Armen Agop: Touching the Invisible at the Venice Biennale

There are three spaces that at their core offer pathways to the inner worlds. The invitation to connect with the intangible in the first space through a sculpture and painting. Followed by a second room where there is an invitation to touch a granite sculpture. As granite comes to us from the heart of the earth, the invitation is to connect with the core of the earth I believe it may lead us to connect to the core of our essence. The last room is an invitation to observe the invisible and have a contemplative experience with a large painting and sculpture. The painting is done through a meditative process in which dots are applied to the canvas with the smallest pen nib in a “gestural mantra.” The accumulation of dots over time invokes luminosity from darkness. The painting becomes a materialization of time through the rituality of the “gestural mantra.” I hope that the artworks help visitors to unite with themselves, and when that happens it is a unification with the whole universe and is a cosmic event. In the Silence Pavilion, there is also a sound piece and a perfume diffusion accompanying the painting and sculpture in the last room, the contemplative zone for an immersive experience.

You coined the term “Transcontemporary” to describe an artistic concept aimed at creating works not limited to a particular cultural context. Nevertheless, do you — or art critics — identify any specifically Egyptian or Armenian elements in your work?

Transcontemporary emerged from the belief that the core values in art and our humanity have always existed in the course of our existence. I don’t think that cave art is more distant from me than a contemporary artwork and why should it be? Every authentic artwork that is made honestly contains a human experience and it radiates an energy that can be interiorized by other human beings.  When I look at an art work I don’t think of it as new or old, it either touches me or not, all the narratives around it are irrelevant to me.

Growing up in Egypt and being surrounded by ancient sculptures that transmitted their own inner energy, I could perceive pride, dignity and sacredness, which made me wonder about how I can perceive these energies after all these millennia. This means that certain values are eternal just as much as the material, they usually speak about the granite which survives time, but not only, that sacredness, that inner energy survives as well.

How much you familiar with Armenian fine art?

I am not up to date with the current art scene in Armenia. I was following it more when I was younger, and I wanted to study in Yerevan. I applied in 1987 but never got an answer.

Every Armenian Diaspora family has an interesting and often heartbreaking history. What is your family’s story?

My grandfather was from Musa Dagh, and his brother was the leader of the revolt at Musa Dagh in which the book, Forty days of Musa Dagh details. When they fled it was a French boat directed by a colonel who did not wait for permission but sent a boat to save them. The boat went to Port Said, Egypt, where my grandfather stayed and created a life while his brother went to Lebanon.

Organizing exhibitions abroad is highly cost-intensive. Nevertheless, do you think it is possible that one day we will see your exhibition in Armenia?

Absolutely, and I hope soon! One of my first art books I had when I was young was about the National gallery of Armenia. It was one of my dreams to exhibit there and many of my dreams came true!