Real Utopias

Vardan Azatyan / 2006

If taking into account artistic and technical characteristics, as well as the scale and ambition of Karen Ohanyan’s series Real Utopias (2005-2006), one can claim that they are among the best paintings recently produced in Armenia. This article attempts at a formal- structural and social analysis of this series.

Karen Ohanyan’s “Real Utopias”

Gohar Vardanyan / 2006

From May 5-31, 2006, Karen Ohanyan’s “Real Utopias” exhibition was heldin one of the contemporary art museums called ACCEA (Armenian Center for Contemporary Experimental Art). In the accompanying textof the exhibition the curator and art critic Vardan Azatyan presented the author using the formal-structural and social analysis of his works.


Eva Khachatryan / 2007

The gloomy wall, erected by Karen Ohanyan, arouses several associations. First with symbolism of barrier, obstacle and walls famous in the history of mankind, which have caused revolutions and wars. After this in Ohanyan’s works the wall turns into part of a larger attention to every stone and its specific significance.

Body Investments

Vardan Jaloyan / 2008

Karen Ohanyan’s “Real Utopias” series, created a few years ago, was ranked among the best paintings of the year. [2] I think Ohanyan’s latest series of paintings, “Body Investment”. Also deserves such high praise. It’ s not difficult to find commonalities between these two projects, even if the first is more existential and the second, more political. In “Real Utopias”, the body is viewed as a last “real thing” and as a utopia – the last free creative space. In “Body Investments”, the body is viewed differently; it is an actual space, a battlefield of micropowers.

From Avant-garde to Avant-garde

Elena Aydinyan / 2016

During the 1920’s, the Soviet people were engaged in building a utopia. That utopia seemed to be absolutely feasible. Russian avant-garde was one of the ways to construct a new World. The subsequent periods of Soviet history indicate the failure of the realization of the utopia assumed by the 1920’s. One after another they alienated and washed away its contour.