Hrair Sarkissian, “Unexposed”
—2015.01.12
Extracts from the “Armenity” exhibition, 1rst. Armenien pavillion, Venisebiennale 2015, who won the Golden Lion
What is brought to light in images titled “Unexposed” by Hrair Sarkissian isnot only a contrasting interiority felt within the living spaces of Armenians,whom have relocated to Turkey, but also further, the role these spaces play inthe development of identity of their inhabitants. The images, with their strongnarrative complexity, may very well have been taken at the beginning of the20th century during the Armenian genocide from 1915 to 19171 , or equally during the Second World War 2
The Armenians, since the Ottoman regime to ourcontemporary, have existed as a dispossessed group , their gestures and beliefsreduced to nothing by oppressive regimes. Hrair Sarkissian’s work intends to reveal some of the intimacy found within the Armenianminority in Turkey, some of whom dare not even mention their family names,fearful of the fatal consequences of revealing themselves through suchrepression.
In general, the people who seek refuge in these housings are those stemmingfrom the countryside, mostly Eastern Anatolia and small villages, where theirArmenian identities are most stigmatized. Their presence in small communitiesis far more recognizable, as everyone knows everyone, yet moving to largercities assures anonymity, allowing them to recover and reclaim a sense ofcommunity and belonging. At that, since the period of the genocide,families—called the “Cavour”—have had to convert to Islam, in hopes of escapingsome of the repression imposed by the Turkish. As a consequence, those whomhave chosen to are neither accepted by their Armenian companions, nor from theTurkish: “they are never looked at the same way after that,” says the artist.It is significant to understand, within this context, that those who embark ona different identity quest also risk leaving the Islam, only to enter another,even more constrained community, thus putting themselves at an even largerrisk.
The images of Sarkissian demonstrate this process. Hands holding fragile lacetablecloths, as though clutching to the earth that bears their roots. A floralarmchair becomes evocative of bodies ever in search for a wounded past, just asa plinth overflows over time with layers of accumulated paint. The bodies aresuffering, their souls searching for something lost. These are places thatcannot reveal the identities of the people that come to them; silently, entireexistences are played out in these muted interiors. This theatricality isprovoked by the anonymity of the figures depicted, their presence onlysuggested through silhouettes and shadows, an open door, a hand reaching in thedarkness to keep it open. We understand the severity of the scenario, somethingdark and deeply rooted, reinforced by the specific lighting used in theartist’s work. The royal blue hue of both the chairs suggests not only that wefind ourselves in a domestic interior, but one that is also symbolic of therefuge and protection of the setting. Nothing is for granted, and everything remainsin the realm of the unspoken. Only a single group photograph is presented: itstands atop a television frame, delicately placed on a lace doily. Thesehieratic photographs, though never casting a designation over their subjects,utilize the modesty of the apartments in order to reveal the psychologicalmutations, which occur in the liminal spaces between eternally changinglives—lost between situations, cultures and generations.
Cécile Bourne-Farrell, January 12th. 2015
↑ 1
Turkey, the successor state of the Ottoman Empire, denies the word genocide is an accurate term for the mass killings of Armenians that began under Ottoman rule in 1915.[22] It has in recent years been faced with repeated calls to recognize them as genocide. To date, 23 countries have officially recognized the mass killings as genocide. To know more: The Treatment of Armenians in the Ottoman Empire, 1915–1916: Documents Presented to Viscount Grey of Falloden by Viscount James Bryce and Arnold Toynbee, Uncensored Edition. Ara Sarafian (ed.) Princeton, New Jersey: Gomidas Institute, 2000. ISBN 0-9535191-5-5.
↑ 2
After the end of World War I, Genocide survivors tried to return and reclaim their former homes and assets, but were driven out by the Ankara Government.[191] On 13 September 1915, the Ottoman parliament passed the “Temporary Law of Expropriation and Confiscation”, stating that all property, including land, livestock, and homes belonging to Armenians, was to be confiscated by the authorities.
Hrair Sarkissian, “Non exposés”
Hrair Sarkissian, “Unexposed”
—2015.01.12
Ce que nous donne à montrer ce corpus d’images « Unexposed » d’HrairSarkissian, ce n’est pas tant des intérieurs feutrés et contrastés, mais lesendroits privés où les arméniens qui vivent en Turquie se rendent pour retrouverleur identité et partager un peu de leur histoire complexe. Ces images auraientpu être réalisées au début du siècle dernier lors du génocide arméniens de 1915à 19171, qu’il y acinquante ans durant la deuxième guerre mondiale…..Depuis l’empire Ottoman lesarméniens, ont toujours été spoliés2 , réduits à néant dans leurs gestes et croyances. Hrair Sarkissianveut nous montrer ce qui se passe aujourd’hui dans l’intimité de cette minoritéen Turquie qui n’ose même plus prononcer leurs noms de famille tant larépression peut leur être fatale.
Les personnes qui se rendent dans ces lieux domestiques sont en général despersonnes qui viennent de la campagne, d’Anatolie de l’Est issus de petitsvillages où leur appartenance à la communauté arménienne dans ces petitesvilles est le plus souvent stigmatisée. Facilement identifiables là où tout lemonde se connaît, à la grande ville en revanche, ils deviennent anonymes etpeuvent ainsi recouvrir plus facilement leur appartenance à leur communauté.Pour échapper à la répression en Turquie, des familles entières ont du seconvertir à l’Islam. Aujourd’hui, ils redécouvrent leur identité et demandentparfois à retrouver leur religion d’antan. Ces infidèles comme on lesappellent, les « Cavour » et ce depuis le génocide, ont souvent du se convertirà l’Islam. Par conséquent, ces gens ne sont acceptés ni du côté arménien ni ducôté turc, « ils ne sont plus regardés plus de la même façon » dit l’artiste.En effet, ce qu’il faut aussi comprendre, c’est que leur quête identitaire lesamène à quitter la grande communauté musulmane vers une autre plus restreinte,qui les met à risque.
Ces images nous le montrent. Les mains s’accrochent à la table recouvertede dentelle comme à la terre, celle de leurs racines. Les motifs floraux dufauteuil transpirent des corps qui ont cherché leurs passés meurtris, laplinthe déborde des couches de peinture accumulées. Les corps souffrent, lesesprits cherchent. Cet endroit ne peut révéler l’identité des personnes qui y passent,tout y est tu et pourtant c’est là que les existences se jouent. Lathéâtralisation qui émane de ces images est provoquée par l’anonymat desprotagonistes dont on devine les silhouettes ou la présence par cette doubleporte ouverte, un autre, retenue par une main. Il se passe quelque chose degrave, de profond que le dispositif d’éclairage mit en place pour la premièredans la pratique de l’artiste renforce.
Le tissu des deux chaises bleu roi, porte à penser qu’il s’agit bien d’unespace non seulement domestique, mais surtout symbolique, celui du refuge et dela protection. Rien n’est donné, tout reste de l’ordre de l’indicible. Uneseule image collective a été posée, sur le bord de l’écran de télévision, surun napperon fleuri, lui aussi.
Ces photographies hiératiques, sans jamais désigner les personnes, montrentces mutations psychologiques d’un état à un autre, dans le contre-jour de cemodeste appartement, entre deux situations au seuil de vies qui portent cellesdes générations précédentes et à venir.
Cécile Bourne-Farrell, Londres, 12 janvier 2015
↑ 1
Turkey, the successor state of the Ottoman Empire, denies the word genocide is an accurate term for the mass killings of Armenians that began under Ottoman rule in 1915.[22] It has in recent years been faced with repeated calls to recognize them as genocide. To date, 23 countries have officially recognized the mass killings as genocide. To know more: The Treatment of Armenians in the Ottoman Empire, 1915–1916: Documents Presented to Viscount Grey of Falloden by Viscount James Bryce and Arnold Toynbee, Uncensored Edition. Ara Sarafian (ed.) Princeton, New Jersey: Gomidas Institute, 2000. ISBN 0-9535191-5-5.
↑ 2
After the end of World War I, Genocide survivors tried to return and reclaim their former homes and assets, but were driven out by the Ankara Government.[191] On 13 September 1915, the Ottoman parliament passed the « Temporary Law of Expropriation and Confiscation », stating that all property, including land, livestock, and homes belonging to Armenians, was to be confiscated by the authorities.