Armen Yesayants
PhD in Art History
PhD in Art History
Edik Boghosyan is a representative of the Iranian-Armenian generation, whose adolescence coincided with the war years. The identity, formed during the fear and horrors of war, is solid and mature, though it also bears a particle of lost identity.
Repeatedly violated border throughout the war creates a gap, space, surrounded territory, which sometimes becomes an obstacle in intercultural relations.
In the century of new forms of war, unmanned devices, cyberattacks, the illusion of being protected is felt more sharply, barriers, protective shields and walls lose more their meaning, and always something remains incomplete, unfinished. The concerned issue of Edik’s works is the incompleteness generated from these ruptures.
The direct contact of artist with war artefact makes the latter an indirect participant of the war. The concentration of destructive impact of war in one work offers an opportunity to viewer to go through it in a virtual way.
Edik Boghosyan becomes a “conflict archeologist”, yet he deals not with past, but with present. The natural and physical wear of material, fast corrosion, which is continuous and has a speed of a lightning, as a rhythm of burst, emphasizes also the transience of time in our world in the context of elimination of borders: in reality, there are no borders, the border is the illusion of safety, but it is necessary…the struggle for them results in waste of the most precious resource – time. At the same time, it is a territory with peoples’ identity reflection, and its preservation is crucial. Raising these issues emphasizes the relevance and importance of Edik Boghosyan’s works.
Repeatedly violated border throughout the war creates a gap, space, surrounded territory, which sometimes becomes an obstacle in intercultural relations.
In the century of new forms of war, unmanned devices, cyberattacks, the illusion of being protected is felt more sharply, barriers, protective shields and walls lose more their meaning, and always something remains incomplete, unfinished. The concerned issue of Edik’s works is the incompleteness generated from these ruptures.
The direct contact of artist with war artefact makes the latter an indirect participant of the war. The concentration of destructive impact of war in one work offers an opportunity to viewer to go through it in a virtual way.
Edik Boghosyan becomes a “conflict archeologist”, yet he deals not with past, but with present. The natural and physical wear of material, fast corrosion, which is continuous and has a speed of a lightning, as a rhythm of burst, emphasizes also the transience of time in our world in the context of elimination of borders: in reality, there are no borders, the border is the illusion of safety, but it is necessary…the struggle for them results in waste of the most precious resource – time. At the same time, it is a territory with peoples’ identity reflection, and its preservation is crucial. Raising these issues emphasizes the relevance and importance of Edik Boghosyan’s works.