When cinematographer Rudolf Vatinyan passed away from COVID-related complications in 2020, people eulogized about an exacting professional who had filmed a number of iconic films. No one remembered, however, that Vatinyan had a parallel creative passion.
How a black evening handbag found among countless items in Yerevan’s largest flea market revealed a paradigmatic shift from the egalitarian criteria of Soviet ideology, which accorded functional objects with purely practical properties.
Although performance art has practically disappeared from the contemporary art scene as an autonomous medium, early practitioners had a profound impact in changing perceptions of the body in Armenia’s post-independence culture.