born in Moscow, 1971


Studied at State University of Arts and Theater in Yerevan, Armenia; University of Arts (UdK Berlin), classes of Prof. Hirsig and Prof. Fußmann, Berlin following him graduated of UdK (1996). In 1997, he made a masterclass diploma degree at Prof. Fußmann. Since 2000 works as freelance artist in Berlin, Moscow and Yerevan He has lectured at State Academy of Arts and Open University, Yerevan, Armenia (2006) and Sommerakademie, University of Arts UdK, Berlin (2007). Co-founded an enterprise in Berlin in 2008. Among his solo show there are: "Pose As A Position" (The Club, Yerevan, 2007); „USTA, has you got some ASTAR?", Prima Center, Berlin (2006); „This Days in 16 Years", Prima Center, Berlin (2005) 2004 „Absolute Borders", with J. Balov at the „Berliner Liste" art fair, Berlin and much more. Of most recent, he has participated to „Voulu / Oblige: outskirts of a small contradiction", at Forte Marghera within 53th Venice Biennial, Venice (2009), „ThisPLACEd: virtual, real, in between" at City Gallery in Tallinn (2008), „Strictly Berlin 2008", GdK, Berlin (2008); „Face To Face Armenia", ACCEA, Yerevan; „INTERNATIONAL", NCCA, Moscow (2005). His works are in the public collections of the Museum of National Art of Sardarabad, Armenia; Museum of Contemporary Art in Skopje, Macedonia; Museum of Contemporary Art in Belgrade, Serbia, and others His grants include DAAD, Germany and Calouste Gulbenkian Foundation, Portugal. Also he curated following projects: „Losgelöst. Unsichbarkeit 12 mal abgetastet" (2009) and „Schatten voraus" (2008), both at, Berlin; „Dez'avju", Open University, Yerevan (2007) and „Nikolaj Nikogossian", Malij Manej, Moscow

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Globe of Armenia (Hajk) is the title of an object that refers back to the basics: to a square, an arc, or a cube. Hajk is a generalized term to name Armenia as cutural community, not certain geographical territory.

Wooden cube is glued over with paper on which one can see Armenia state borders in hypotetical historical perspective. Cube is fixed on bearings and rotates freely while letting us observe all its six sides: various scenarios of the development of Armenia's territorial identity are presented this way. However, the certain history that is represented to us on the cube might be seen a metaphor: national history never happens the way of gradual transformations but policy turnaround; a chain of events one has to react. Thus, watercolor technics ain't chosen accidently. Before the inventions of printing machines, architects used to set color planes the way the would drift lots of layers with paint diluted with water. A slang expression to talk it was tear painting.

The subject of Hajk lies somewhere between rebundancy - as we are given plenty of prognostications made from a point of an engaged thinker who obviously stands for the country's virtual prosperity - and deficiency in positive opportunities of real politics of nowadays. This is why the Hajk's patterns of political development are being pictured a pessimistic ones: whatever happens to Armenia means territory losses as the only strategical tool to save the autonomy. The Pan-Turksih, American and others gameplans of those who reckon on miappropriations.

The point being made is Galentz protest against Armenian lands speculations and territorial pretensions from allover with Hajk representing a certain antiutopia and huge dramaticism.

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artists/archi_galentz.txt · Last modified: 17. 05 2013 16:11:55 (external edit)
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