BY UMAR VORONA
Special to Asbarez
It is never black or white. A picture of a young Armenian boy sitting on a spherical object and looking into the future that flickers with hope for peace. In his still eyes there is a memory of deportation, rape, famine and death that broke so many of his ancestors in the past. And still, this young Armenian boy stands up against the danger and builds a better and brighter future for his country.
Yerevan, Armenia—Some strong gusts of wind pick up late autumn leaves and in swirls dance them across the Republic Square. Large city crows are promenading the grounds where only last night the fountains were splashing on the tourists. And only an eager and patient passerby might catch a glimpse of a homesick Mountain Ararat in a tightly covered with clouds November sky. It’s getting colder every day here, the smell of freshly brewed coffee, cigarettes and perfume linger in the air. A team of city workers in orange vests is busy decorating the buildings around the square with holiday lights. Children’s laughter and Armenian music from nearby passing cars fill the square with the holiday mood but also bring hope for a peaceful future for all Armenians around the world.
Last November Yerevan hosted a Photography Festival. Mirzoyan Library and Magnum Photos Cooperative organized the event by inviting photographers to showcase their work dedicated to Armenia. Among many photographers whose work was presented in that exhibition, Patrick Bienert is the one who stood out with his timeless approach to photographing Armenians and their Land. “I am really looking for that timeless feeling that opens a bigger question in my work without indicating a certain date. I am inviting viewers to explore the content without being hung up on certain dates” – said a German artist who studied photography in Munich and currently lives in Paris. He works in fashion and creates photo documentaries focusing on post-Soviet countries like Ukraine, Georgia and most recently Armenia. His work was featured in the New York Times, The Atlantic, Zeit Magazin and his photos have been exhibited in Paris, Tbilisi, London, Geneva, Tunis and Berlin according to the Fondation Louis Vuitton.
The exhibition “Under the Shadow of a Veiled Mountain,” presented at the festival, is a collection of some images that were taken from the book “Armenia” by Patrick Bienert and published by Fondation Louis Vuitton.
“I ended up sending to Louis Vuitton three times larger the number of pictures than it was included in the book. They also edited out some military training in villages,” Bienert said. “They wanted to show the ongoing military conflict, but not so directly. As for me, I would have been more than happy if all the pictures had been included in the book (Armenia) because they all belong to the country.”
The photograph of the Mountain Ararat is there to greet a visitor as they enter a semi dark showroom at the National Gallery. The array of black and white photos is neatly organized along the walls. The harmonious duality of the pattern prevails in the atmosphere but only the chaotically placed colored pictures derail the illusion that everything is black and white.
Bienert always wanted to come to Armenia, he said. Pillars like identity, culture and nostalgia hold the project together and set the artist on a quest of exploration. History, Christianity, genocide and wars will always be visible on the faces of people posing for pictures. According to Bienert, the interesting thing about photography is that one could always show the depth of the layers hidden under many others. Having travelled intensively around the country the decision was made to focus on younger generations. Numerous visits to schools and historic places produced photographs of the younger generation. The past is always visible but now there is a ray of hope that runs across the faces of young people.
The nostalgic image of Armenia represented by a young Armenian boy with eyes full of sadness might seem to be the image that a diaspora of seven million people around the world expects to see in any artwork dedicated to Armenia. And perhaps that puts in question some level of authenticity of the people posing for pictures. Bienert, who applies artistic and documentary approaches to his work, said that it is not the case. Prior to taking any pictures, he travels a lot and gets familiar with historical places. Then Patrick he approaches people on the streets and asks them if he could take pictures of them.
“At the beginning they always say no. They ask me to go to their homes and have some tea first. And only after that they agree to be photographed for the project,” he said.
Bienert doubts the fact that the diaspora really expects to see that image of sad Armenia. According to him it has something to do with a collective memory.
“The mountain Ararat is a symbol of Armenia. It is the means through which all Armenians all over the world are connected to each other,” he said.
Thousands of years of rich culture weaved along with continuous atrocities and oppressions against its people from the outside enemies, brought Armenia today to the crossroads of choosing its own destiny. A new democratic identity is slowly emerging in the mentality of new generations. Many democratic institutions take their first steps in re-directing the population of Armenia towards European values. A still careful presence of LGBTQ+ community in Yerevan is yet to be that tiny step in achieving an additional image for the whole Armenian identity. Photographers, writers, painters and other people connected to arts have an obligation to promote these democratic values into the national identity of Armenia.
“If Armenia sees itself as a developing democratic society, then all the communities should be included in everyday life,” he said. Armenia proper and the diaspora will hopefully accept such inclusive work in the future. Bienert is planning on returning to Armenia to cover oppressed communities there.
“It will make me very sad if Armenians, including the diaspora, will refuse to see their identity in a different light. It is always important to look back to understand one’s history, but it is equally important to listen to younger generations and their views on the future,” he said.
It is never black or white. A young Armenian boy is on the beach pouring sand on himself. His joyful energy breaks through the picture frame and fills the Armenian hearts all over the world with hope for peace. It is a moment of happiness and tranquility that pierces the timeless identity of long-sufferings of a small nation that gave to the world many famous people.
