Hrair Sarkissian’s exhibition Imagined Futures at Mosaic Rooms showcased his work Front Line (2007), a series of photographs of men on plinths who have fought for Karabakh, a self proclaimed independent Republic between Armenia and Azerbaijan, which borders have shifted through the centuries, leaving around a million Armenian’s and Azeri’s displaced. The work, which also portrays the landscape of Karabakh could come across as a memorial piece. The amalgamation of both features expose a sense of remoteness, solitude, segregation and quietness, with the artist conveying a void of space and time, and contemplating on the aftermath and effects of war.
His other work on display, the two-screen video installation Homesick (2014), features Sarkissian and the destruction of a replica of his family home in Damascus. Two screens hang on opposite sides of the room, and when placing your back to one screen and watching the other, the effects of fear and awe come to life. For whilst watching the house being destroyed, you can hear the sound of destruction coming from the other screen, and questions of who or what is doing it come to mind. Whilst watching the video of Sarkissian hammering, one wonders what he is destroying, sensing something bad is happening but not knowing what. Only when one turns to see the other screen do you know what is occurring.
A family home, representing a space of memories, and an artwork reflecting and questioning destruction and loss coinciding with the current political climate.
In discussion with Shoair Mavlian, the artist voiced that the idea of destruction was due to his fear of his home disappearing.
That conversion between Mavlian and Sarkissian also highlighted the artist’s work on photographing photo studios throughout the Middle East, and on the key role Armenians had in bringing photography throughout the Ottoman Empire. The disappearance of these studios and the surreal aspect of having, for example the backdrop of a photo of the Alps and skiing in a studio in Damascus were addressed.
A disappearing feature in today’s instant world, but perhaps a little studio magic should be maintained?
His other work on display, the two-screen video installation Homesick (2014), features Sarkissian and the destruction of a replica of his family home in Damascus. Two screens hang on opposite sides of the room, and when placing your back to one screen and watching the other, the effects of fear and awe come to life. For whilst watching the house being destroyed, you can hear the sound of destruction coming from the other screen, and questions of who or what is doing it come to mind. Whilst watching the video of Sarkissian hammering, one wonders what he is destroying, sensing something bad is happening but not knowing what. Only when one turns to see the other screen do you know what is occurring.
A family home, representing a space of memories, and an artwork reflecting and questioning destruction and loss coinciding with the current political climate.
In discussion with Shoair Mavlian, the artist voiced that the idea of destruction was due to his fear of his home disappearing.
That conversion between Mavlian and Sarkissian also highlighted the artist’s work on photographing photo studios throughout the Middle East, and on the key role Armenians had in bringing photography throughout the Ottoman Empire. The disappearance of these studios and the surreal aspect of having, for example the backdrop of a photo of the Alps and skiing in a studio in Damascus were addressed.
A disappearing feature in today’s instant world, but perhaps a little studio magic should be maintained?
art work by Hrair Sarkissian
art works by Hrair Sarkissian
RSS Feed
