洛杉矶 - 在加利福尼亚州格伦代尔北北艺术大道的店面内部店面，您会发现古雅的国内环境。餐桌和椅子，设置一顿饭，占据房间的中心，而一件夹克和帽子在门口的衣帽架上休息，好像乘客刚回到家里。在右边，家庭肖像挂在舒适的沙发和咖啡桌上的墙上。唯一表明这不是事实上，实际的家庭生活空间是房间里的每个物体，包括酒杯，灯具和枕头，都占据了超过100磅的拉夫斯，这是一个亚美尼亚的大饼。这是食物的象征，仪式，比喻将亚美尼亚人结合在一起的传统，无论他们住在哪里，跨越世代和海洋。
标题为“破坏面包”，安装是三个房间之一我的遗物那a public artwork created by the female artist group她喜欢集体。通过它通过它的资助通过其资金通过其资金实现城市艺术计划，认识到亚美尼亚种族灭绝的纪念月，在4月24日星期六，亚美尼亚种族灭绝纪念日停泊。(Significantly, President Biden has indicated that he will formally recognize the Armenian Genocide, making him the first US president to do so.) The three spaces offer complementary views on Armenian culture, through the lens of female Armenian artists living in the diaspora (Glendale is home to one of the largest Armenian communities outside Armenia). Through different interpretations of relics — cultural objects that connect generations — the show illuminates the power of tradition in allowing one to survive, heal, and move forward from trauma. “A relic is what is left of us, sometimes it’s just a faint memory, or the story of the object, almost like a dream,” exhibition curator Adrineh Baghdassarian told Hyperallergic. “This is who we are, not just one specific, generic item.”
第二个房间，标题为“遗物”，装满了50个悬挂横幅，印有50个悬挂横幅，其中包含来自博物馆，教堂和家庭集合的亚美尼亚遗物图像。它们的范围从宗教资源物品和珠宝，家庭照片，地毯和家居用品，甚至是一个毯子带到美国经过an orphan. The images provide a dynamic portrait of what Armenians have有价值，当他们离开家园时，他们决定带着他们。一个特别引人注目的横幅是由摄影师Armineh Hovanesian，他在奶奶玛丽亚的祖母的形象上叠加了一个自画像。“她可能没有身体遗物，但她的遗传，她的DNA是她的遗物，”集体成员Ani Nina Oganyan解释说。
Oganyan对“遗物”的贡献之一是从1910年的大约1910年拍摄的一张家庭照片，在artsakh采取，长期竞争的多数亚美尼亚共和国，是亚美尼亚和阿塞拜疆之间的血腥44日战争的网站 -我的遗物致力于Artsakh和亚美尼亚人the soldiers who lost their lives defending it. The photo depicts her maternal great-great-grandfather, who lived in Artsakh, holding her great-grandfather, Yervand Martirosyan, on his lap. Surrounding him are other members of his family as well as a neighboring Turkish family, a reminder of the bonds of common humanity that would be shattered a few years later with the start of the Armenian Genocide. “There was a time when they were neighbors,” Oganyan said wistfully.
最终的房间，标题为“填海”，是一个希望未来的有希望的结局。地板覆盖着米泥，从哪个春天忘记我，亚美尼亚种族化百年的象征。一对白色鞋子坐在地球上，指向屏幕描绘阿拉图斯山是一个深刻的重要网站，即代表自我决定的梦想与领土损失的痛苦一起，位于土耳其一个世纪。词组“They tried to bury us, they didn’t know we were seeds,”flickers across the screen. Instead of characters from the Latin alphabet, the words are composed using letters from the Armenian alphabet.
虽然在亚美尼亚历史，我的遗物speaks to the larger experiences of displacement, trauma, and resilience. “So many non-Armenian community members can relate to the ‘Reclamation’ room. We’ve had African-American community members say, ‘this piece speaks to me, it reminds me of our struggles,’” recalled Oganyan. She shared that another visitor with a Native American background came up to her crying after leaving the room. “‘This is exactly the history we have and we continue to live on American soil,’” she told her.
“I have seen 30 people come out of those doors with tears streaming down their faces,” said Baghdassarian. “As an artist and a curator, when I know we’re successful is when I can make people feel.”
我的遗物那经过她喜欢集体and curated by Adrineh Baghdassarian那continues at 117 North Artsakh Avenue (Glendale, California) through May 2.
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