Group exhibition / Queer festival:
ID: E16.7
Title:
Queer festival:
Moving the (b)order
Date:
October 21 — 23, 2016
Place:
Studio of sculptor Aytsemik Urartu, Yerevan, Armenia
Curator:
Lusine Talalyan
Artists:
S-pichka, Anna Shahnazaryan, Masha Godovnaya, Natasha Schastneva, Milena Tadukhepa, Tsomak, Lusine Talalyan, Tamar Shirinian, Zhanna Gladko, Aykan Safoglu, Lee Williams Boudakian, Kamee Abrahamian, Aliaksei Luniou, Elsy Hajjar, Sergey Shabohin, Ana Lok (Anna Loktionova), Romik Danial, Tigran Amiryan, Susanna Gyulamiryan
Work:
Video Art Terrorism
Sergey Shabohin:
frames from video Art Terrorism,
2011
frames from video Art Terrorism,
2011
Explication:
COLONY, 1. Country conquered through violent power and being exploited by an imperialist state; 2. People of a colonized country; 3. Settlement, a country and/or part of a country, where immigrant settlers have established a settlement; 4. A place of detainees, area where hostages are kept; 5. Pl. population of a colonized country; 6. Refugees; 7. (in biology) Separate cells which have united to form a whole single mass; 8. Hospital where people who suffer from the same disease are isolated and treated; 9. See children’s detention center.
Modern Armenian explanatory dictionary,
Eduard Bagrati Aghayan.
“Armenia” Publishing House, Yerevan, 1976.
If a colony is a settlement — a dominion — formed on ‘foreign’ land, what are the borders of colonizing and being colonized, and when do we become aware of the fact or intention of transgressing those (b)orders? To what extent do settler communities serve imperialist ambitions and is it possible at all to deconstruct the colonized body and create a space where identity can take shape? For example, what kind of re/presen(ce)tation or ex(ample)ception does femininity have in patriarchal societies and when does it become possible to represent/imagine the feminine form independent from the colonizer’s gaze. Is it possible to actually live in a home where the invader-colonizer teaches us the art of self-colonization?
Moving more concretely toward the moving image, it seems almost certain that particular images/walls and methods of representation reproduce themselves, creating colonies of mass media, which stand upon a variation of realities, thereby establishing a dominant reality. Beyond the colonized reality, in the artifactual and artistic sphere, images move (b)orders, on the road between migration and immigration, not finding their final place, devoid of the desire to take root and survive, but rather always existing inside the dance of being.
Modern Armenian explanatory dictionary,
Eduard Bagrati Aghayan.
“Armenia” Publishing House, Yerevan, 1976.
If a colony is a settlement — a dominion — formed on ‘foreign’ land, what are the borders of colonizing and being colonized, and when do we become aware of the fact or intention of transgressing those (b)orders? To what extent do settler communities serve imperialist ambitions and is it possible at all to deconstruct the colonized body and create a space where identity can take shape? For example, what kind of re/presen(ce)tation or ex(ample)ception does femininity have in patriarchal societies and when does it become possible to represent/imagine the feminine form independent from the colonizer’s gaze. Is it possible to actually live in a home where the invader-colonizer teaches us the art of self-colonization?
Moving more concretely toward the moving image, it seems almost certain that particular images/walls and methods of representation reproduce themselves, creating colonies of mass media, which stand upon a variation of realities, thereby establishing a dominant reality. Beyond the colonized reality, in the artifactual and artistic sphere, images move (b)orders, on the road between migration and immigration, not finding their final place, devoid of the desire to take root and survive, but rather always existing inside the dance of being.