distractions through serene watercolours

From Zambian astronauts racing to be first on the moon to future visions of intergalactic warfare – the Armenian capital’s art festival invites you to take a trip through time Elena Goodinson Thu 26 Nov 2020 08.00 CET <figure id="figure-jumqsjh5smqezcukq"><img id="jumqsjh5smqezcukq" src="https://cdn.durable.co/covers/3aZ70557XLFIRS0rF0sVfdGWEbkFQvhICvOTzaAJI3DQ3YGaIC08nTDz5rKbCV9W.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: undefined undefined;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/3aZ70557XLFIRS0rF0sVfdGWEbkFQvhICvOTzaAJI3DQ3YGaIC08nTDz5rKbCV9W.png" data-mce-style="aspect-ratio: 16/9; object-position: undefined undefined;"></figure>Afronauts, 2014, by Nuotama Bodomo Afronauts is a short film set in 1969 that portrays the Zambia Space Academy’s attempt to beat the US to the moon with the help of teenaged astronaut-in-training Matha Mwamba. Bodomo’s film contemplates the possibility of a person of African origin being launched into space at a time when the independence movement was sweeping across the African continent. A digital version of the Yerevan Biennial runs until 17 January. An exhibition is planned to take place across Yerevan in autumn 2021 <figure id="figure-pv5cezljpsmqezg6ic"><img id="pv5cezljpsmqezg6ic" src="https://cdn.durable.co/covers/355oLBlCMYV3jFOw49pd8oSqievLygkXv4f3nIydONmnf2hNirrUiRl8Hgi0DRZE.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/355oLBlCMYV3jFOw49pd8oSqievLygkXv4f3nIydONmnf2hNirrUiRl8Hgi0DRZE.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>Monument, 2015, by Igor Grubić Monument is a poetic experimental documentary that rereads politics in the Balkans starting with the history of its monuments <figure id="figure-8x2b3jtjnsmqezk0ja"><img id="8x2b3jtjnsmqezk0ja" src="https://cdn.durable.co/covers/2fKDZI0BZsoXH3ckPP3WevVJU31lU1RjbhJyovtbGmn78jMnnd9lCfVqGndxwXV6.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/2fKDZI0BZsoXH3ckPP3WevVJU31lU1RjbhJyovtbGmn78jMnnd9lCfVqGndxwXV6.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>Monument The 50-minute film consists of nine portraits of anti-fascist concrete memorials commissioned by the former Yugoslavia. These were initially built to honour the victims of the second world war, but were later partly destroyed because they were perceived to be mere monoliths of an outdated communist ideology <figure id="figure-pp3xj8pvnmqezkpax"><img id="pp3xj8pvnmqezkpax" src="https://cdn.durable.co/covers/270ap2mCNM7ZEAWi7zwqAX5vDKjdWsJaHQI1wOZOMKc69xuNrK8Pdb47pLKpaqWE.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="null" data-positiony="null" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/270ap2mCNM7ZEAWi7zwqAX5vDKjdWsJaHQI1wOZOMKc69xuNrK8Pdb47pLKpaqWE.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>The Last Angel of History, 1995, by Black Audio Film Collective and John Akomfrah The Last Angel of History is a sci-fi documentary-style film looking at Africa, the diaspora, history and memory through the lens of Afrofuturism. Writers, musicians and social commentators discuss the influence of funk musician George Clinton, juxtaposed with a fictional story that follows the journey of a ‘data thief’, who must travel across time and space, undertaking archaeological digs for fragments of history and technology, and a code that holds the key to his future. Image: courtesy Smoking Dogs Films and Lisson Gallery <figure id="figure-y1zfbste8bmqezlmbt"><img id="y1zfbste8bmqezlmbt" src="https://cdn.durable.co/covers/22W4OKL8VsE9icAIXQMKEzSuwudmBrRWPAoSGjaQm8XCkpP1mPIKRhUozj6R6JpB.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/22W4OKL8VsE9icAIXQMKEzSuwudmBrRWPAoSGjaQm8XCkpP1mPIKRhUozj6R6JpB.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>Kempinski, 2007, by Neïl Beloufa Filmed in a suburb of Bamako, capital of Mali, Kempinski is a sci-fi documentary that blurs the lines between fact and fiction, present and future. It features unscripted interviews with locals, the figures of whom emerge from the darkness of the rural landscape and are starkly illuminated by interrogatory neon light. They each share their visions and hopes for a potential utopian, futurist world, where man, animal, and machine live side by side in harmony <figure id="figure-2n6vr3azdmqezm4y6"><img id="2n6vr3azdmqezm4y6" src="https://cdn.durable.co/covers/19gYcsAyNquE9pVFBG77XC58Pu3omfi02EbpXxvIBxrD5CDYRZtRqlUe1p5r0DHB.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/19gYcsAyNquE9pVFBG77XC58Pu3omfi02EbpXxvIBxrD5CDYRZtRqlUe1p5r0DHB.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>Intergalactic War: Invaders, ongoing since 2012, by Karén Mirzoyan With a background in documentary photojournalism, Karén Mirzoyan has always had a particular interest in war subjects: the immediacy, the rawness and the way in which moments of great tension reveal the sincerity of human nature. In this series, he draws on to window panes and photographs to create futuristic ‘war photography’, a humorous reinterpretation of landscapes as seen through the hotel windows of his travels <figure id="figure-8hg9m7aw5fmqezmp3n"><img id="8hg9m7aw5fmqezmp3n" src="https://cdn.durable.co/covers/111AgVVLoI2G5Wx6HymfGDyDDcz8zwrT8kcjbWYAMOHeggIrB6JFIeShV9ALoYXJ.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/111AgVVLoI2G5Wx6HymfGDyDDcz8zwrT8kcjbWYAMOHeggIrB6JFIeShV9ALoYXJ.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>Intergalactic War: Invaders Mirzoyan’s deliberately infantile style makes reference to Soviet science-fiction imagery and personal symbols from his youth. He imagines these works as a historic photo story, stating, ‘If one day there is an intergalactic war, then I would have been the first to photograph it’ <figure id="figure-debv1fwhhdmqeznayp"><img id="debv1fwhhdmqeznayp" src="https://cdn.durable.co/covers/9iRjjirZr5YNCT0Et3HkmH9Eit2gYuSEWTX0VZ4BFP53JTxc2QeZ4cfYKOLqh2TE.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="" data-positionx="null" data-positiony="null" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/9iRjjirZr5YNCT0Et3HkmH9Eit2gYuSEWTX0VZ4BFP53JTxc2QeZ4cfYKOLqh2TE.png" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure>Pastel Struggle, 2017, by Karen Khachaturov In this bold series, Karen Khachaturov playfully documents his grandfather’s experience of cancer. Taken from the start of his diagnosis until his death, these surreal compositions draw our attention to the gap between the ordinary and the obscure <figure id="figure-zlu8hcsgtgmqezo6fz"><img id="zlu8hcsgtgmqezo6fz" src="https://cdn.durable.co/covers/3KvPxs53kliJXohECQJTRJJwRqIIM8bWuiNSemThdzdRiTC91hSTvDdXUpHetGEm.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: undefined undefined;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/3KvPxs53kliJXohECQJTRJJwRqIIM8bWuiNSemThdzdRiTC91hSTvDdXUpHetGEm.png" data-mce-style="aspect-ratio: 16/9; object-position: undefined undefined;"></figure>Public Service Announcement, 2014, by Athi-Patra Ruga This video introduces the viewer to the political structure and history of the fictional republic of Azania. Divided into three acts, the Azanian myth unfolds against a backdrop of neon and black, with the genealogy of its protagonists becoming increasingly complex. The rebirth and catharsis represented by the growing procession of human and animal figures in the third act suggest that we have witnessed a revolution and the birth of a new era. Image: courtesy the artist and WHATIFTHEWORLD Gallery <figure id="figure-igcjdd5hdtmqezoz6p"><img id="igcjdd5hdtmqezoz6p" src="https://cdn.durable.co/covers/34ENE0qhlHmIArVBXSjEMwHSLAL0nmnWQD274IV72pJb0WYVi6ZMmy5XOeKoqKSv.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/covers/34ENE0qhlHmIArVBXSjEMwHSLAL0nmnWQD274IV72pJb0WYVi6ZMmy5XOeKoqKSv.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>The Troubled Bear and the Palace, 2019, by Walid Siti This short work was filmed in the area surrounding the remains of one of Saddam Hussein’s many palaces, in the Gara mountains of the Kurdistan region, northern Iraq. In 2018, two caged bears were ceremonially freed here by local media and Kurdish forces. But the bears struggled to survive in the wild and sought refuge among the ruins. The surreal juxtaposition of the stressed bears and the dilapidated palace, set among the magnificent mountains, encapsulates the tragedy of the people of this land throughout history <figure id="figure-nj0xt4c8fmqezpfyv"><img id="nj0xt4c8fmqezpfyv" src="https://cdn.durable.co/blocks/2cP0nkpZR7SX02jY847JSKiTQ3rHW0sveAN7IIVpg9O2wOpZXf3HyipCYsXqx7TF.png" alt="" title="" class="object-cover bg-gray-100 rounded-sm md:rounded-md lg:rounded-lg" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/2cP0nkpZR7SX02jY847JSKiTQ3rHW0sveAN7IIVpg9O2wOpZXf3HyipCYsXqx7TF.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>Time-famine Erodes Everything It Touches, 2020, Ryan Gander This moving image meditates on the nature of time, and our constant struggle with the realities of being time-poor. Through the removal of the hands of the watch, time stands still, and perhaps when seen in the context of the current day, alludes to the collective ‘pause’ we have experienced during the pandemic <a data-mce-href="https://www.theguardian.com/artanddesign/gallery/2020/nov/26/afrofuturism-in-armenia-welcome-to-the-yerevan-biennial-in-pictures" href="https://www.theguardian.com/artanddesign/gallery/2020/nov/26/afrofuturism-in-armenia-welcome-to-the-yerevan-biennial-in-pictures">Source: The Guardian</a> <a data-mce-href="https://www.theguardian.com/profile/elena-goodinson" href="https://www.theguardian.com/profile/elena-goodinson" data-mce-selected="inline-boundary">By Elena Goodinson﻿</a>

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