Armenie ville
Armenie ville is a photo installation and artist's book project conceived originally during my artist's residency at the Cité Internationale des Arts in Paris in 2007, Year of Armenia in France.
The images here submitted, presented as pages of the book in itself, are a selection from a series that depicts over than 40 armenian churches in more than 20 countries in a continuous territorial flow that from Western Europe reaches Armenia in Caucasus. Collected over a period of four years the photos issue from different sources: personal shootings, archives (in Italy, France, Germany, Georgia and Armenia), historical and contemporary authors, research on the web. They highlight the peculiarities of Armenian architecture and the essential nature of its forms remained unchanged for over 1500 years.
Armenie Ville deals with time, memory, migration and heritage of people and forms, aiming also to raise questions within photography and its authorship in itself. As a sort of Warburg’s Atlas of memory each form is reproduced in a different place and in a different time, whereas monument and photography follow here the same path, as they lack a fixed gaze and a definite age.
The images here submitted, presented as pages of the book in itself, are a selection from a series that depicts over than 40 armenian churches in more than 20 countries in a continuous territorial flow that from Western Europe reaches Armenia in Caucasus. Collected over a period of four years the photos issue from different sources: personal shootings, archives (in Italy, France, Germany, Georgia and Armenia), historical and contemporary authors, research on the web. They highlight the peculiarities of Armenian architecture and the essential nature of its forms remained unchanged for over 1500 years.
Armenie Ville deals with time, memory, migration and heritage of people and forms, aiming also to raise questions within photography and its authorship in itself. As a sort of Warburg’s Atlas of memory each form is reproduced in a different place and in a different time, whereas monument and photography follow here the same path, as they lack a fixed gaze and a definite age.
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