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    • Home
    • Artist Statement
    • portfolio
      • Vahe Oshagan: Between Act
      • Solemnity
      • Oil & Acrylic on Canvas
      • Process Painting
      • On Background
      • On Deep Background
      • Art of Diaspora 2016
      • YouTube Channel
    • Interviews and reviews
      • Interviews & Reviews
      • ԿԱՄ 6 Զրոյց
      • Dr. Marc Nichanian
      • Dr. Anahid Kassabian
      • Dr. Talar Chahinian
      • Neery Melkonian
      • Raffi Ajemian
      • Pakine Magazine 2017 # 3
      • Tigran Yegavian
      • Garen Jalatian
      • DR. TALAR CHAHINIAN AmLit
    • Publications
    • Artist Talk
    • Bio & CV
  • Home
  • Artist Statement
  • portfolio
    • Vahe Oshagan: Between Act
    • Solemnity
    • Oil & Acrylic on Canvas
    • Process Painting
    • On Background
    • On Deep Background
    • Art of Diaspora 2016
    • YouTube Channel
  • Interviews and reviews
    • Interviews & Reviews
    • ԿԱՄ 6 Զրոյց
    • Dr. Marc Nichanian
    • Dr. Anahid Kassabian
    • Dr. Talar Chahinian
    • Neery Melkonian
    • Raffi Ajemian
    • Pakine Magazine 2017 # 3
    • Tigran Yegavian
    • Garen Jalatian
    • DR. TALAR CHAHINIAN AmLit
  • Publications
  • Artist Talk
  • Bio & CV

Hrayr Ա Eulmessekian

Hrayr Ա EulmessekianHrayr Ա Eulmessekian

Solemnity


Hrayr Anmahouni Eulmessekian with Sound Scholar Anahid Kassabian

Solemnity, 2010 Pratt Manhattan Gallery


A Blind Dates Project


Wall sound sculpture with video projection, 1 hour, 9 minutes


Neery Mekonian & Dafne Ayyas Curators


 Poets/Writers: Nancy Agabian, Najwan Darwish, Lola Koundakjian, Amir Parsa, Alan Semerdjian, Maral K. Svendsen and Alene Terzian.
 

Solemnity seeks to mourn what is impossible to mourn. It is an audiovisual critique of elaborate recreations of “trauma” and “atrocity” in documentary works that embellish a sense of authenticity, or foster fantasies of witnessing, suffering and understanding. It is also an examination of alternative means of exploring catastrophes of long ago. The work seeks to highlight the trauma of re-presentation itself when the past is in oblique ruins. The first component in this two-part installation is an extremely slow-moving video projection of the grainy remains of individuals in a documentary photograph titled “March of the the Armenians.” The second component involves an array of mini-speakers facing a wall in a grid and covering a large surface. The muffled sound, in asynchronous signals, is directed into the wall, and the projected image veils all the speakers, from which one hears Armenian, Iranian, Palestinian and Turkish poets/writers.



                                                                                              


Copyright © 2018  Hrayr Eulmessekian - All Rights Reserved.

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