Opening event of the exhibition of GALIQUE Art Space
Artists / Artworks
Albert Vardanyan
PULSAR
A star that has lived for thousands of years grows old and dies. A star that has lived for thousands of years carries within its memories that we cannot remember. A star that has lived for thousands of years explodes and does not die. It becomes a supernova. A star that has lived for thousands of years retains its memory, but compresses it, becoming a source of knowledge of light flashing with an indescribable frequency.
Albert Vardanyan’s “Pulsar” is the condensation and translation of all this into perceptible volumes for us. The light that was and will be bursts out of the forms born from the dead bonds, the disintegrating body, the wordless and incorporeal memories of the creation of the worlds.
At any moment, the world ceases to exist. The material becomes invisible, the form loses its physical conditions and obeys the laws of this world, sculptural solutions cease to be solutions but become landmarks that direct our journey to cosmic sounds, explosions, speeds and to light—timeless light.
Text by Avetik Vardanyan
Gevorg Sargsyan /DJALA/
THRESHOLD
The threshold is a symbol and ideogram of entrance and hospitality, home and border, outside and inside. We don’t see the threshold; we trample and cross it, and it gets lost under feet and dust …………………. what memories it has, what stories it could tell, what secrets it knows that will never reach us.
With this threshold Gevorg Sargsyan makes the invisible visible, the lost found, and the seemingly worthless a jewel………………………. After carefully cleaning it of household dust, he presents it to us as a museum specimen, as a treasure. The decayed and lived threshold is no longer a mere threshold; it is the border of borderlessness.
Text by Avetik Vardanyan
Harutyun Karapetyan
LOVE
Silent and wise, he gracefully traverses his domain, bearing knowledge to his world. And he imparted that wisdom, eliciting a shiver with every revelation.
This knowledge pertains to genealogical and mythological eras, where wisdom lies concealed beneath the presence of a collar.
Then, abruptly, one serpent encounters another, drawing near, establishing communication, arriving at an unspoken agreement, and the extraordinary event transpires—without words, beyond time, defying reality, all in the pursuit of a brighter future, in honor of wisdom, and for the sake of continuity.
Text by Avetik Vardanyan
Gurgen Ginosyan
RUSSIAN ROULETTE
A photographer, especially one who specializes in film photography, is akin to a marksman. … where there’s no room for error, where every frame holds immeasurable value, and each symbolizes a moment in your lifetime.
The series presented by Gurgen Ginosyan employs this technique, but unlike the conventional principle of one frame for one photo, here we encounter a single composition comprising 12 frames. An integral aspect of tape photography is that, after capturing the visible, the outcome remains abstract and can only be comprehended through the lens of imagination. The project’s title directly ties into this concept, as it remains uncertain which of the photos will “kill” us.
Text by Avetik Vardanyan
Edgar Grigoryan
DIMENSION H
The world condenses to a singular point, where the volume that elicits the sensation of cosmic motion continually revolves. We often perceive our life’s activities as movement, contrasting them with creativity, which seems static and wordless — something to approach, observe, and leave behind.
Edgar Grigoryan transforms this rigid perspective with his work. We stand before his creation, unmoving and silent, and what appears still begins to spin, crafting its own realm of space, time, and velocity. The linear composition crafted by the artist suddenly departs from its static state, generating shifts in our consciousness, perceptions, and worldview.
Text by Avetik Vardanyan
Karen Barseghyan
ANY VISUAL IMAGE
Every day, we encounter landscapes and objects, most of which we tend to overlook, yet some persist in our memory, whether consciously or subconsciously, due to their connection to personal experiences.
The new digital materialism, engaging in a dialogue with art, endeavors to grapple with the intricacies of the natural and artificial environment. New digital technologies enable us to perceive the world “from an external standpoint,” circumventing associated risks and responding according to the preferences of the users. However, the concerns of the artist are distinct. Primarily, it’s a summons to the surroundings and objects, an effort to liberate them from the confines of subject-object understanding. The landscapes that envelop us become the principal protagonists.
Each work of art should not merely be viewed as a reflection of the virtual world but as an object possessing its own distinct reality.
Text by Karen Barseghyan
Levon Fljyan
DAVID OF SASUN /
CHILDHOOD ODYSSEY
Line The Safeties
There is no intermediate state between illusion and reality, if there is, it is difficult to make conscious decisions and create in that state.
A sense of security and its definition is always in demand. Therefore, it is always relevant and appropriate for us to draw safety lines and continue to create.
Text by Levon Fljyan
Vahagn Hamalbashyan
LITERARY PROCESSION
Asleep:
You close your eyes and slip into the world of images, colors, and shapes, words and sounds, and memories, where the visible and the invisible mingle, and the laws of THIS world are no longer binding and a new one is created.
Different laws apply here, the known and unknowable intersect in our simultaneous existence. Objects become their own symbols, time is compressed, and the sequence of remembered images is no longer chronological.
Awake:
You open your eyes, and what seemed like a dream, unreal and fleeting, meets the clean surface of the canvas. You don’t know why or how, but subconscious images are reflecting on that surface, and the artist becomes a medium for the reflection of his own dreams.
Vahagn Hamalbashyan’s works seem to develop in such a way. It appears that on the canvas, you can see images that have nothing to do with each other, and perhaps it is true. However, in this instance, it is more important to see not what is depicted on the canvas, but to explore the boundaries the mind can cross and what aesthetics it can embody.
Text by Avetik Vardanyan
Ralf Bäcker & Thomas Willke
DREAMLAND
The film by Ralph Becker and Thomas Willke was shot during the relatively peaceful days of Artsakh in the pre-war period, capturing people who were building, reminiscing, and recovering on their land. Individuals of different generations and professions gaze towards us and to a focal point, inviting reflection from both the subjects and the audience.
To what extent were they, and were we, futurists? Did they predict the upcoming?
The republic of those depicted no longer exists; only the present remains, marked by abandoned homes and the thresholds upon which they now stand.
Text by Hrachya Vardanyan
Hrachya Vardanyan
WHITE
The perception of Hrachya Vardanyan’s painting is revealed through abstracted landscapes, where the source of light emanates from the earth, and the earth is a component of cosmic physiology. The very act of painting becomes an exploration of the undulations brought about by life and circumstances, with symbols serving as instruments for facilitating the transition—transition into new realms of time and space.
This work is rooted in the sensation of a high-altitude landscape, where substance and materiality transform into ethereal states. Here, a departure occurs from conventional iconography, and the mind shifts its role from being a preordained system to becoming a TOOL.
Text by Hrachya Vardanyan