Eternal YouInteractive performance, luminescent objects and evolving digital image, 2015
Drawing with one's body and seeing the drawing immediately appear on a screen. Synchronization between timeand image is what this installation/performance offers. As a continuum of a work with robots and projected images, "When I woke up the sun had moved", this installation invites the public to take luminescent accessories and to move under the eye of cameras connected to a computer. A computer program reads the data and translates the light traces, in lines and forms visible on screens.The installation Eternal You is an opportunity for all participants to create the image of the movement of their bodies, moving and dancing.
Photography, printed on Dibond aluminum, 45x60 cm, 2015
Automatic writing, visual alphabet, acrylic on canvas, acrylic and ink on paper, 2008-2014
This is the progression of the Marks, started in 2006. The visual writing in this series has become more autonomus and instead of covering a layer of existing painting, it is structured by layers of marks, sometimes bold and sometime more playful and subtle.
Installation in diptych – evolving digital moving image and video, 2011
One person died is an istallation in two parts that addresses human attrocities unpunished and unrecognized; acceptation of the crime being the only way of redemption.
Every day, in the news, a large number of people are declared dead: 50 in an attack, 4000 in a massacre, 1.5 million in a Genocide... These victims are not simple numbers. Each one of them is a unique and valuable being, regardless of his place of origin. One person died is dedicated to each one of these victims, especially those of genocides, be it Rwandan, Kosovar, Khmer, Jewish, Indian or Armenian. The installation offers visitors a moment of reflection on a universal subject that speaks of life and its value.
Video clip of the projection
One person died – evolving digital image, indefinite time, 2011
With the help of an algorithm, the phrase “One person died” repeats itself in different sizes and colors. The configuration changes constantly, but the phrase stays unchanged. A digital counter registers the number of repetition. Once the number reaches 1.5 million, the the counter restarts. 1.5 million is in reference to the number of victimes of the Armenian genocide of the beginning of the 20th century. Programming: Laurent Novac, HE-Arc ingénierie
Puricifation – video, 3’ loop, 2011
Photos of moving robots, 2010
5 DVDs, mobile maquette and a robot, 2007
[...Alina Mnatsakanian, an Iranian with Armenian roots, uses video installation (The Mountain Comes to Me) to speculate what might happen if countries, instead of trading cultural icons or diplomats, would exchange their highest mountains like Switzerland's Mont Blanc for Turkey's Mount Ararat. In her mind such exchanges might dissolve borders and end perennial questions of belonging, and the sense of longing for places that have become more of an inner vision than viable destination of return…] — Daniella Walsh, Art Ltd
Funded by l’Office fédéral de la culture sitemapping/mediaprojects
for traveling exhibitions
ConceptThe mountain that I address in my installation has an important role in my consciousness. Unlike the Swiss mountains, I haven't lived in the vicinity of this mountain, but my origins and my identity are somehow connected to it.
The mountain comes to me"The mountain comes to me" is about mount Ararat, this heroic mountain sitting still in the South East corner of Turkey. This ancient volcanic mountain has a long history of belonging. Armenians are one of the first "hosts" of this mountain, dating back to 3-rd millennium BC. Georgia, Iran, Russia and Turkey took turns in adopting Ararat. Last time Ararat was part of Armenia from 1918 to 1920. One can see mount Ararat through windows of any house in Yerevan, capital of Armenia, but it's just a view and a one sided one. The other side of the mountain can only be seen from Turkey. Borders have moved around Ararat for centuries, with the desire of including this natural icon in the boundaries of different countries.
Besides its long love affair with Armenians, some think of Ararat as the landing ground of the legendary Noah's arc and consider it a holly mountain. So, in a way, Ararat has a universal appeal.
Instead of presenting the romantic/enigmatic view of the mount Ararat, this installation proposes a temporary loan of this holly mountain for a tour of the world, a virtual move with the promise of return to its actual location at the end of the journey of course.
Robotic performance with 9 robots, sound and projected digital moving image, 2011
View a video
We go from one place to another and adapt to the new environment. Movement means life. We move, therefore we are alive. The heart palpitates; it pumps blood to the veins and creates life. We go from one place to another to save or to better our lives.
When I woke up, the sun had moved is an installation in the minimalist spirit, and it's about movement, created by robots. Movement has always interested visual artists and has resulted in a description, such as with futurists, or the mechanical movement, such as with kinetic artists. Minimal and post-minimal sculptors have also dealt with movement, by using fragmentation and repetition of forms in the space. As an evolution towards movement and freedom, post-minimal sculptors proposed free forms and dispersion in the exhibition space, an allusion to movement.
9 small, wheeled robots move around and follow choreography. They dance to the sound of a soundtrack and sometimes interact with each other. They resemble post minimal sculptures, but they move in real time. They create a visual performance to be seen by the viewer, on a purely formal level, where colors and shapes move and create different compositions.
When I woke up the sun had moved, 2011, San Francisco Art Institute