American «The New York Times» touched upon the activities of «Armenian Center for Contemporary Experimental Art» considering it to be the mainstream home of art in Armenia. In the article it is written that every weekend at the Vernissage Market here, locals and tourists survey handsomely woven Persian rugs, vintage Soviet military medals, samovars, chess sets and intricately carved jewelry boxes. «It’s like a step back in time to a Silk Road bazaar». In contrast, just across the street sits a humble building, in front of which is Yervand Kochar’s towering 1959 sculpture «Melancholy» seemingly serving as a testament to the political and economic crises that have convulsed Armenia since the collapse of Communism in the region nearly a quarter century ago. It housed near the Norar Pordzarakan Arvesti Kentron, or Armenian Center for Contemporary Experimental Art, which hosts exhibits by young, avant-garde artists. The history of the formation of the center, as well as Edward and Sonia Balassanians, who expected resistance, were presented in article too.
«While we believe in academic education, we also promote breaking away from it once study is completed,» Mr. Balassanian said. «Those within certain art circles, namely some artists schooled during the Soviet era and most of the members of the Painters Union of Armenia, still either don’t understand the center’s motives and/or vocally reject its projects».
In 1992 Mrs. Balassanian organized her first contemporary art exhibit in Yerevan.
The center organized an exhibition in 2007 called «Yerevan Crisis»,which focused on social problems.
The article touches upon the Cafesjian Center for the Arts, which holds an extensive collection of contemporary and glass art, as well as works by Marc Chagall and John Altoon. While speaking about the city’s National Art Gallery, it is mentioned that it showcases the third-largest collection of European masters in the former Soviet Union, including works by Rodin, Rubens and Tintoretto.
Source - The New York Times
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