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Levon Fljyan, Facebook, 3 june,monday, 15:14
L.F. In general what associations does this word evoke in us?
K.G. It is difficult to give a word definition, bearing in mind also that even in Wikipedia there is no Armenian language material about pixel.
L.F. In the first place we probably start to think about technology, virtual world, photography and in general about image - the visual in a larger sense, viewing pixel as the last point, the unit that lies in the very base.
K.G. Saying image we should understand the images nowadays circulating in absolutely all fields, he ones we use for “getting to know” the world (TV, computer, digital photo equipment, video recorders, electronic books, telephones…).
This would imply that pixel is a final/basic substance on which all the above mentioned technology is based, through which we currently carry on our communication process (virtual space, internet, social networks, exchange and circulation of immense quantity of photos, videos, texts…).
L.F. Thus, the works presented at the exhibition are images composed of pixels, to see which one has to stand at a certain distance from the works. But even in that case the images do not acquire a complete clarity.
K.G. But what do you imply saying “composed of pixels”?
L.F. First of all it should be mentioned, that the works - the pixels are works of visual art/paintings, that is to say traditional canvas, paint, brush are used… but the images are painted in the form of pixels. The real image becomes digital due to or because of the form of the pixels, but the unique language of painting as such has been used. The used technique is coming from centuries and is encompassing features which are thought to be characteristic to the Higher art - game of colours, the mastery of brushing and so on, but the kept form is “digital” - pixel. All these put the viewer in quite a difficult situation. As we know there is a rather common opinion that to look at, study a painting one has to stand rather close to it, to see all the details painted, whereas in this case as opposed, one has to stand far, at least to understand what is painted. Even after doing it one understands that what is seen is not so much of a painting anymore, but rather pixels or more precisely visual images composed in the form of the latter.
K.G. It can be said that the language, especially the visual, can be used not only as a means of communication, but the other way round - in this case as a tool for specially planned miscommunication strategy, in other words a deliberate denial of the communication system. And here, when saying communication, we imply art.
L.F. It is not by chance that the works are involuntarily viewed within the frameworks of the history of arts discourse, imagining/identifying some known forms of thinking, such as op-art, pop-art, abstractionism, minimalism and even conceptualism - outside these forms of thinking.
K.G. Putting aside the paradigms of the Armenian contemporary art, one can say, that the peculiarity in Armenia is that the mentioned forms of thinking have been and still are the most commonly spread ones.
L.F. Explicitly showing certain social codes, among which are those on how the public awards the work of the artist with a “piece of art” status, what are the mechanisms of perceiving a work of art - especially visually, the possibilities to interact with the work, or questions of integrating it (work of art) in own context one way or another... form a “game-like” situation, which in itself is the main aim of the artist.
K.G. The main aim of the given artist, through the given works?
L.F. May be so, may be not.
K.G. After all, if to generalize, the main ideological stress is falling onto the notion, that due to pixel in this case, new practices, methods and models of interaction with usual and already known phenomena are formed.
L.F. - Levon Fljyan
K.G.- Karine Gusarenko
6.06.2012 Gyumri-Berlin
P i X E L
Pixel-Beyond the seen
Is it possible to create illusions more perfect than the reality?
And after all, aren’t illusions simply the acceptance of what can be seen beyond the evident?
Anything that
our eye catches can be treated as a product of own imagination constructed of
millions of particles seemingly obscure and at the same time
more materialized than everything else round us.
Opening
ourselves to see the smallest details is like denying the existence of the bigger
picture, but at the same time forcing oneself to concentrate on
nuances and go deeper.
It is the view beyond or may be even a game between the real and the unreal.
It is the movement that requires all our concentration, but yet it is never to be seen unless we free ourselves from boundaries created on our own.
It is the refuge from the reality and a tribute given to it.
It is the call
to take a moment for appreciating that very moment: try to comprehend how big
in reality “the bigger picture” is, and to dive in the sense of
being an essential particle of the universe. Understand the importance of every single tiny detail without which the picture cannot be complete.
It is the passion
for splitting image into squares, time into seconds, melody into sounds, and
then doing it over and over again, till we reach the very final
tiny unit… the full stop in the end which would mark a new beginning… the pixel.
Anna Yeghoyan
20.06.2012 Nancy
P i X E L 2
What is the relation between us and our ancestors? What traditions and values they kept?
How we imagine relations between two bodies? How we find exact distance between them?
The common point of these two topics is the changing body culture. The freedom of body and how it should be presented in the society is the main point of disagreement between generations and between genders.
The way we express our emotions, feelings through body and the mode in which we make use of that freedom can lead to conflicts, and conflict is this case is the search for the right distance in the relations.
But is there a perfect distance in any kind of relations? Can this ever be objective? Is there a way to live today’s contemporary life and still not loose the link with the our ancestors, or how to stay conservative still living in the present.
Levon Fljyan
25.08.2012
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Body – perfection of sliding lines, harmony, music, now broken down to a reality of squares, rapidity of repetitive lines, seemingly identical, and too rational for a body to comprehend.
Body – unity in itself, inseparable and undivided, given to each one and for all – same as our heritage, history, family: undeniable, unchangeable.
Exposing the intimacy of nude body and lining it with the covered one, showing the contrasts and uniting them on the fragile line of shame and guilt.
Cover – uncover.
Reality – illusion.
Refuge - escape.
This is an attempt to separate, divide, cluster down, and thus touching the untouchable – notions not even questioned. Using the same starting material construct own interpretation through filtering, purifying, analyzing, denying and eventually accepting to construct further.
Anna Yeghoyan
18.08.2012
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PIXEL 2 project catalog. Nancy. 2012.pdf Size : 7726.437 Kb Type : pdf |
Pixels
Feels like going back to the start…
Folding back the unfolded dreams
Choking on the pronounced sounds
Loosing touch with the promised ground
Hearing backward echo of screams
All the unity binding once
And the nudity once so shameful
In the end no one dares to stay graceful
And no courage for final glance
If we ever would risk to divide
There is nothing that we decide
Every story was already told
All the details exposed and worn out
And no room left for even a doubt
First they push us and than they would hold
Splitting images down to squares
And constructing a game with no rules
It is idle in structure that fools
Being rational honestly scares
Would one day we stop using the heart?
Anna Yeghoyan 17.06.2012
