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Cultural Horizons of Armenians

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  • #61
    Re: Cultural Horizons of Armenians

    The Art Scene: Armenian Painters.



    OIL'S WELL FOR PAINTER
    By Joyce Rudolph

    Glendale News Press

    March 13 2008
    CA

    Artist's vibrant use of color and design in painting lands him Juror
    Award in membership show.

    For his vibrant use of color and design, Vladimir Atanian earned a
    Juror Award for his oil painting "Dance of Metamorphosis," in the
    Fine Arts Federation of Burbank's Membership Show of mixed media works.

    The show is taking place at the Creative Arts Center in Burbank
    through March 20. Members of the arts federation, a support group of
    the center, each enter one piece of artwork.

    The Glendale resident's winning abstract painting shows figures
    dancing. And while each figure resembles a person, it is made of body
    parts of four characters from the animal kingdom - an eagle, fish,
    crocodile or shark.

    It's his impression of what people's real characters are like inside,
    Atanian said.

    "I create this in my mind," he said. "The figures look like men or
    women, but inside they look like a shark or crocodile. I show their
    change of character, which is more menacing."

    This mix of figures and animals reminded juror Christina Ramos of
    one of the art world's greatest masters, she said.

    "What originally captured my attention was the Picasso-like quality
    of the painting," she said. "Upon closer observation, I was drawn to
    the figures, which utilized abstract shapes to create recognizable
    images. The vibrant use of color and energetic design kept my eye
    moving throughout the composition. This painting definitely made an
    emotional statement."

    The colors and design Atanian used was what caught the eye of Burbank
    Creative Arts Center gallery director Frances Santistevan.

    "The painting, with its bright and bold colors, reminds one of
    Picasso's cubism," she said. "It is a great design and beautifully
    executed."

    In the art movement known as cubism, subjects are broken up and
    re-assembled, she said.

    Atanian's works include oils, acrylics and watercolors, and will be
    presented in an exhibition in October at the Creative Arts Center,
    Santistevan said.

    Santistevan met the artist after she saw his artwork at the Burbank
    Senior Artist Colony, a senior living facility that offers residents
    artistic programs and workshops, Atanian said.

    "I made a couple of projects for the building, three mosaic works on
    the facade of the building on San Fernando Road and two murals inside
    the building," he said.

    Atanian has been painting for 50 years. He started when he was 18
    and is now 68, he said. The first 45 years of his life he painted in
    Russia and Armenia.

    He came to the United States in 1993 and founded his art school,
    Atanian Art Center - which is celebrating an anniversary in June.

    Last year, Atanian received the city of Glendale's Diamond Lifetime
    Achievement Award in art.

    It's taken him 15 years, Atanian said, but he is getting to be
    well known.

    "When I started in 1992, it was very hard," he said. "But now I'm
    very well known. I'm showing in galleries in Las Vegas, Irvine and
    Newport Beach."






    First Person Artist: Defiant Iranian Painter Abelina Galustian


    Dec. 1, 2007


    First Person Artist is a weekly column by artist Kimberly Brooks in
    which she provides commentary on art and the creative process and
    showcases artists' work from around the world. This week's artist is
    Tehran-born Abelina Galustian.

    It has been six years since the U.S. congratulated itself for
    "liberating the women of the Taliban", and one week since a
    nineteen-year-old girl and gang-rape victim was ordered the penalty of
    200 lashes in Saudi Arabia for the act she allegedly caused because she
    was caught sitting in a car with a man who was not her relative.

    As an artist and woman growing up in the West, one of the towers that
    fell on 9-11 was my view of what it meant to view and create art. After
    the cascade of news stories that brought front and center how my
    sisters throughout the world live in what I consider to be oppressive
    misogynistic cultures, I thought deeply about what it must be like
    where there is no visual representational art, where women are covered
    from head to toe and not allowed to be seen let alone depicted in any
    form, where billboards also have the female entirely blackened in
    silhouette and western art history text books are considered
    "pornographic". The closest I've come to the Middle East is relatively
    progressive Dubai--the UAE has just made a deal with the Louvre Museum
    in Paris to build a branch in the tourist-driven area. And even though
    you can find a forty foot high image of Paris Hilton in the Guess Jeans
    store at the United Arab Emirate's Mall (this is progress!), outside
    the mall there's not a painting or photograph of any woman in sight
    except for the framed photographs of the men who rule the country and
    some abstract designs in all the hotel lobbies. It's really really
    strange.

    Suddenly late 20th century notions that say, figurative painting was
    dead, or that women were finally breaking though the glass canvas of
    the art world, seemed quaint. So for me as an artist, the act of
    painting figures, nudes - especially women - takes on another meaning
    and also an act of defiance.


    One step forward. Two steps back.
    In 2003, an underground feminist art exhibition entitled "Women Talking
    Back" featured work for and by women showed in Tehran. One of the
    artists in that exhibition was Abelina Galustian. In her series of
    paintings entitled The Veil Series, she depicts women wearing lingerie
    and high heels along with the burka. The curator of the show was
    briefly imprisoned and all of the paintings were confiscated
    permanently. Shown here are photographs of the paintings which are all
    that remain.

    In her recent series entitled Womansword, Galustian looks to classic
    19th Century Orientalist painters. She recreates detailed photorealist
    paintings reversing the gender. In doing so, she undermines the
    traditional dynamic of the male gaze and the viewing process while
    pointing to contemporary issues of representation, and the
    neo-Orientalism rampant in the cultures the western world seeks to
    "liberate".



    Kimberly Brooks: Where did you come of age, and when did you start to
    question what women were and were not allowed to do?


    Abelina Galustian: I was born in Tehran, Iran. I am of Armenian
    ethnicity and moved to the U.S. after the Iran/Iraq war. In the
    beginning of third grade in Tehran, my best friend, Rama, and I would
    eavesdrop on women's private conversations [about their Hymen]. I was
    too young to understand why young, single women gave the intactness of
    their hymen such great importance. They shared naughty stories about
    their rendezvous and extracurricular activities as if they were talking
    about a sport - how they finally made the "touch down" without being
    "touched down." These types of "coffee conversations" continued in
    almost every circle and age of women I sat with in my cultural context.

    I now live in the United States. During my last visit to Iran a few
    years ago, I was sitting with a group of very wealthy, educated, single
    women who said the same things I heard during my eavesdropping days. I
    still couldn't understand why they were all [still focusing on acting
    like virgins.] My reaction to this hypocrisy was communicated with the
    Veiled Series. It was a way of telling women to stop interrogating a
    woman's worth by the intactness of her hymen, as it only leads to
    daughters performing virginity and sons who only accept virgins (or at
    least they think they're getting virgins) for wives.



    KB: What was the spark that led specifically to the Womansword series?

    AG: In February 2000, I was in a New Haven bookstore in Connecticut. I
    noticed a center display of books about the Middle East. One book in
    particular caught my eye with its painting by Jean-Leon Gerome entitled
    "The Slave Market." Although I had seen Gerome's painting on many
    different occasions since studying art in America, it was at that point
    when I noticed for the first time, the message Gerome intended in his
    composition. Gerome who is a hyper-Realist and a stickler for correct
    proportions, painted the hand of the nobleman who is purchasing the
    slave girl, about three times bigger proportionally. I was so appalled
    by Gerome's symbolism that I decided to give a critical response to
    this painting.

    I purposely chose the Orientalist style and Gerome's painting by
    reason of its immediate encroachment to the senses. It was necessary
    for this particular body of work to retain a direction of communication
    that would be recognizable, distinguishable, and straightforward. The
    Womansword series of paintings counterclaim some of the socially
    ascribed roles through the switching of gender roles, a switch that may
    at first be read as subtle but actually acknowledges a female's
    ownership of her body and debunks its male control.

    In nineteenth-century orientalist works, one theme that was given an
    encore was the captive woman. The harem and slave-market themes were
    exploited by various artists. The most distinguished and famous of the
    Orientalist paintings is Jean Leon Gerome's "The Slave Market" which
    shows how easily Orientalism of the day could be combined with the
    taste for violated innocence and female subjection. Since these chosen
    depictions are almost iconic, quoting from them with alterations that
    are explicitly construed as political, generates a double-take and
    immediate scrutiny from the viewer.



    KB: What do you seek, ultimately, from your viewers?

    AG: As a feminist artist, I seek to expose seemingly archaic beliefs
    that are only loosely hidden behind the mask of political correctness.
    Works that are tacitly looked upon as classic works of beauty and truth
    in the artistic canon, interestingly enough, become works of
    irreverence and perversity once the genders are switched.



    KB: As an artist who also deals with female/male issues, I find myself
    not wanting to be known solely as a feminist painter, yet you claim it
    prominently in your description of yourself. Do you ever worry about
    being ghettoized as such?


    AG: No. Being "ghettoized" for being a feminist artist is not an issue
    for me. Everything that revolves in and around my work stem from
    women's issues. But Middle-Eastern feminist awareness is not always
    parallel to the West's understanding of feminism. In my work, female is
    not just gender but location, therefore, when talking/painting about
    the female-feminine and male/masculine I'm also talking about the East
    and West. At the end of the day, it is my work that speaks, not my
    label.


    Born in Tehran with family roots in Tabriz, Abelina Galustian
    immigrated to the U.S. after the Iran/Iraq War. Here, she earned her
    MFA in studio arts at Cal State LA, her MA in art history at UCSB, and
    she is also currently pursuing her PhD in art history at UCSB.
    Galustian's work has shown in solo and group exhibits internationally
    and domestically. Likewise, she has been a featured artist and lecturer
    featuring her own work and topics such as transnational identities,
    Neo-Orientalism, and performing culture in Toronto, Dubai, and
    California. http://www.womansword.com


    ARMEN ELOYAN - BOOKSTORE CURE AT TIMOTHY TAYLOR GALLERY

    Art Daily
    The First Art Newspaper on the Net., art daily,art news,artdaily, daily art, art, art newspaper, Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography, Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs, Anecdotes, Art Quiz, Education, Mythology, 360 Images, 3D Images, Last Week,, , , , ,

    March 12 2008

    LONDON.-Timothy Taylor Gallery presents a new series of paintings by
    the Armenian born painter Armen Eloyan, in his first solo exhibition
    at the gallery. In 2007 Eloyan was the subject of an acclaimed solo
    show at Parasol unit foundation for contemporary art in London,
    and will soon be the subject of a solo exhibition at the Kunst Halle
    Sankt Gallen, Switzerland in April 2008.

    Eloyan is noted for his large-scale, heavily impastoed, brutally
    energetic paintings that combine caustic humour with the portrayal of
    a dark interior world peopled by an unruly set of animals and cartoon
    characters. Violence and danger seem to lurk just beneath the surface:
    Artforum described them as 'a battlefield straight out of Goya'.

    In some of the largest paintings in the exhibition, Eloyan depicts his
    characters holed up in the claustrophobic interior of a wooden cabin,
    in which tiny windows provide no escape. The sense of oppression
    and impending doom is increased by the ostensibly comedic subject
    matter. In Back and Forth (2007), two Minnie and Mickey figures are
    busy with a domestic washing and ironing scene, but the viscerality and
    energy of the painting suggests darker undercurrents and themes. In
    (Bunch of a Story) Tea Table (2007/8) - two Krazy Kat characters
    are manically having tea, while in Bear and Dog (2007), the largest
    painting in the exhibition, the two figures seem to literally act
    as embodiments of Eloyan's curious mixture of pathos and aggression
    expressed in paint. Eloyan is also a master of multi-layered imagery
    as he piles brushstroke onto brushstroke in a whirling chaos of
    description. Enigmatic details come in and out of focus, often only
    revealing themselves after several viewings.

    Eloyan uses a very different technique for his smaller paintings, which
    often isolate single objects, and give them a profound resonance. In
    Clown Shoes (2008), a pair of Max Wall shoes resembling blackened
    bananas create a fine balance between humour and pathos - set against
    a swirling abstract background they have a terrifying existential
    dimension. Eloyan's blend of humour, storytelling and suppressed
    violence provides a beguiling and terrifying vision worthy of Franz
    Kafka and Philip Guston, and is ultimately a powerful reminder of
    the power of paint to suggest the energy and turmoil of life.

    Armen Eloyan was born in Armenia in 1966. He lives and works in Zurich
    and studied at the Rijksakademie in Amsterdam. His work is held in
    public and private collections in Europe and North America.

    In addition to his forthcoming shows at Timothy Taylor Gallery and
    the Kunst Halle Sankt Gallen, Eloyan is currently exhibiting in a
    group show at Glasgow's Transmission Gallery.
    Last edited by Siamanto; 03-19-2008, 06:30 PM.
    What if I find someone else when looking for you? My soul shivers as the idea invades my mind.

    Comment


    • #62
      Re: Cultural Horizons of Armenians

      IN `DARKNESS,' DANCE GROUPS COLLABORATE TO EXPLORE THEME OF ARMENIAN GENOCIDE
      by Janine Parker

      The Boston Globe
      March 21, 2008 Friday

      MEDFORD - In a bright rehearsal studio, a group of young dancers ends a
      rather dark scene: The characters are trying to escape unseen forces,
      and those that have "died" are gestured over, touched, and cradled in
      the others' arms. The room grows quiet; several older women looking
      on are moved by what they see. Soon the girls will be giggling and
      doing their homework on the sidelines - but for one moment, real time
      has stopped while this beautiful dream of a nightmare unfolds.

      The dancers are members of the local Armenian folk group Sayat Nova
      Dance Company preparing for "Out of Darkness," an evening-length
      performance exploring the themes of genocide in general and the
      Armenian genocide in particular. Sayat Nova is pairing up with
      the Liz Lerman Dance Exchange in this joint concert showcasing
      the two companies separately and together, including work created
      collaboratively in the companies' respective studios in Washington,
      D.C., and Watertown.

      If art imitates life, yet it is often expected to bring beauty to the
      world, what is the artist to do when life is particularly ugly? How
      can art portray the horrors of, say, genocide and still be bearable
      to an audience? How can it strike the right balance: power without
      preaching, clarity without condescension?

      Such questions have fueled Lerman's work as a dancer and choreographer
      in her 30-plus years as founding artistic director of her company. And
      they seem particularly appropriate for this project, which grew out
      of a political drama that became intensely local last August. That's
      when the New England regional director of the Anti-Defamation League
      was fired for disagreeing with the national ADL's continued refusal to
      term the Ottoman Turks' 1915-1923 massacre of 1.5 million Armenians a
      genocide. Since then, the national ADL has acknowledged the Armenian
      genocide (and the regional director was rehired, then resigned). The
      turmoil was yet another reminder of the controversy that continues to
      surround this issue; the US government has yet to formally acknowledge
      the genocide as such, and some maintain that US military ties with
      Turkey may be a factor.

      "Out of Darkness" was born when the local xxxish-sponsored New Center
      for Arts and Culture, in cooperation with the educational nonprofit
      Facing History and Ourselves, engaged Lerman's company to collaborate
      with Sayat Nova.

      Of course, for many Armenian-Americans, the genocide has never strayed
      far from their minds. Like many ethnic groups no longer living in
      their homeland, Armenian communities in the United States seek to
      proudly carry on their heritage.

      "These were the rules of our household: We ate, drank, spoke, and
      sang all in Armenian," says Sayat Nova director Apo Ashjian, who
      immigrated with his family in 1970, by phone before the rehearsal.

      Ashjian and his wife have raised their children in a home steeped in
      Armenian traditions and objects, "to the point where even our puppy
      dog only understands Armenian commands," he says.

      As a teenager, Ashjian began studying Armenian folk dance, and it
      quickly grew into a passion not only to perform, but to preserve a
      tradition. "Right away I knew that my love was studying the dances
      of our ancestors," Ashjian says. "The older I got, the more I felt
      responsible to educate our young through music and dance." Founded in
      1986, Sayat Nova has blossomed into a nonprofit company of 72 dancers
      that has performed in the United States, Canada, and, triumphantly,
      in Armenia, as well as a school that serves students age 4-17.

      Last weekend, Ashjian's dancers joined members of Lerman's company to
      begin the last set of group rehearsals before the performance, which
      will include Lerman's company reprising its stunning "Small Dances
      About Big Ideas," a piece commemorating the Nuremberg trials, and Sayat
      Nova depicting Armenian culture and history through storytelling and
      the vividly joyous language of Armenian folk dance.

      Dozens of dancers spread out between two studios, and the wide age
      range (late teens through 60-plus), varying body types, and bilingual
      instructions seemed like one big visual metaphor for the community
      that binds us all as humans. The two companies have in common an
      intergenerational performer pool - striking not because of the mix
      of ages in what used to be a youth-ruled form, but because of the
      apparent comfort the dancers enjoy with one another. During breaks
      in the rehearsal, conversations between teenagers and their elders
      flowed, with no shuffling feet or downcast eyes.

      If anything, it was the dance dialects that seemed to need the
      most translation as Lerman's modern-dance-based company took on the
      intricacies of Armenian folk dance and vice versa. Helping one of
      the Sayat Nova dancers achieve more of the weightedness appropriate
      to a particular step, Liz Lerman Dance Exchange artistic director
      Peter DiMuro told him, "The moment you start to feel buoyant, you
      know you're in the wrong world."

      DiMuro was talking about physical weightedness, but of course there is
      much about "Out of Darkness" that is emotionally laden. The scene in
      which Sayat Nova dancers cradle the dead like so many pietas references
      a particularly searing moment that occurs in Lerman's "Small Dances,"
      in which bodies are laid out, measured, "autopsied."

      "This question of beauty is a very interesting one," says Lerman
      by phone from Washington. "At times, I've wondered if it's even
      appropriate to think of beauty in relationship to any of this
      subject matter." Reactions may vary widely, when the subject is this
      difficult. "It's always been curious to me as an artist, why some
      subjects were OK and some weren't," Lerman says.

      At one point in "Small Dances," audience members are invited to stop
      and mull over what they're seeing; in a rather overt dissolving of
      the so-called fourth wall that exists between audience and performers,
      dancers break out of character and go into the house to discuss with
      audience members their answers to the question "when did you first
      hear the word `genocide'?" DiMuro, acting as the narrator in "Small
      Dances," gently and elegantly guides the dancers and audience through
      this somewhat unusual exercise. "The subject matter is so delicate
      that, while you don't want to be ineffectual, you don't want to be
      so bombastic and didactic, either," DiMuro says. "I think this moment
      allows people to reevaluate their own relationship to reality."

      DiMuro concedes that "Out of Darkness" won't be a light evening at
      the theater: "The subject matter is deep, it's difficult, it's hard,
      it's all that." But he says that Lerman knows how to portray such
      issues poetically. "It's not so much that the choreography goes to
      lighter places, but it goes to a variety of interesting places."

      Dance may seem an unlikely art form to tackle something like
      genocide. Alternatively, perhaps its very muteness is a particularly
      effective way to address the unspeakable.


      What if I find someone else when looking for you? My soul shivers as the idea invades my mind.

      Comment


      • #63
        Re: Cultural Horizons of Armenians

        Parajanov News

        "THE FILMS OF SERGEI PARADJANOV," "EL CID"
        By Michael Atkinson

        IFC

        Feb 11 2008

        [Photo: "The Color of Pomegranates," part of "The Films of Sergei
        Paradjanov," Kino Video, 2008]

        A summoning of pagan energies if ever there were any in the era of
        television, the major features of Sergei Paradjanov have maintained
        a flabbergasting constancy in the Western filmhead cosmos - these
        prehistoric, narratively congealed Central Asian mutants have never
        been out of circulation in this country, as retro-able prints or video
        editions, and are now all available on DVD from Kino in newly restored
        versions, including, for the first time, his epochal international
        debut, "Shadows of Forgotten Ancestors" (1964). It's intensely odd,
        because Paradjanov is one of the most hermetic, arcane and completely
        original artists in cinema history, and his films do not resemble those
        made anywhere else, by anyone. Perhaps their sui generis freakiness
        is their saving grace - and thus a sign of hope for the survival of
        adventurous film culture in this country. It's not too much to say
        that no effort at understanding the outer reaches of filmic sorcery
        can be complete without a confrontation with Paradjanov's world -
        a timeless meta-past of living icons, bristling fairy tale tableaux,
        stylistic extremities and culture shock.

        Paradjanov was Georgian-Armenian by birth, cursed by fate to make
        films within a Soviet system that condemned him as a decadent
        and a "surrealist." He spent time in the gulag (released thanks
        to international outcry in 1978), but the Politburo wasn't wrong;
        Paradjanov was nothing if not a catapulting folklorist, recreating
        the primitive pre-Soviet era as it might've been dreamt of in the
        opium-befogged skull of Omar Khayyam. There could hardly have been a
        more oppositive reply to Socialist Realism. The films - "Shadows,"
        "The Color of Pomegranates" (1969), "The Legend of Suram Fortress"
        (1984) and "Ashik Kerib" (1988) - are all based on folk tales and
        ancient history (Ukranian, Armenian and Georgian), but only "Shadows"
        is centered on narrative. It's also the most visually dynamic;
        unfolding a tribal tale of star-crossed love and familial vengeance
        in the Carpathian mountains, the movie is one of the most restless
        and explosive pieces of camerawork from the so-called Art Film era,
        shot in authentic outlands with distorting lenses and superhuman
        capacity, and imbued with a grainy, primal grit.

        Utterly convincing as a manifestation of pre-civilized will and
        superstition, "Shadows" was still only a suggestion of the netherworlds
        Paradjanov would then call home. The next three films, separated by
        years of censorship battling and imprisonment, are barely narratives
        at all, but rather medieval art and life conjured up as a lurid,
        iconic, wax museum image parade, bursting with native art, doves,
        peaxxxxs, Byzantine design, brass work, hookahs, ancient ritual,
        cathedral filigree, symbolic surrealities, ad infinitum. This is
        not a universe where quantities like acting and pace are issues;
        Paradjanov's vision can be read as the dynamiting of an entire
        cultural store closet of things. "Pomegranates" traipses through
        the life of 18th-century Armenian poet Sayat Nova, "Fortress"
        revives an age-old Georgian war legend and "Ashik Kerib" adapts an
        "Arabian Nights"-style tale retold by Mikhail Lermontov. Together,
        they represent one of the most unique usages cinema has ever been put
        to, employing the full range of native textures (scrambling Russian
        traditionalism with Turkish, Arabic, Indian, Chinese and Rom) and
        ending up, for all of their stasis and ornate compositions, with a
        party-hearty-Marty celebration of traditional culture and life in the
        unruly wilderness of Asian societies rarely if ever visible to American
        filmgoers. The four DVDs come with an array of background/profile docs,
        an impressionistic portrait comparing/contrasting Paradjanov with buddy
        Andrei Tarkovsky, and, best of all, several rare Paradjanov shorts.

        .......

        "The Films of Sergei Paradjanov" (Kino Video) and "El Cid" (Miriam
        Collection) are both now available on DVD.


        HAS PARAJANOV'S NAME BEEN USED FOR SELLING ANOTHER MASTER'S COLLAGE?

        MOSCOW, FEBRUARY 29, NOYAN TAPAN - ARMENIANS TODAY. A sensation
        has happened in the world of art lately: Sergei Parajanov's work
        "Mysterious Supper" was sold for 178101 USD at London art MacDougall
        Auctions. So far the price of the collages of the world-famous Soviet
        film director had not exceeded 9000 dollars. The bargainings started
        from 40000 pound sterlings. However, as the Yerkramas newspaper of
        Armenians of Russia reports, it is not excluded that the "Mysterious
        Supper" will present one more surprise to the public. Painter Valery
        Boyakhchian asserts that he and not Parajanov is the author of the
        "Mysterious Supper."

        Valery Boyakhchian for many years has worked with Parajanov
        and has participated in the work of the master's last film,
        "Ashough Gharib." Like Parajanov Boyakhchian was also famous for
        his collages. However, in difference to the film director, who
        used the technique of application, the painter as a rule creates
        his materpieces with the help of a thread and a needle, by sewing
        together small pieces of fabric as a whole canvas. According to him,
        the "Mysterious Supper" was created in New York when Boyakhchian
        worked at Metropolitan opera-theater. After the tragic events of
        September 11, 2001, which he witnessed, Boyakhchian fell seriously
        ill. A certain art critic took advantage of the situation. He, as
        Boyakhchian asserts, took the canvas from him for a ticket to Moscow,
        where the members of Boyakhchian's family live. The painter is going to
        achieve recognition of his copyright towards the "Mysterious Supper."

        Լուրեր Հայաստանից եւ Սփյուռքից, սպասվող իրադարձություններ, շուտով, տարեթվեր, նորություններ հայկական աշխարհից, Արցախից, The Noyan Tapan Highlights անգլերեն եւ ֆրանսերան շաբաթաթերթ, հրատարակչություն, գրքեր, հայ մամուլ, News from Armenia, Diaspora, Новости Армении и Диаспоры


        Parajanov news
        Mozart Entertainment
        POBOX 17257
        Beverly Hills, CA 90209 USA

        [email protected]

        Sofiko Chiaureli was buried at the Pantheon in Tbilisi, Georgia and a
        decision has been made to name a street after the great actress who was
        Paradjanov's muse. Perhaps it would be near Maestro's statue
        (http://www.parajanov.com/monument.html) in Tbilisi?!

        We are still investigating the issue of the fake collages
        (http://www.parajanov.com/fakes.html) sold by London's MacDougall Arts Ltd
        Auctions and hope to update our readers in the near future.

        Paradjanov retrospective and exhibition at goEast festival of Central and
        European film will be held in Wiesbaden, Germany, 9 - 15 April, 2008.

        Visit the Museum of Shadows of Forgotten Ancestors in the Verkhovina village
        of Ukraine's Ivano-Frankovsk region at the house of Vasiliy Khimchak where
        Paradjanov filmed his Ukrainian masterpiece in 1964.
        (http://www.parajanov.com/museumofshadows.html)

        An asteroid called 3963 Paradzhanov was discovered on October 8, 1969 by
        Lyudmila Chernykh. The asteroid is also known as 1969 TP2 and has an
        Absolute Magnitute of 13.6 (whatever that means!) and Eccentricity of
        0.1962314 (now that's surprising; zero eccentricity for Paradjanov?!) Here's
        more from Jet Propulsion Laboratory in California
        (http://www.parajanov.com/asteroid.html).

        In February, the Telegraph in England published a list of The 100 Best films
        - Documentary and World Cinema. At number 9 is Andrei Tarkovsky's Andrei
        Rublev and at number 10 -- Sergei Paradjanov's The Color of Pomegranates.
        "It delivers a torrent of breathtaking images", the paper wrote.

        Erik Morse of SFGB Arts and Culture wrote this about the recent screening of
        Jodorowsky's El Topo at SFMoma "...Like other cinematic prophets before him
        - Armenian director Sergei Paradjanov and Pier Paolo Pasolini come to mind -
        Jodorowsky had a tendency toward "vulgar" messianism that would often
        subject him to the political disenfranchisement of Homo sacer. El Topo, has,
        in many ways, become a symbol of his artistic crucifixion..."

        Composer Tigran Mansurian made an appearance at the premiere of his Litte
        Suite on March 30, 2008 at the Zipper Hall in Los Angeles, which was
        performed
        as part of Dilijan Chamber Music series. Tigran Mansurian scored Sergei
        Parajanov's The Color of Pomegranates
        (http://www.parajanov.com/sayatnova.html) and several of Mikhail Vartanov's
        documentaries (http://www.parajanov.com/autumnpastoral.html).

        In May, the filmmaker Atom Egoyan will be in Israel to receive the Dan David
        Prize. Egoyan will share the 1 million dollar prize with playwright Tom
        Stoppard and novelist Amos Oz.
        [07 April 2008]
        What if I find someone else when looking for you? My soul shivers as the idea invades my mind.

        Comment


        • #64
          Re: Cultural Horizons of Armenians

          The Excavations of Tigranakert


          EXCAVATIONS IN TIGRANAKERT START IN JUNE

          Panorama.am
          18:47 01/04/2008

          This year the excavations in Tigranakert will start in June and will
          last till August, said Hamlet Petrosyan, the head of the excavation
          group and the PHD of the Sciences National Academy.

          By the financial support of the NKR and "Yerkir" unity this is the
          third year the excavations continue in Tigranakert. This year the
          president of the NKR Bako Sahakyan promised to provide 30 million
          drams.

          According to him the excavations resulted in the founding the details
          of such powerful and cultural city. He added that the foundation
          of Tigranakert opens quite a new page in the cultural history of
          Armenians coming from ancient times.


          AMERICAN NEWSPAPERS COMPARED TIGRANAKERT WITH TROY

          KarabakhOpen
          11-04-2008 10:54:37

          Yesterday the film about the discovery of the ancient town of
          Tigranakert in Artsakh entitled "Artsakh Odyssey of Tigranakert"
          was demonstrated in Stepanakert.

          "The American newspapers compared the discovery of Tigranakert with
          the discovery of Troy," said the head of the Artsakh expedition of
          the Institute of Archeology and Ethnography of the National Academy
          Hamlet Petrosyan. "It is not just a research with a scientific,
          academic value.

          Everyone should be aware of the excavations of Tigranakert. Our
          greatest achievement would be creation of Tigranakert in our souls
          to bring us together," the archeologist said.

          The head of the expedition thanked the government of Karabakh for
          assistance and held out hope that there will be people who will also
          "fall ill" with Tigranakert.

          Вас ждет великое путешествие по миру секса: нежного и горячего, ласкового и лютого, классического и извращенного, в общем – на ваш личный вкус!

          RA HAS SHOWED POINTED INDIFFERENCE TO EXCAVATIONS OF ARTSAKH TIGRANAKERT, EXPEDITION HEAD SAYS

          Noyan Tapan
          April 2, 2008

          YEREVAN, APRIL 2, NOYAN TAPAN. Artsakh Tigranakert's excavations
          continue for already the second year, but due to lack of funds it is
          impossible to present the results of the excavations to the world. As
          Hamlet Petrosian, the head of Artsakh archeological expedition of
          the Archeology and Ethnography Institute of the RA National Academy
          of Sciences, said at the April 1 press conference, only last year
          nearly 38 thousand USD was spent on excavations. These funds were
          provided by the Yerkir union. However, according to him, 160-200
          thousand USD is needed for the research, but the union does not have
          such a possibility.

          According to H. Petrosian, they have applied to the RA Prime Minister
          in connection with the problem and have been refused, they have also
          applied to VivaCell and ArmRosgazprom, but have received no response
          from them yet.

          According to the head of the expedition, the National Academy of
          Sciences shows pointed indifference. Meanwhile, according to him,
          the NKR authorities have expressed readiness to provide 30m drams
          (nearly 96.7 thousand USD), which will give a possibility to carry
          out excavations for another three months.

          It was mentioned that the excavations revealed that Tigranakert
          was on the Stepanakert-Martakert highway and occupies an area of
          50 hectares. Mijnaberd is one of the most prominent monuments of
          Tigranakert. Its wall with the length of 40 meters has been already
          discovered, it functioned until the 11th century. By the way,
          at present excavations have been done only in 0.02% part of the
          total area.

          Լուրեր Հայաստանից եւ Սփյուռքից, սպասվող իրադարձություններ, շուտով, տարեթվեր, նորություններ հայկական աշխարհից, Արցախից, The Noyan Tapan Highlights անգլերեն եւ ֆրանսերան շաբաթաթերթ, հրատարակչություն, գրքեր, հայ մամուլ, News from Armenia, Diaspora, Новости Армении и Диаспоры



          NAGORNO-KARABAKH GOVERNMENT WILL SUPPORT EXCAVATIONS IN TIGRANAKERT

          KarabakhOpen
          02-04-2008 10:40:28

          The government of Nagorno-Karabakh is likely to provide assistance
          for excavation of the ancient town of Tigranakert in NKR. According
          to Hamlet Petrosyan, head of the expedition of the Institute of
          Archeology and Ethnography of the Armenian National Academy of Science,
          the NKR government has allocated 30 million drams (USD 100 thousand)
          to continue the digging, Regnum reports.

          During the meeting with the archeologists the NKR president Bako
          Sahakyan promised to, Hamlet Petrosyan said, noting that unlike
          the government of NKR, the government of Armenia is not expected to
          provide assistance.

          "We have turned to Prime Minister Serge Sargsyan, the National
          Assembly, major businessmen, Viva Cell for a number of times but
          we were told that the government cannot afford to fund the project,
          and others did not even respond," said the head of the expedition.

          Last year only the Avetyats Yerkir NGO funded the excavations, and
          an area of one hectare was dug, which is only 2 percent of the total
          area of the archeological complex, Hamlet Petrosyan said. According to
          him, in 2007 the archeologists excavated the citadel and the church,
          a single-nave basilica built in the 6th century. All the findings
          are now kept at the Museum of History of Artsakh and the Museum of
          Shushi after study and restoration.

          The church belongs to the Armenian architecture since, the
          archeologists say, it is identical to the churches of Yeghvard,
          Jrvezh and other Armenian basilicas. The archeologists state that the
          early Christian burial places near Tigranakert are evidence that this
          territory of Artsakh (the historical name of Nagorno-Karabakh) was
          a hotbed of the early Christian civilization, and over 1.5 thousand
          years, up to the 14th century, people lived there.

          The archeologists say the lack of funding does not allow telling
          the international community about the results of excavations and
          the Armenian origin of the town, while the government of Azerbaijan
          funds media which describe those monuments as the cultural legacy of
          the Albanian population which allegedly lived in this territory and
          whose predecessors the Azerbaijanis consider themselves.

          The excavations in the town of Tigranakert founded by the Armenian
          King Tigran the Great began in 2007. The town is near the highway
          Stepanakert-Martakert, on the bank of the River Kakhtsraget, 28 km
          from the town of Martakert and 4 km from the town of Aghdam.

          Вас ждет великое путешествие по миру секса: нежного и горячего, ласкового и лютого, классического и извращенного, в общем – на ваш личный вкус!

          ARMENIANOW.COM
          Administration Address: 26 Parpetsi St., No 9
          Phone: +(374 1) 532422
          Email: [email protected]
          Internet: http://www.armenianow.com
          Technical Assistance: (For technical assistance please contact Babken
          Juharyan)
          Email: [email protected]

          April 11, 2008


          RESEARCH IN RUINS: TIGRANAKERT PROJECT THREATENED BY LACK OF FINANCES

          Arpi Harutyunyan
          ArmeniaNow reporter

          The expedition group excavating the city of Tigranakert built by
          Armenian King Tigran the Great (1st century) in Karabakh faces
          financial problems that threaten continuing the project started in
          2005. The Government of Armenia has refused its request for state
          support.


          "We even addressed Prime Minister Sargsyan to get financing, but the
          letter was sent to the Ministry of Finance, which replied there are no
          means [for that purpose]. We have even appealed to the Union of
          Businesspeople, Hayrusgazard (Armenian-Russian Gas Industry) and
          VivaCell but have not received a response. Today our authorities and
          even the Academy [of Sciences] have adopted an indifferent posture,"
          says the head of the Artsakh archaeological expedition group of the
          Institute of Archaeology and Ethnography of the National Academy of
          Sciences Hamlet Petrosyan, who believes Tigranakert is not only a
          monument and a history with culture, but also a serious bone of
          political contention.

          Petrosyan says the excavations of Tigranakaert, 4 kilometers north of
          Aghdam are an echo on the road to the solution of problems between
          Armenia and Azerbaijan. "The struggle for the self-determination of
          Artsakh evolved and will evolve around the discussion of various
          historic and cultural values and arguments. Let's remember, the
          Artsakh liberation war began first of all because of the question of
          ownership of Gandzasar Monastery and Dadivank."

          The idea for the search of Artsakh Tigranakert belongs to the chairman
          of the Yerkir Union Sevak Artsruni, who, led by travelers' stories
          about an old city in the neighborhood of Martakert, appealed to the
          Institute of Archaeology to start a research.

          "When they offered me the work, I had concerns the evidences would be
          very mythical," recalls Petrosyan, adding despite his concerns he
          formed an expedition group of 5 or 6.

          Studying the Armenian sources, they found data that say there have
          been 6 cities named after Tigran the Great, one of them in Artsakh. It
          was Tigran the Great's empire that included also the neighborhood of
          Khachenaget River in Artsakh (Artsakh is the ancient name for
          Karabakh).

          "As the first step we made a map of the locale. We discovered an early
          medieval castle on the bank of Khachenaget. We found also a temple on
          the top of Vankasar that was built in the 7th century. But we found
          after gathering the materials the settlement existed in the 5th-9th
          centuries, therefore Tigran the Great could not have built it," tells
          Petrosyan claiming that Azerbaijanis had re-built temple, removing
          traces of its Christian origins. However, the expedition found
          Armenian inscriptions - facts refuting the Azerbaijani arguments.

          The expedition has also made research in Shushi, where it found more
          than a dozen of khachkars of 12th-13th centuries and a castle.
          Excavations were done also in the Monastery of Havlaberd in Karvachar
          with Armenian inscriptions on its tiling.

          Moving to the other bank of Khachenaget, the archaeologists discovered
          the true Tigranakert that occupied a territory in 50 hectares and is
          comprised of a fortified area, trade center and numerous agricultural
          suburbs. Petrosyan says the city was built on terraces like
          Semiramis's hanging gardens.

          The scientists discovered a citadel on the highest point of the
          territory and a large fortified district with powerful walls on the
          slope. The group has so far excavated about 40 meters of the walls
          that reach 4 meters in height in some places.

          Lyuba Kirakosyan, the architect in the group says stones of the
          buildings have been connected to each other with v-shaped joints,
          which speaks of high craftsmanship in construction.

          "The construction methods proved what we found was really a city of
          Tigran's times and the buildings are erected in the best tradition of
          Hellenist time technique. It's an important matter for dating," says
          Kirakosyan mentioning the found ceramic artifacts and the rest of the
          things strengthened the arguments in favor of the supposition the city
          is Tigranakert.

          Making sure the city is Tigranakert and having sufficient amount of
          proof, Petrosyan passed to the main part of the work.

          "After all our major aim was to spread this information, especially as
          the government of Azerbaijan tries to distort the information and has
          even forced the local academy of sciences to come up with special
          decisions regarding Tigranakert," says Petrosyan, who has initiated
          publication of a calendar and a brochure telling about Tigranakert, a
          city that has survived 14 centuries.

          The expedition group has organized an exhibition in Geneva and a film
          show in Los Angeles.

          "The problem, though is not over. In total we have been directly
          engaged in excavations for only 42 days and have excavated only 0.02
          percent of it getting salaries of 15-20,000 drams ($50-65) a month,"
          says Petrosyan. "But even that is not important. The important thing
          is that we get financing to continue the work and make it public. We
          don't even have $50 a month to operate a website telling about the
          city."

          Bako Sahakyan, the president of NKR has promised 30 million drams
          ($97,400) will be allotted to continue the excavations. However, the
          exact dates are unknown yet.

          "If, of course, this sum is given, it will suffice for several months
          of work. But for the moment we have moved the materials of excavations
          to Yerevan, but there is neither place to locate them nor opportunity
          to process them," says Petrosyan.

          What if I find someone else when looking for you? My soul shivers as the idea invades my mind.

          Comment


          • #65
            Re: Cultural Horizons of Armenians

            Krzysztof Penderecki: A Musical Pilgrimage.


            KRZYSZTOF PENDERECKI: I AM GLAD TO BE IN THE LAND OF MY ANCESTORS

            Noyan Tapan
            April 8, 2008

            YEREVAN, APRIL 8, NOYAN TAPAN. The famous Polish composer Krzysztof
            Penderecki arrived in Yerevan on April 7. He told reporters that
            he considers his first visit to Armenia as "return home", as his
            grandmother was an Armenian emigrant from Isfahan.

            "I am very grateful for the invitation to visit Armenia. I have been
            waiting for this visit quite long - for 75 years since my birthday. I
            tried to come to Armenia in the 1960s but I failed. Now I am very glad
            to be in the land of my ancestors. This visit is a return home to me".

            Penderecki has come to Armenia to participate in Week of Penderecki
            organized within the framework of the international music festival
            "Prospects of the 21st Century" held on April 7-12. During these
            days the Armenian music lovers will have an exceptional opportunity
            to listen to works of the Polish composer at the concerts conducted
            by him. The living legend of classic art has brought famous musicians
            from ten countries with him.

            K. Penderecki said that he has had no occasion to mix with Armenian
            composers, except for Aram Khachatrian, whom he received at his
            home. "At that time I was a follower of the avant-garde movement, and
            Khachatrian's music seemed a kind of old and too classic to me. Later,
            during my second meeting with him, I performed his Violin Concert in
            Warsaw," Penderecki recalled (at first he was a violinist).

            In response to the question of whether his Stabat Mater resembles
            Armenian Liturgy, the composer replied: "Perhaps. When was a child,
            grandmother used to take me to Armenian church, maybe there is a
            resemblance, I cannot say".

            Work is the real source of inspiration for the composer. "I wake up
            very early in the morning and start my work. When I begin creating,
            inspiration comes at that time. When it is groundless, everything is
            fine. But sometimes the development is slow, it also happens".

            "There are artists, for example, Shagal, who always create in the
            same way.

            Others, for example, Picasso, constantly change their directions. I
            work like Picasso: by changing my forms and directions. Each artist has
            his own labyrinth. The point is how to get out of one's labyrinth. I
            also get into such labyrinths but I alsways see ways to get out of
            them," Penderecki said.

            The world-famous composer and conductor of Armenian origin promised
            to reporters that he will tell about his impressions and thoughts
            about Armenia in a few years.

            Լուրեր Հայաստանից եւ Սփյուռքից, սպասվող իրադարձություններ, շուտով, տարեթվեր, նորություններ հայկական աշխարհից, Արցախից, The Noyan Tapan Highlights անգլերեն եւ ֆրանսերան շաբաթաթերթ, հրատարակչություն, գրքեր, հայ մամուլ, News from Armenia, Diaspora, Новости Армении и Диаспоры

            KRZYSZTOF PENDERECKI TO BE HONORARY CHAIRMAN OF PROSPECTS OF 21st YEREVAN FESTIVAL

            Noyan Tapan
            April 11, 2008

            YEREVAN, APRIL 11, NOYAN TAPAN. Henceforth the days of world-famous
            composer and conductor Krzysztof Penderecki in Armenia will become
            traditional and Penderecki himself will become the Honorary Chairman of
            the Prospects of 21st International Music Festival. Stepan Rostomian,
            the festival Director, said on April 11. According to him, Krzysztof
            Penderecki's visit to Armenia is a historic event, as one of "the last
            of the Mohicans" of great music of the 20th century visited Armenia
            thanks to this festival of classical music having international
            authority.

            During his second meeting with Armenian journalists Penderecki said
            that he is too impressed by the festival. "The festival is organized
            in line with all international standards. And orchestras and choirs,
            which performed my works, showed high professionalism," Mr Penderecki
            said. The maestro is especially impressed by the performances of
            the Armenian State Academic and Hover chamber choirs conducted by
            Hovhannes Chekijian and Sona Hovhannisian.

            Krzysztof Penderecki is especially delighted with performances of
            Komitas' works (for instance, Chekijian's choir, on April 7, before
            Penderecki's Stabat Mater performed Sand Song by Komitas). "Komitas
            is unique and cannot be compared with anyone. He is very close to
            his national traditions," he emphasized. The maestro said that his
            next work will have Armenian lyrics.

            According to the world-famous composer, when creating for him the
            most important is not form, but the cosmic material that is the
            basis of the creation. The musician having Armenian roots feels a
            complete Polish and in the respect of creation he is international,
            with traditions of German classical music as a basis.

            Krzysztof Penderecki expressed gratitude to festival's organizers
            for giving him a possibility to visit Armenia. The maestro also said
            that he gained "good friends in Armenia, with which I am connected
            through not only music, but also through human relationship." And
            as Mr Rostomian said, world-famous cellist, Mstislav Rostropovich's
            last Moscow student Ivan Monighetti has made much contribution in
            the issue of maestro's coming to Armenia. I.

            Monighetti for already several times has participated in the Armenian
            festival.

            Krzysztof Penderecki's wife, Elzbieta Penderecka, who was present at
            the meeting and is the Chairwoman of Beethoven International Music
            Festival being held In Warsaw, said that Armenia will take part in
            that authoritative festival from next year.

            Famous musician-performers Ivan Monighetti, Andrzej Bauer, Chrisian
            Altenburger, Arto Noras, and Michele Letik taking part in Penderecki
            festival said that they have good impressions from Armenia. In
            particular, they highly evaluated the fact that there are many
            young people among concert's spectators, who take interest in modern
            music. They also noted that elderly people and pensioners are mainly
            among the spectators in European countries.

            Լուրեր Հայաստանից եւ Սփյուռքից, սպասվող իրադարձություններ, շուտով, տարեթվեր, նորություններ հայկական աշխարհից, Արցախից, The Noyan Tapan Highlights անգլերեն եւ ֆրանսերան շաբաթաթերթ, հրատարակչություն, գրքեր, հայ մամուլ, News from Armenia, Diaspora, Новости Армении и Диаспоры

            KRZYSZTOF PENDERECKI PLANS TO COMPOSE ARMENIAN SPIRITUAL MUSIC

            ETCHMIADZIN, APRIL 12, NOYAN TAPAN. Catholicos of All Armenians Karekin
            II on April 10 received Krzysztof Pendrecki in the Mother See of Holy
            Etchmiadzin. Welcoming the world-famous composer, His Holiness said in
            his speech: "We are familiar with your works and today we are glad to
            meet you and express our appreciation for your services to mankind".

            K. Penderecki told His Holiness about the history of his family,
            speaking about his Armenian roots and childhood memories.

            NT was informed by the press services of the Mother See of Holy
            Etchmiadzin that the interlocutors also spoke about resemblance of K.
            Pendereski's works to the Armenian spiritual music. In the words of the
            composer, he has a desire to write Armenian spiritual music.

            Լուրեր Հայաստանից եւ Սփյուռքից, սպասվող իրադարձություններ, շուտով, տարեթվեր, նորություններ հայկական աշխարհից, Արցախից, The Noyan Tapan Highlights անգլերեն եւ ֆրանսերան շաբաթաթերթ, հրատարակչություն, գրքեր, հայ մամուլ, News from Armenia, Diaspora, Новости Армении и Диаспоры
            What if I find someone else when looking for you? My soul shivers as the idea invades my mind.

            Comment


            • #66
              Re: The Excavations of Tigranakert

              Thanks a lot Siamanto for bringing together these recent reports.

              For more on the story of the excavations of Tigranakert and its history and significance, as well as a detailed account of some of the extraordinary findings unearthed so far, I welcome you to check out my documentary "Tigranakert: An Armenian Odyssey", viewable in two parts on YouTube:

              Part 1:

              Chronicles the discovery of an ancient Armenian city on territory reclaimed by Armenian forces during the Karabagh war.According to historians there were as ...


              Part 2:

              Chronicles the discovery of an ancient Armenian city on territory reclaimed by Armenian forces during the Karabagh war.According to historians there were as ...
              Last edited by Zariadris; 05-07-2008, 05:57 PM.

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              • #67
                Re: The Excavations of Tigranakert

                Originally posted by Zariadris View Post
                I welcome you to check out my documentary "Tigranakert: An Armenian Odyssey", viewable in two parts on YouTube:

                Part 1:

                Chronicles the discovery of an ancient Armenian city on territory reclaimed by Armenian forces during the Karabagh war.According to historians there were as ...


                Part 2:

                http://www.youtube.com/watch?v=6fkKlaY4qY8
                Zariadris, the documentary you posted is your production? You are Zareh Jknavorian? Besides the documentary on Joseph Stalin, what others have you done? Nevertheless, excellent work! Where can I purchase it and does it come in an Armenian translation?
                Մեր ժողովուրդն արանց հայրենասիրութեան այն է, ինչ որ մի մարմին' առանց հոգու:

                Նժդեհ


                Please visit me at my Heralding the Rise of Russia blog: http://theriseofrussia.blogspot.com/

                Comment


                • #68
                  Re: The Excavations of Tigranakert

                  Originally posted by Zariadris View Post
                  Thanks a lot Siamanto for bringing together these recent reports.

                  For more on the story of the excavations of Tigranakert and its history and significance, as well as a detailed account of some of the extraordinary findings unearthed so far, I welcome you to check out my documentary "Tigranakert: An Armenian Odyssey", viewable in two parts on YouTube:

                  Part 1:

                  Chronicles the discovery of an ancient Armenian city on territory reclaimed by Armenian forces during the Karabagh war.According to historians there were as ...


                  Part 2:

                  http://www.youtube.com/watch?v=6fkKlaY4qY8

                  Zariadris,
                  You're welcome!
                  I'm not into flattery, however, it seems obvious that your contribution is more substantial; in fact, I have simply presented existing documents without adding much, if anything???
                  I enjoyed your, alas short, documentary, Thank You! Let's hope that, someday, enough will be excavated to justify a full length documentary.
                  Last edited by Siamanto; 05-08-2008, 09:24 PM.
                  What if I find someone else when looking for you? My soul shivers as the idea invades my mind.

                  Comment


                  • #69
                    Re: The Excavations of Tigranakert

                    Originally posted by Armenian View Post
                    Besides the documentary on Joseph Stalin, what others have you done? Nevertheless, excellent work! Where can I purchase it and does it come in an Armenian translation?
                    Josef Stalin in a thread about Armenian Culture??? Spilling the thrash???
                    Last edited by Siamanto; 05-08-2008, 07:07 PM.
                    What if I find someone else when looking for you? My soul shivers as the idea invades my mind.

                    Comment


                    • #70
                      Re: The Excavations of Tigranakert

                      Originally posted by Armenian View Post
                      Zariadris, the documentary you posted is your production? You are Zareh Jknavorian? Besides the documentary on Joseph Stalin, what others have you done? Nevertheless, excellent work! Where can I purchase it and does it come in an Armenian translation?
                      Thanks very much Armenian. I have a version with Armenian subtitles that I plan to upload soon. The DVD is distributed by Yerkir Union, the NGO that sponsored both the excavations and the film, and I think it's only available through Abril books in LA.

                      Other than Enemy of the People (the one about the Stalin Terror in Armenia), I've been busy over the years on various projects dealing with Armenian culture and history. I worked on Khachaturian, a feature length doc about the life of the composer, and for many years I have been documenting rural traditions and sacred sites in Armenia and Iran.

                      Embers of the Sun, an early, lyrical short about Armenia's prehistoric landscapes, rock art and megaliths, is up on youtube and might be of interest to you.

                      Hargankov,

                      Z

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