16 March, 2016

participants of the discussion – literary critic Siranush Dvoyan and cultural anthropologist Aghasi Tadevosyan 

The participants of the Baghramyan sit-in turned to the help of generalizing forms of the message – slogans, gestures and signs to evaluate this or that incident or the information about the latter, to show their attitude towards the articulated speech, adopted posture or deed of this or that person, to formulate its public demands and to deliver its views to the authorities and the public. Various metonymies, metaphors were created, changes in the word meanings were made which had at their base visual, verbal or phonetic analogies. With their syncretic nature they came to turn the participants into authors of a collective artwork.

Are the social-political or other types of mass movements mandatory conditions for that kind of folkloric production? Can’t poetry and on the other hand the fight for social change and the revolution be born or develop without one another?

How are social movements and creative processes connected together? Are those conditions causative or nevertheless we can consider those movements also a collective creative process, regard the revolution itself an artistic practice. Not because it strives to make the world “better” or “more colorful” but because it gives an opportunity to its players to participate in the creation of a collective social work. Doesn’t being creative necessarily imply invention, that is - exceeding all that was possible before that moment, doesn’t it mean to surpass all the borders known at that moment, think and operate beyond those limits?

Aghasi Tadevosyan is a cultural anthropologist, senior researcher at the Institute of Archaeology and Ethnography, National Academy of Sciences, a lecturer of the Yerevan State University. He teaches “Culture and Politics” and “Cultural Anthropology” Master’s courses in the Department of Cultural Studies and the Chair of Archaeology and Ethnography. His recent publications are on the research of the late-Soviet and post-Soviet everyday life and everyday practices. This problem is presented in the thematic fields of the returning migrants, civil initiatives and protests, gender relationships, modernization of everyday life, everyday life of poverty, everyday Sovietism and its shadow layers, urban everyday life.

Siranush Dvoyan is a literary critic and a lecturer of Comparative Literature at Yerevan State University. She teaches at the American University of Armenia. Since 2011 Dvoyan is the co-editor of www.arteria.am, a magazine for cultural criticism and e-platform. She is the author of numerous articles. Her research interests include the revolutionary articulations in literature that lead to new formations and the new diasporic experiences.


The public program of the project “(Im)potences: Power against Love” has double aim. On the one hand it proposes to analyse the material that lies on the basis of the project, on the other hand - to discuss the problems that emerge from the content layers of the project.

The subject of the project is accordingly the sit-in on the Baghramyan avenue, the media used by the participants during the sit-in, the performative practices adopted from other social revolts (flashmob, mic check, etc.), the photo and video images (showing the gestures and movements) produced, the pronounced words (calls, appeals, foul language), the voiced and written criticism about them. The project in its turn, on the one hand with aestheticization of the feelings of love, solidarity, wistfulness and regret, and on the other hand with ethicalization of the conceptual perceptions of the author of the project about the role of art and the artist, gives an opportunity to discuss the problem of the connection between art and politics in general. For the planned four meetings prominent Armenian media theoreticians, literary critics, cultural critics, art theorist and art critics will be invited who will discuss and will comment on the issues of interest to the art-loving and politically active public.