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MIKAYEL OHANJANYAN
Sculpture


Erevan, Armenia (1976)
Lives and works in Italy since 2000.

The works of recent years are focused on the representation of the introverted dimension of the sculpture and the space where it highlights the contrast of the One with all its simplicity and complexity, the outside and inside, the static and dynamic, the strength and weakness... These relationships which, despite the apparent timelessness of the work, reflect the nuances of our society today, with their contradictions and tension.

"His current work is dominant by an urge towards making sculpture as a way of exploring and communicating
with space and material, being the essential elements
of human life".

George Segato
Art critic


CONTACT:
E-mail: mail@mikayelohanjanyan.com
Phone +39 349 053 64 67
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Download full CV from here



INTROVERTED PERSPECTIVE #6 2012
Iron, polyester thread, plaster.
40 x 40 x 40 cm

SPAZIOBLUE Bologna
in/outside of me Mikayel Ohanjanyan
Oct 26—Dec 8, 2012
Mostra a cura di Simona Gavioli
Map


INTROVERTED PERSPECTIVE #5 2011
Iron, polyester thread, plaster.
40 x 40 x 40 cm

Photo © Andrea Messana


LIMEN #3 2012
Iron, plexiglas, bronze, chromed bronze
123 x 80 x 80cm

SAN FEDELE GALLERY
E quindi uscimmo a riveder le stelle Il Viaggio
May 23—July 7, 2012
Mostra a cura di Andrea Dall'Asta S.I.
Daniele Astrologo, Ilaria Bignotti, Chiara Canali, Matteo Galbiati, Chiara Gatti, Massimo Marchetti, Kevin McManus, Michele Tavola
Map

Photo © KEVO.biz

Dopo il grande successo della prima edizione, torna ad ArtVerona Independents, lo spazio dedicato alle nuove esperienze creative indipendenti. Ideato da Fuoribiennale e curato da Cristiano Seganfreddo, nel 2010 Independents ha visto la partecipazione di oltre 20 realtà, da Archivio Bonotto a IUAV, da Fondazione Buziol a Interzona, da Fondazione March a Sottobosco, da C4 a Spazio XYZ a Viafarini. Il format nasce con l’intento di dare spazio e visibilità alle realtà artistiche e culturali maggiormente sperimentali, che si muovono in maniera autonoma rispetto al sistema istituzionale e che sono spesso catalizzatrici di nuove tendenze.
Per la prima volta in una fiera di arte moderna e contemporanea trovano spazio, in una sezione completamente a loro dedicata, associazioni, fondazioni, collettivi e spazi no-profit italiani impegnati in percorsi autonomi di ricerca e sperimentazione in ambito contemporaneo.
Un’operazione innovativa, che coinvolge un pubblico ampio e diversificato, volta anche a destare l’interesse di nuovi soggetti influenti in ambito culturale ed economico. Independents permette infatti l’inedito incontro tra soggetti indipendenti, stakeholder e opinion leader del mondo dell’arte, creando una nuova sezione all’interno di ArtVerona, che mantiene il proprio carattere libero ed emancipato. Per l'edizione 2011 - dal 6 al 10 ottobre, nei padiglioni 6 e 7 di Veronafiere – è previsto un allestimento rinnovato e la possibilità di candidarsi, per partecipare al progetto, attraverso Artribune, media partner dell’iniziativa.

Mikayel Ohanjanyan
at Independents 2. Art Verona
Scatolabianca
October 6—October 10, 2011



INTROVERTED PERSPECTIVE #4 2012
Iron, polyester thread, resin.
90 x 90 x 27 cm

Mikayel Ohanjanyan at Quadro 0.96 gallery
September 17—October 21, 2011
Curator Martina Cavallarin
Map

Se nelle Lezioni Americane Italo Calvino si concentra sul problema leggerezza-peso –cercando di togliere la pesantezza alle strutture del racconto e del linguaggio– Mikayel Ohanjanyan compie nelle sue installazioni un simile processo che gode sempre di contrapposizioni ed opposti. Nell’affrontare l’opera ci si addentra in un percorso di riflessione più denso di quanto non lo sia il lavoro nella sua fisicità fatta di trazione, energia, vuoti che sovrastano i pieni per una continua discesa fuori e salita dentro. Dalle esperienze programmatiche di Gianni Colombo, Ohanjanyan con talentuoso sguardo personale traccia una linea trasversale che si aggancia, senza alcuna sindrome d’inferiorità, ad un’essenzialità minimalista calibrata dalla concettuale dolcezza che pervade tutta la sua produzione. L’interesse per lo spazio permette un’introspezione che arriva ad una dimensione esistenziale non solo architettonica, ma anche umanistica permessa dall’uso di materiali applicati alla forma dell’opera come solo uno scultore classico saprebbe fare. La sua origine armena rinvigorisce a mio avviso ancor più l’analisi e lo sguardo nel suo momento d’inciampo con l’opera che dalla temperatura fredda degli elementi ci catapulta nella esperienza caldissima di accadimenti di matrice sociale, politica e religiosa. E l’opera di Mikayel Ohanjanyan ha questa capacità di trasmettere con potenza e chiarezza tutto questo grazie a una pratica di profonda cultura dimenticata a memoria.

Martina Cavallarin
Critica d’arte

Photo © Giacomo Gandossi


INTROVERTED PERSPECTIVE #3 2012
Iron, polyester thread, plaster.
55 x 55 x 15 cm

With this work the research on form and space focuses on the introvert dimension as a perspective perception of space. The cubes represent a contrast between the rigid material out of which they are made and their fragility as they are compressed by “perspective” strings. This is a reflection on the social contradictions of today.

Photo: © Andrea Messana



INTROVERTED PERSPECTIVE #2 2011
Iron, polyester thread, plaster.
55 x 55 x 15 cm

Mikayel Ohanjanyan at
International Contemporary Art Symposium
Villa Böhm, Neustadt an der Weinstrasse, Germany
June 26—July 3, 2011


INTROVERTED PERSPECTIVE
Iron, plexiglas, polyester thread, plaster.
60 x 60 x 43 cm

Photo: © Andrea Messana

Three questions to Mikayel Ohanjanyan
Interview by Mario Savini

The Armenian artist Mikayel Ohanjanyan was born in Erevan in 1976, and he moved to Italy in 2000. He attended the Academies of Fine Art of Erevan and Florence. Since 2008 he has lived in the ancient town of Reggello (FI). At the 54th International Art Exhibition in Venice, this year, he presented "Perspectives", an interactive sculpture that appears to be a game.

"Perspectives" (2011) is an interactive sculpture on purpose created for the 54th International Art Exhibition in Venice. Could you describe the work in detail? What is the meaning behind "Perspectives"?

Yes, it is true. The work was specifically designed for the side event "Neoludica /Art is a game 2011-1966" (edited by Debora Ferrari and Luca Traini), and it includes the result of research on form and space, that I have been developing for some years, along with increased reality. Among other things, it is the first time I’ve given visitors the possibility of discovering other dimensions in the sculpture, in this case poetic-philosophical. It is a cubic structure of 1m3 of oxidized iron, placed on a base, 1,6 m x 1,6 m. (that is also a part of the sculpture), and black, opaque, plexiglass, in an oxidized iron frame. Inside the cubic structure, numerous threads of polyester are intertwined from one side to the other, developing very thin geometrical surfaces, created by the carbon fibres. On both sides of every surface, there are small, coloured balls, which besides giving an aesthetical lightness to the work, are an actual code by which to read sentences in the space of the sculpture, deciphered with a smart-phone App specifically created for this work by "Serenata" (Alessandra Rigano and Frederick Carson) in collaboration with “Rehacktive Labs" (Stefano Di Francisca)
In formal and spatial terms, the work crosses the boundaries of form itself, in that, it tries to represent the introverted dimension of form and space, where it highlights the contrast between the One, its versatility, its stillness and its dynamism, inside-outside... Relationships that, despite the seemingly timeless aspect of sculpture, directly reflect the nuances of our modern society, with all its contradictions and tensions, and which give each visitor the opportunity to interpret the work in a very personal way. For me, it’s as if it were a self-portrait, where every thread represents an understanding, a meeting, a memory that they create in my full spaces and my voids. Surfaces, whether full or empty ones, represent a possibility of a new vision of the same space, therefore, a continuous journey and a myriad of perspectives... and all this happens in One.

This work develops a complex, trans-medial narrative in which the elements interweave in a continuous flow. With a smart-phone you traverse cultural landscapes that seem to resurface from the memory of the work. What, in particular, is the role of the user?

In fact, the sculpture is interactive, in how much the visitor, after their first impact with a form and an unknown space, charged with tensions and perspectives, enter into play with the work. It’s worth saying, that with the help of a smart-phone, one begins to decipher the colours, we mentioned before, discovering the same sentence in the most widely spoken languages of the world. It becomes a real game and spatial journey, of research into one’s own language, to discover the meaning of the self. The sentence reads "Know thyself" from Taletes, which in turn, incites in the observer an intimate and profound reflection. The user, each in his own way, in this spatial journey becomes the protagonist of the work.

With the rapid evolution of digital technologies, would you say we are experiencing a new cultural renaissance?

Personally, my artistic journey began from classical studies, based on the traditional art, therefore also using traditional materials. Over time, the maturation of my ideas, research into form, and curiosity for new media, have opened me to new possibilities and horizons of research. I believe that research and innovation are fundamental, both from the point of view of digital technologies and of new materials, however, at the same time I think that it is neither digital technologies nor even new media which create a new Renaissance. Without doubt, materials and new technologies can provide input to a new idea, but without the process and deep research of the vision, they simply remain good tools.

Translation by Joanna Mallin-Davies


PERSPECTIVES 2011
Iron, plexiglas, polyester thread, carbon fibers, softwer.
106 x 160 x 160 cm

BIENNALE DI VENEZIA
54th International Art Exhibition
Neoludica Art is a game 2011—1966. Collateral Events
Curators Debora Ferrari and Luca Traini
June 1—November 27, 2011

Download application here
Requirements: Android Smartphone Platform with 2.2, 5 megapixel camera
Instructions: Download the software and use the application
on the installation in order to decode the colors.
App. made by © Serenata in collaboration with Rehacktive Labs

Sala Dei Laneri
Santa Croce 131, Venezia
10:00—18:00 / Closed on Monday
Map

In every project of Mikayel Ohanjanyan’s plastic elaboration, we always find the attempt to embody ineffability. His sculpture involves and activates opposites: strict exactness vs. shadowy forms, in a very transparent spaciousness, where substance shades off in a light without boundary lines, where invisible shows itself in real things, which reveal invisible changing again just in the moment of its becoming perceptible. Turned and doubled perspectives, intertwined dynamism of an elusive energy, create a lot of virtual dimensions, each of them being the mirror of its “autre”, within bounds and out of bounds, in an endless play between unity and multiplicity.
The charm of the softness, formerly explained in very diverse ways by Melotti’s, Fontana’s and Calder’s sculptures, finds here a different and renewed expression, both conceptual and actual, opening up sensory and symbolic horizons, highly captivating through their strength and poetical power.

Prof. Toni Toniato
Historian and Art Critic

Photo © Andrea Messana / Debora Ferrari


LIMEN #2 2010
Iron, plexiglas, bronze, mirror, motor.
112 x 90 x 90 cm

Biennale di Venezia
12th architecture exhibition
National participations. Armenian Pavilion
August 28—November 21, 2010

Palazzo Zenobio
Collegio Armeno Moorat-Raphael
Fondamenta del Soccorso, Dorsoduro 2596, Venezia
10:00—18:00

Photo © Andrea Messana


LIMEN 2009
Project for an architectural area
Iron, plexiglass, mirror, neon
120 x 80 x 80 cm

TARGETTI LIGH ART FOUNDATION
2010 First Prize

A ladder entirely made of white neon tubes multiplied indefinitely from the game of mirrors placed at its base and at its top. The endless zigzag generated by reflections also involves the observer, whose point of view is halfway up the work, generating a feeling of endless passages and doors. This project is destined for either an urban environment, a courtyard or a roofed square, where the lower mirror (about ø 10 m.) becomes the pavement and the observer finds himself in a dimension without a floor with the “possibility” to climb up or fall down.

Photo © Andrea Messana


SILENZIO 2008-2010
Project for an architectural/urban area

The sculpture project is aimed to redesign an urban or architectural space where the ground and walls of the buildings are decorated graphically with a binary number pattern, creating thereby a space of strong informational impact. The sculptures of different sizes, placed in this elaborated space, are stylized heads or modern men of very pure and refined forms, which at the same time remain a bit archaic. Positioned not only vertically but also horizontally the sculptures could serve as benches for passers-by and create a space for playing. This project enables the observer to be always the major protagonist since it reveals on one side the contradictions between the immensity of contemporary means of communication and solitude and the failure of social communication in large urban areas, and on the other side becomes a space for people to interact.

Photo © KEVO.biz / © Andrea Messana

PUBLICATIONS

Catalog 54th International Art Exhibition
La Biennale di Venezia 2011

ILLUMINATIONS. Collateral Events
Marsilio
By Bice Curiger
pp. 540-541.

Catalog Art and Videogames
Neoludica 2011
Skira
By Debora Ferrari
pp. 214-215.

La Repubblica XL Giugno 2011
I games sono Arte?
By Matteo Bittanti e Debora Ferrari
pp. 157-159.

Catalog 12° International Architecture exhibition
La Biennale di Venezia 2010

People meet in Architecture. Participating Countries
Marsilio
By Kazuyo Sejima
pp. 106-107.