GANDZASAR AT HIGHLAND
Mike Nesbit, 2023
Los Angeles, CA
Supported by the Raffi Shirinian Collection
“The monastic complex of Gandzasar is situated on the heights above and to the south-west of the village Vank’ in the Mardakert district of autonomous region of Artsakh. The monastery lies in the western part of the Khatchen Valley, which it completely dominates. It can be seen from a great distance not only on account of its lofty position but also because of its colour. The monastery is built in the local reddish tufa which with time has become brownish in tone, contrasting it with the dull green background of the mountain forest lying behind it.”
- Murad Hasratian. “The Architecture of the Gandzasar Monastic Complex.” Gandzasar (Documents of Armenian Architecture), edited by Agopik and Armen Manoukian. OEMME Edizioni, 1987, p. 9.
“Uninterrupted cultural activity, aimed mainly at conserving and spreading the national identity, especially during the 17th and 18th centuries, led to the creation of a nation conscience that fostered the establishment of freedom movements and later helped the region attain full independence."
- Bagrat Ulubabian. “A Brief Historical Survey of the (Land of the Wicked Spirits): Caucasian Alvania (Albania), or the Region of Artsakh.” Gandzasar (Documents of Armenian Architecture), edited by Agopik and Armen Manoukian. OEMME Edizioni, 1987, p. 6.
This body of work was inspired and curated throughout the year of 2022 in response to the recent atrocities and war crimes committed by the Turkish-Azerbaijani tandem against the Armenian people beginning in 2020, which continues to this day. These attacks further brought our attention towards the sacred and historical Christian churches throughout the region that were being vandalized and reappropriated into mosques by the insurgents. In order to bring light onto these cultural/historic monuments of Armenian heritage, we became inspired by a recently acquired academic book written by the Faculty of Architecture of the Milan State University in cooperation with the Arts Institute of the Academy of Sciences of the Armenian S.S.R. This book, titled ‘Gandzasar’ (one book within a larger collection of documents on Armenian architecture) addresses the historic achievements of Gandzasar as an “encyclopedia of 13th century Armenian architecture.”
This exhibition not only embodies the historic values of Armenian culture it also carries with it the current events as recent as December 2022, when news broke that the dictatorship of Azerbaijan had blocked the Lachin Corridor, also known as the ‘Road of Life,’ which serves as the main connection between the Republic of Artsakh and Armenia, as well as the rest of the world. This action, which began on December 12th of the previous year, has resulted in the complete isolation of 120,000 Armenians, including 30,000 children, and the separation of families. Specifically, 1,100 Artsakh Armenians, including 270 children, are currently stranded in Armenia and unable to reunite with their loved ones. Due to the blockade of Artsakh, the small republic has been facing shortages of essential medical supplies, food, and fuel, forcing schools to close due to a lack of heating.
Armenian art and culture are identity-forming factors for the self-concept of the Armenian people and it is interwoven within the language/script as well as the Christian religion. Art within Armenian culture has played a central role as it branches to preserve their sense of belonging despite all adversities. This idea translates through the circular ornamental detail (a symbol of the universe) taken from the west elevation of the Gandzasar monastery and used as a central ornamental figure throughout the exhibition's work. The preservation of Armenian art and culture, especially in times of ethnic cleansing and the threat of genocide, is an expression of Armenian resilience. This project/exhibition is dedicated to this historical and still relevant Armenian idea.
The exhibition consists of two bodies of work. The first focuses on the Historic Highland Park Branch Security Trust and Savings Bank where Raffi Shirinian commissioned artist Mike Nesbit to create a series of site-specific screen prints. Nesbit began with a visual survey of the existing site by photographing various ornaments embedded throughout the building’s facade. By collaging the photographs with the original architectural blueprints Nesbit pays homage to the historical context of Highland Park and at the same time represents the building through his own contemporary lens. The final representation takes on a character of its own through his playful choreography of large-scale screen-printing.
It’s from this initial working relationship where Shirinian as collector/developer and Nesbit as artist/architect embrace their appreciation for one another’s vision of initial concept to artistic completion and all the dynamic nuance in-between. And it is through Shirinian’s concerns for the atrocities occurring in Artsakh and Armenia along with his own personal connection to his heritage where Nesbit’s artistic sensibility comes into play by producing a series of work that speaks to the powerful conversations of history, culture, community, and the importance of how a single monastery built in the 13th century near the village of Vank in the Martakert Province can become the center for a devout study and representation of artistic work that speaks directly to the Armenian community.
Mike Nesbit, 2023
Los Angeles, CA
Supported by the Raffi Shirinian Collection
“The monastic complex of Gandzasar is situated on the heights above and to the south-west of the village Vank’ in the Mardakert district of autonomous region of Artsakh. The monastery lies in the western part of the Khatchen Valley, which it completely dominates. It can be seen from a great distance not only on account of its lofty position but also because of its colour. The monastery is built in the local reddish tufa which with time has become brownish in tone, contrasting it with the dull green background of the mountain forest lying behind it.”
- Murad Hasratian. “The Architecture of the Gandzasar Monastic Complex.” Gandzasar (Documents of Armenian Architecture), edited by Agopik and Armen Manoukian. OEMME Edizioni, 1987, p. 9.
“Uninterrupted cultural activity, aimed mainly at conserving and spreading the national identity, especially during the 17th and 18th centuries, led to the creation of a nation conscience that fostered the establishment of freedom movements and later helped the region attain full independence."
- Bagrat Ulubabian. “A Brief Historical Survey of the (Land of the Wicked Spirits): Caucasian Alvania (Albania), or the Region of Artsakh.” Gandzasar (Documents of Armenian Architecture), edited by Agopik and Armen Manoukian. OEMME Edizioni, 1987, p. 6.
This body of work was inspired and curated throughout the year of 2022 in response to the recent atrocities and war crimes committed by the Turkish-Azerbaijani tandem against the Armenian people beginning in 2020, which continues to this day. These attacks further brought our attention towards the sacred and historical Christian churches throughout the region that were being vandalized and reappropriated into mosques by the insurgents. In order to bring light onto these cultural/historic monuments of Armenian heritage, we became inspired by a recently acquired academic book written by the Faculty of Architecture of the Milan State University in cooperation with the Arts Institute of the Academy of Sciences of the Armenian S.S.R. This book, titled ‘Gandzasar’ (one book within a larger collection of documents on Armenian architecture) addresses the historic achievements of Gandzasar as an “encyclopedia of 13th century Armenian architecture.”
This exhibition not only embodies the historic values of Armenian culture it also carries with it the current events as recent as December 2022, when news broke that the dictatorship of Azerbaijan had blocked the Lachin Corridor, also known as the ‘Road of Life,’ which serves as the main connection between the Republic of Artsakh and Armenia, as well as the rest of the world. This action, which began on December 12th of the previous year, has resulted in the complete isolation of 120,000 Armenians, including 30,000 children, and the separation of families. Specifically, 1,100 Artsakh Armenians, including 270 children, are currently stranded in Armenia and unable to reunite with their loved ones. Due to the blockade of Artsakh, the small republic has been facing shortages of essential medical supplies, food, and fuel, forcing schools to close due to a lack of heating.
Armenian art and culture are identity-forming factors for the self-concept of the Armenian people and it is interwoven within the language/script as well as the Christian religion. Art within Armenian culture has played a central role as it branches to preserve their sense of belonging despite all adversities. This idea translates through the circular ornamental detail (a symbol of the universe) taken from the west elevation of the Gandzasar monastery and used as a central ornamental figure throughout the exhibition's work. The preservation of Armenian art and culture, especially in times of ethnic cleansing and the threat of genocide, is an expression of Armenian resilience. This project/exhibition is dedicated to this historical and still relevant Armenian idea.
The exhibition consists of two bodies of work. The first focuses on the Historic Highland Park Branch Security Trust and Savings Bank where Raffi Shirinian commissioned artist Mike Nesbit to create a series of site-specific screen prints. Nesbit began with a visual survey of the existing site by photographing various ornaments embedded throughout the building’s facade. By collaging the photographs with the original architectural blueprints Nesbit pays homage to the historical context of Highland Park and at the same time represents the building through his own contemporary lens. The final representation takes on a character of its own through his playful choreography of large-scale screen-printing.
It’s from this initial working relationship where Shirinian as collector/developer and Nesbit as artist/architect embrace their appreciation for one another’s vision of initial concept to artistic completion and all the dynamic nuance in-between. And it is through Shirinian’s concerns for the atrocities occurring in Artsakh and Armenia along with his own personal connection to his heritage where Nesbit’s artistic sensibility comes into play by producing a series of work that speaks to the powerful conversations of history, culture, community, and the importance of how a single monastery built in the 13th century near the village of Vank in the Martakert Province can become the center for a devout study and representation of artistic work that speaks directly to the Armenian community.
Photos Courtesy of Taiyo Watanabe
The Light of Gandzasar
Video Courtesy of Mike Nesbit
About the Artist:
Mike Nesbit is a fine artist based in Los Angeles. With a background in architecture, his multidisciplinary trajectory greatly informs his artwork, allowing Nesbit to explore areas between art and architecture with a focus on technique, repetition, and representation. Nesbit has participated in solo and group shows throughout the United States. He received a Bachelor of Architecture from the Southern California Institute of Architecture in Los Angeles and played four years of professional baseball with the Seattle Mariners.
www.mikenesbit.com
Mike Nesbit is a fine artist based in Los Angeles. With a background in architecture, his multidisciplinary trajectory greatly informs his artwork, allowing Nesbit to explore areas between art and architecture with a focus on technique, repetition, and representation. Nesbit has participated in solo and group shows throughout the United States. He received a Bachelor of Architecture from the Southern California Institute of Architecture in Los Angeles and played four years of professional baseball with the Seattle Mariners.
www.mikenesbit.com