{"id":1848,"date":"2017-01-28T12:00:00","date_gmt":"2017-01-28T08:00:00","guid":{"rendered":"https:\/\/arvestagir.am\/thapharoghn-u-ir-dzaynerov-arkgheh-kam-nostalgia-chunecatci-masin\/"},"modified":"2026-10-21T11:22:43","modified_gmt":"2026-10-21T07:22:43","slug":"thapharoghn-u-ir-dzaynerov-arkgheh-kam-nostalgia-chunecatci-masin","status":"publish","type":"post","link":"https:\/\/arvestagir.am\/en\/thapharoghn-u-ir-dzaynerov-arkgheh-kam-nostalgia-chunecatci-masin\/","title":{"rendered":"The Nomad and his box of sounds. About the Nostalgie for the omitted past"},"content":{"rendered":"<p style=\"text-align: justify;\"><strong>The Nomad and his box of sounds. <\/strong><strong>Or nostalgie towards the omitted past.<\/strong><\/p>\n<p style=\"text-align: justify;\">One of the streets in the South-Western district (which is named\u00a0\u00ab<em>Bangladesh<\/em><em>\u00bb<\/em>\u00a0by\u00a0<em>Yerevan<\/em>\u00a0dwellers ) was flooded by strange sounds. Sounds were flowing between the cosy old buildings, tactlessly glued to each other and the post soviet traces of the recent ideological failures. What was the sound? Not an exact music, not a sound of moaning or else. Anyway, the strange sound was so unusual that it made some inhabitants of the buildings get out of their houses and see what was going on. Even the sharp and cold november weather didn`t stop them. So, where was the noise coming from? \u00abNoisemakers\u00bb. There were three of them the armenian composer and sound artist Vardan Harutyunyan, the musician Michael Voskanyan and the french musician and cultural actor Alexis Paul. The reason of the \u00abnoise\u00bb was one of them. The last one. Alexis Paul is a french musician who works in different genres. He is the founder and the member of several\u00a0 bands \u2013 Bye Horus, Belle Arch\u00e9 Lou, Dianthus<strong>.<\/strong> He has also founded the independent record labels Humanist records, Armures Provisores , and organised an independent music festival Humanist records in Paris . \u00a0He spent the whole previous \u00a02016 year far from his homeland. He traveled through 10 countries to revive a rare instrument which was about to vanish. His visit to Armenia ended up with several projects, which included collaborations with local musicians and artists, among them Leo-Leo, Vardan Harutyunyan, Michael Voskanyan, Loussine Ghoukasyan, e.t.c. That is how Paul worked during all his visits \u2013 he collaborated with locals, worked with different spaces and tried to filter the vibes of the country into \u00a0a specific collective work, which later might have become the result of his poetic wanderings.<\/p>\n<p style=\"text-align: justify;\"><strong>\u00a0<\/strong><strong>What is the Street Organ?<\/strong><\/p>\n<p style=\"text-align: justify;\"><em>The barrel organ is a mobile wind instrument that uses perforated rolls to produce sound.<\/em><em>\u00a0<\/em><em>While combining the technical aspects of liturgical organ music, watchmaking and mechanics, the barrel organ first appeared in the 18th century and was played in the streets by peddlers, beggars or foreigners. Not only does it embody togetherness-turned popular culture, but also music for the masses.<\/em><em>\u00a0<\/em>In the frames of this project the instrument was represented not only as a vanishing relict, but also as a catalisator of social interactions. In each of the visited countries the musician collaborated \u00a0with local artists, musicians, documentalists in order to create a collaborative works- performances, exhibitions, e.t.c. These all helped to bring organ to life by using it as a platform for\u00a0 communication.<\/p>\n<p style=\"text-align: justify;\"><strong>Saudaa Group in Chillie<\/strong><\/p>\n<p><iframe loading=\"lazy\" title=\"Orgue-paysage, Chile\" src=\"https:\/\/player.vimeo.com\/video\/183503821?dnt=1&amp;app_id=122963\" width=\"696\" height=\"319\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p style=\"text-align: justify;\">The musician left his daily routine and the comfort behind taking only 2 things which accompanied him during the whole journey- the forgotten legacy of past- the street organ and his melancholia.<\/p>\n<p style=\"text-align: justify;\"><strong>The prisoner of the black Bile in a<\/strong> <strong>role of emancipated nomad<\/strong><\/p>\n<p style=\"text-align: right;\"><em>My only star is dead,- and my constellated lute<\/em><\/p>\n<p style=\"text-align: right;\"><em>Bears the black Sun of Melancholia<\/em><\/p>\n<p style=\"text-align: right;\"><em>Gerard de Nerval, El Desdichado<\/em><\/p>\n<p style=\"text-align: justify;\"><strong>\u00a0<\/strong>Alexis Paul got inflected with melancholia long time ago, after reading a poem by proto symbolist Gerard de Nevral \u00abEl Desdichado\u00bb. In his words it opened a new world to him and gave a clear idea of how his further life should be. El Desdechado can be translated as \u201cdisinherited\u201d. The project reviving an old street organ is named Street Organ Ritornellos.<\/p>\n<p style=\"text-align: justify;\">Street Organ Ritornellos is the name of the project that belongs to the artistic Sauda\u00e1 Group. Saudaa-is a transliteration of Arabic wordwhich means \u201cblack\u201d. Probably, its stem goes back to \u00a0Portuguese\u00a0 \u201csaudade\u201d, which can be described as \u00a0\u00abhappy melancholia\u00bb. <em>\u00ab<\/em><em>I can describe <\/em><em>\u00a0this <\/em><em>as <\/em><em>an anticipated melancholie, in other words- a happy melancholie\u00bb <\/em><em>(A<\/em><em>lexis <\/em><em>P<\/em><em>aul, <\/em><em>Sauda\u00e1 Group).<\/em> Paul himself tells, that this name is the precise description and combination of \u00a0all his interests and things, that mark his view on life, music, art and human relations.<\/p>\n<p style=\"text-align: justify;\">This name also implies \u00a0the \u00a0feeling of emptiness, melancholia and the specific loneliness as a form of real communication with people- the distance that allows one to love truly, without any borders.<\/p>\n<p style=\"text-align: justify;\">Paul usually likes to connect everything- his art, personal anguishes, memories and impersonal problems together. So a careful look can help to understand the project and see it under different angles.<\/p>\n<p style=\"text-align: justify;\"><strong>\u00a0<a href=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-003.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"The-Nomad-and-his-box-of-sounds-003\" class=\"aligncenter\" height=\"400\" src=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-003.jpg\" width=\"262\"\/><\/a><\/strong><\/p>\n<p style=\"text-align: justify;\"><strong>The art of the personal or Melancholi<\/strong><strong>a <\/strong><strong>as an opportunity for transformation<\/strong><\/p>\n<p style=\"text-align: right;\"><em>\u201cI choose to be melancholic and I want to continue to live <\/em><em>my life <\/em><em>that way \u201d<\/em><\/p>\n<p style=\"text-align: right;\"><em>\u00a0A.<\/em><em>Paul, <\/em><em>Sauda\u00e1 Group<\/em><\/p>\n<p style=\"text-align: justify;\">Melancholia is the most used word, when it comes to Alexis Paul. He often uses it both describing his life and art. Melancholia is a feeling of loss. It`s the primary description, even the freudean version brings to this point. Loss. The irretrievable loss of the Object, which most of people consider to be destructive, but in this article it is viewed as the base, the fuel for construction. But we can remove melancholia from the freudean context of sadness and devastation, leave mr. Freaud smoking his cigar in the balcony and look back to the greek philosophy. In that case we could just see nothing but a bile- simple black bile. The greek philosopher and music theorist Theofrastos belived that black bile was similar to usual biles. Bile stays the same in all cases. It is just a mix of different things in different amounts.\u00a0 But the black bile has also something else. It has the elements of all types. It is the result of the deflagration of all biles. It is the leftover, the remain of their past activity. As a leftover it is able to transform into any type, whenever it needs to. From this point of view we can conclude, that the melancholic as a the black bile carrier is also able to transform in some context, and imitate other characters.<\/p>\n<p style=\"text-align: justify;\">Melancholia works like an open wound- it gathers all energy and devastates the \u00abI\u00bb until its total destruction, burning itself away. From that point the melancholic becomes somebody else- anybody else. By establishing himself as a melancholic Paul from <em>Sauda\u00e1 Group <\/em>\u00a0points out two things<\/p>\n<ul style=\"text-align: justify;\">\n<li>the importance of his personality and his character for this project<\/li>\n<li>the importance of a \u201cmasquerade\u201d factor, of becoming a typical organ player<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><em>\u00abThe organ \u00abeats\u00bb the musician. The musician, his ego disappears<\/em><em>\u2026<\/em><em>\u00bb <\/em>this is how Paul describes the relations between the organ and the musician. As a musician who tries to approach an instrument which practically doesn`t need him, Paul needs to destroy himself. Destroy first as a musician, step out of the institutional form of being a musician, an artist. Probably it is one of the reasons that made him wander for an entire year \u2013 bearing an image of a lonesome nomad and waving around the black flag of his melancholia.<\/p>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-004.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"The-Nomad-and-his-box-of-sounds-004\" class=\"aligncenter\" height=\"261\" src=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-004.jpg\" width=\"400\"\/><\/a><\/p>\n<p style=\"text-align: justify;\"><em>\u201cIt is a very poor music,\u201d<\/em> wrote Charles Loring Brace, the\u00a0 founder of Children\u2019s Aid Society in a\u00a0<a href=\"http:\/\/query.nytimes.com\/mem\/archive-free\/pdf?res=990CE7DC133AE334BC4952DFB4668388649FDE\" target=\"_blank\">sympathetic 1853\u00a0<em>New York Times<\/em>\u00a0article<\/a>\u00a0about the <em>\u201ccolony of Italians\u201d<\/em> living in Five Points at the time, <em>\u201cbut it is the only music some of our neighbors can ever afford to hear.\u201d<\/em><\/p>\n<p style=\"text-align: justify;\">The literature often represented the organ players as people from lower classes, the unprotected\u00a0 sometimes with ill repute. So the instrument, which was marginal and hadn\u2019t been ever considered to be \u201cART\u201d also had marginal players. This also was the reason of \u00a0public denial \u00a0obsessed by thoughts of \u00abhigh ART\u00bb, or, later, \u00abprofessional art\u00bb. Another reason of being hated was the ability of the organ to repeat music, cut it and take it out of its context- \u00a0to the primary space of its existence. One more reason was that those who were responsible for \u201cstealing art from its place\u201d\u00a0 were non musicians, non artist\u2026simple marginals. Isn`t it an enough reason to hate the organ if \u00a0you belive that art is only for the selected ones?<\/p>\n<p style=\"text-align: justify;\">In his \u201cPoetica\u201dAristotel tells<\/p>\n<p style=\"text-align: justify;\">October 29, 2016 that imitation, or replication is the root of every knowledge. People\u00a0 feel the need of replication, and the most specific people, the melancholics, are more apt to it. Melancholic writers, such as Montaigne and Rousseau often address to the problems\u00a0 of replication of image and \u201cdevastated mask\u201d .\u00a0 The \u201cdevastated mask\u201d hides nothing. Emptiness. Just Loss. And Loss, the topic of \u201cparadise lost\u201d is one of the core motives, bases of melancholia.<\/p>\n<p style=\"text-align: justify;\"><em>\u00ab<\/em><em>To introduce me in few words I would simply quote Filliou:<\/em><em><br \/>\n\u201cArt is what makes life more interesting than art\u201d<\/em><\/p>\n<p style=\"text-align: justify;\"><em>More details :<\/em><em><br \/>\nI was born in 1987 in Les Sables D\u2019Olonne, Western France, Atlantic ocean. I grew up near the Alps, (french suburbs of Geneva) and used to live in Paris last 6 years<\/em><em>..<\/em><em>.<\/em><em>\u00bb (A. P.)<\/em><\/p>\n<p style=\"text-align: justify;\">In his introduction letter Paul mentioned two important things- his birthplace and the quote from his favorite artist. The Le Sable d`Olonne was founded\u00a0 in 1218 \u00a0by the french by Savary I de Maul\u00e9on, the Lord of Maul\u00e9on, S\u00e9n\u00e9chal of\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Poitou\">Poitou<\/a>\u00a0and prince of Talmont and also troubadour <strong>. <\/strong>\u00a0From this view, transformation of Paul the cultural actor, the coordinator of art projects and the musician into a romantic nomad becomes something very personal. It leads to a thought, that his nature of a nomad doesn`t come to show only a typical musician of organ, but also to create a communication with his personal past. It is a unique dialogue between Paul and his roots, a hidden\u00a0 secret message from his past to his future. The other important point was the quotation by an artist and action poet Robert Fillou, who belonged to Fluxus- \u00a0an international art movement of 50-es (lat. \u201cto flow\u201d)<\/p>\n<p style=\"text-align: justify;\"><em>\u201cArt is what makes life more interesting than art\u201d<\/em><em>\u00a0<\/em><\/p>\n<p style=\"text-align: justify;\">The quotation itself is quite interesting because it divides life and art, putting art in some other place- better, than life. It pulls art out of the context of everyday life, making it something spectacular and colorful.<\/p>\n<p style=\"text-align: justify;\"><em>\u00a0<\/em><em>\u00ab<\/em><em>\u2026makes life more interesting\u00bb<\/em><em>\u00a0<\/em><\/p>\n<p style=\"text-align: justify;\">This part shows clearly the lack of interest towards life itself, the belief that life can be interesting only with a help of something else. This thought continues by offering to fill life with art. From the melancholic point \u201cemptiness\u201d is a good reason to create an entertainment, an action or a feeling that will be able to fulfill life.<\/p>\n<p style=\"text-align: justify;\">If we think of it as the basic point- that life is empty, then all we can do is to find something to \u201cfulfill it\u201d. This is also what \u201centertainment\u201d industry tends to offer. It also tends to fill the blank spaces\u2026 \u00a0To give an adventure or a love story to the one, who never had it, but in a specific place and in a specific time. Fill the time of the viewer and his day with imitation of emotions and the feeling of empathy. Of course the project and the \u201centertainment industry\u201d have nothing in common, except the belief that life is void and needs to be filled. It is not accidental that a professional musician chose a \u201cnon professional instrument\u201d for his project and for his traveling (or maybe the instrument chose the musician?). The instrument, which always was considered \u201cmarginal\u201d and \u201centertaining\u201d. The last one was always opposed to the \u201c high ART\u201d. This is an experiment to bring art into everyday life with the help of \u201cnot art\u201d and \u00a0make \u201clife more interesting than art\u201d. \u201cNot art\u201d is free from clich\u00e9s, and more human friendly. That is why it has more chances to penetrate into people`s life and fill it with colors that supposedly (for the black bile man) life doesn`t have. If the street organ were a person, he would certainly be a taxi driver, who talks deep things, maybe about \u00a0<em>Deleuze<\/em> and his \u201cproletarian\u201d language paired with the \u201ctraveling \u201d essence of his work \u00a0would help him gain more attention and followers. This project also had an approach close to it. To talk clear, even primitive sometimes \u00a0and to travel. The project tends to stay as simple as possible in order to gain more empathy. As the musician often liked to note, <em>\u201clove creates the bridge but not the knowledge\u201d<\/em>, which shows that his ideas lean more on simple, emotional things, rather than strict conceptual structure the modern art is flooded with.<\/p>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-006.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"The-Nomad-and-his-box-of-sounds-006\" class=\"aligncenter\" height=\"265\" src=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-006.jpg\" width=\"400\"\/><\/a><\/p>\n<p style=\"text-align: justify;\"><strong>The\u00a0 instrument of marginals and the Hight Art<\/strong><\/p>\n<p style=\"text-align: right;\"><em>When the question comes to preservation, the culture prefers only estimated values- the \u201chigh\u201d<\/em><\/p>\n<p style=\"text-align: right;\"><em>Jean Claude Carriere, Umberto Eco, <\/em><\/p>\n<p style=\"text-align: right;\"><em>This is not the End of the Book<\/em><\/p>\n<p style=\"text-align: justify;\">Strange idea- to remind people of a forgotten box, which gathers sounds. \u00a0A box. You`d never describe a\u00a0 musical instrument like that or something, that is considered to be \u201cART\u201d or something, that has a \u201cvalue\u201d. Street organ was always marginal and could continue to be like that even if it would be carved from the ribs of Jesus by Stradivarius himself (pardon my french). If the question would come to preservation of the organ\u2026well, let us say, no one would care. It was always something else- not art\u2026something that belonged to streets. The reason of its \u201cmarginality\u201d was its ill repute of a \u201cnon musical instrument\u201d, a \u201cnon art\u201d, which was played by marginals, \u201cnon artists\u201d. A \u201cnon\u201d creates a wide space to exclude the \u201cART\u201d and its\u00a0 institutional power. The street organ gives everyone an opportunity to \u00abmake music\u00bb, to spin it and that \u00a0is the way it removes the distance between a person and the \u201cART\u201d. It makes \u201cART\u201d something more accessible and\u00a0 achievable. The importance of the organ was the annulment of borders between art and life. It basically took the art out to streets. Of course, this revolutionary cocnept had a flaw- the musicians, who had bad \u00abreputation\u00bb. Their marginality was playing a big role in organ`s destiny and preservation. People who played street organ were mainly emigrants, alcoholics, \u201cnon musicians\u201d \u00a0and outcasts. On the other hand, the instrument itself was considered not musical, so it could be played by anyone. So it allowed anyone to repeat art, transfer art from its original, sacral space. By removing art from sacral spaces, \u00a0and its \u00abhere and now\u00bb \u00a0or the aura it becomes possible \u00a0to deconstruct it, monkey it and, which is the worst,to disinherit art and rid from sacral adoration towards it. Not being an \u201cART\u201d bothers to be recognized and preserved in the pages of history . In Europe, cinema \u00a0was acknowledged \u201cart\u201d only during 20-30-ies and thus only deserved to enjoy the perks of being preserved. These are the flaws, that the artist Paul tries to fill. He doesn`t try to bring the organ to life as a musical instrument only, he tries to preserve the proletarian, the \u00abmarginality\u00bb from vanishing. On the other hand, he uses his personal reputation as a musician and collabrates with professional artists, as a tool to \u00abwash\u00bb the bad reputation off the organ, trying to legitimate its \u00a0existence and its right to be called \u201cmusical\u201d.<em><br \/>\n<a href=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-001.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"The-Nomad-and-his-box-of-sounds-001\" class=\"aligncenter\" height=\"264\" src=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-001.jpg\" width=\"400\"\/><\/a><\/em><\/p>\n<p style=\"text-align: justify;\"><em>I will do my best<\/em><em>,<\/em><em> because it is the blood of proletarians<\/em><em> t<\/em><em>hat flows in me. That is my greatest pride. So, as a poor virtuoso, who plays a machine- trembling and sometimes out of tune, perhaps I am a bit cheesy, who knows??<a href=\"https:\/\/arvestagir.am\/en\/thapharoghn-u-ir-dzaynerov-arkgheh-kam-nostalgia-chunecatci-masin\/#_ftn1\" name=\"_ftnref1\"><strong>[1]<\/strong><\/a><\/em><\/p>\n<p style=\"text-align: justify;\">This is Paul`s note in the official blog of Street Organ Ritornellos project. He accentuates the \u00abproud to be proletarian\u00bb sentence, which can be understood as personal message, but more as a performative bold message of the \u201cdisheritaged\u201d (el desdichado), the \u201cmarginal\u201d addressed to the world of \u201chigh ART\u201d. The message is bold, and strong because it uses the tools of \u201chight art\u201d and is told from the space, where the \u201cART\u201d works, exists.<\/p>\n<p style=\"text-align: justify;\">This is a effort towards saving the \u201clow\u201d the \u201cmarginal\u201d and entertaining in a environment, which still suffers from fake divisions between \u00abhight art\u00bb, \u00abentertaining art\u00bb, between \u00abprofessional\u00bb and \u00abnot professional\u00bb.<\/p>\n<p style=\"text-align: justify;\"><em>\u201cI don`t believe in professional arts. What do you mean by saying professional artist? There is some kind of obsession in my country to become a professional. But it is not necessary to be professional in order to create\u00a0 something influential and beautiful. Art, music and all things in life do not always need to have a reason or meaning to exist. They just either exist or not. If you want to be a professional artist, it means you need to make steps to it. That is a choice \u00a0too, but in my case being professional would change nothing for me\u00bb (A.P.)<\/em><\/p>\n<p style=\"text-align: justify;\"><strong>The Nostalgie for Loss<\/strong><\/p>\n<p style=\"text-align: justify;\">Nostalgie is usually described as\u00a0 yearning towards the past and the deriving\u00a0 negative appreciation of the present<em>. \u00abFrom this point of view nosalgie is opposite to progress. It is a criticism of progress.<\/em><em> The Nostalgic exaggerates all mistakes\u00a0 and sins of progress from the flow in order to verify that no change is good. Nostalgie is like an ethical barrier of progress, it often criticizes progress<\/em> <em>from the ethical point as <\/em><em>Rousseau<\/em> <em>\u00a0once did \u201c <\/em><a href=\"https:\/\/arvestagir.am\/en\/thapharoghn-u-ir-dzaynerov-arkgheh-kam-nostalgia-chunecatci-masin\/#_ftn2\" name=\"_ftnref2\">[2]<\/a> . As a project, which uses past, <em>Street Organ Ritornellos<\/em> is quite daring. It works with a pretty difficult material- the past and the nostalgie. One wrong move, and the whole concept of connecting the past and the present, bringing the street organ back, collaborating with foreign artists will come to a fiasco. It is a large-scale project, which tries not only to reconstruct the memory of the street organ, but also to legitimate its existence as a musical instrument. To make it real and to give something that the organ had lost for so many years-\u00a0 its place in the archives, appreciation as an art instrument and as a result- the gift of being preserved. The Organ is an instrument of the past, forgotten and left behind. Even when using in present it doesn`t let the present penetrate inside it, reversibly, it penetrates into present without even loosing it`s form. In the frames of this project it becomes a past in the present. Paul fills the absence of the organ from archives with the documental references. His documental photo reflections- from the view of a \u201cforeigner\u201d, the \u201cone who penetrates\u201d and the references of local artists from around the world \u2013 the \u201clocals\u201d, \u201cthe insiders\u201d. When representing himself as a \u201cnomad\u201d, a \u201cmarginal\u201d musician with a hole in his sweater, artist Paul doesn`t only play for your interest, make you get more attracted to the organ, or even to use attention in order to fill the archives with documents\u2026but also to question the Disappearance itself. Does\u00a0 the disappearance mean death? Is it absolute? The project leads to a thought, that disappearance is not the end. When something disappears it doesn`t stop its existence. Disappearing is not necessarily death, it is not a form of death. Sometimes it is connected to loss- loss in archive, loss from the sight. When a person, or an object disappears from the \u201call seeing eye\u201d of the archive and pages of filtered history, it doesn`t\u00a0 stop its real existence. It just vanishes for different reasons- waiting \u00a0for a better time or context to reappear again.<\/p>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-002.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"The-Nomad-and-his-box-of-sounds-002\" class=\"aligncenter\" height=\"400\" src=\"https:\/\/arvestagir.am\/wp-content\/uploads\/2017\/01\/The-Nomad-and-his-box-of-sounds-002.jpg\" width=\"262\"\/><\/a><\/p>\n<p style=\"text-align: justify;\"><strong>The nostalgie for Future<\/strong><\/p>\n<p style=\"text-align: right;\">\u00a0<em>Future is not a profession. If future can be predicted, then it is not a future. Future has an amazing<\/em> <em>ability of constantly surprising us.<\/em><em>\u00a0<\/em><\/p>\n<p style=\"text-align: right;\"><em>Jean Claude Carriere, Umberto Eco, <\/em><\/p>\n<p style=\"text-align: right;\"><em>This is not the End of the Book<\/em><\/p>\n<p style=\"text-align: justify;\">Street organ Ritornellos mixes up the present and the past and the future- removing the distance and borders between them, representing death not as an absolute form of disappearance, but as a\u00a0string of melancholic transformations, a play, unique hide-and- seek with the attention of history\u00a0and archives. The project puts nostalgia in a\u00a0place, where it doesn`t become a bothering aspect for adequate valuation of present and of \u00a0progress. At the same time, it doesn`t push the past too far \u2013 wrapping it with sacral layer of inactivity.\u00a0And what about the future? The project\u00a0takes\u00a0it`s\u00a0borders, removing the foggy fear against it\u00a0and\u00a0the aspect of expectancy.\u00a0 The project removes all the borders, leaving only one time- Now. The Now, which at the same time is highly archivated, because archivation is the best way of creating distance between Now and The Object. The eager to preserve the image of The Object\u00a0suggests, that there is a masochistic desire to loose The Object or a fear of loosing it. It all takes us back to the black melancholic hunger of loosing and using the pain of loss as a fuel.<\/p>\n<p style=\"text-align: justify;\">\u00a0<em>What does it mean to archivate the Now? It means simply to put the present moment into the past. But<\/em> <em>in a new form of past. A past which is always present.<\/em><em> (Mark Nichanean \u201cFourth flange of the archive\u201d) <\/em><\/p>\n<p style=\"text-align: justify;\"><strong>The\u00a0 Saudaa group visit to Armenia<\/strong><\/p>\n<p>http:\/\/api.soundcloud.com\/tracks\/295923051<\/p>\n<p style=\"text-align: justify;\">You may find more information about the project in the official web-site streetorganritornellos.com<\/p>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/arvestagir.am\/en\/thapharoghn-u-ir-dzaynerov-arkgheh-kam-nostalgia-chunecatci-masin\/#_ftnref1\" name=\"_ftn1\">[1]<\/a> \u00ab Je ferai de mon mieux, car c\u2019est le sang des prol\u00e9taires qui coulent dans mes veines et tant mieux. C\u2019est ma plus grande fiert\u00e9. Alors, comme \u00ab un pauvre virtuose du pav\u00e9 \u00bb jouant d\u2019une machine tremblante et parfois d\u00e9saccord\u00e9e, suis-je peut-\u00eatre un peu ringard, qui sait ?\u201d,<\/p>\n<p style=\"text-align: justify;\">BANGLADESH YEKEGHETS\u2019I,\u00a0 October 29, 2016 <a href=\"http:\/\/streetorganritornellos.com\" rel=\"nofollow\" target=\"_blank\">http:\/\/streetorganritornellos.com<\/a><\/p>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/arvestagir.am\/en\/thapharoghn-u-ir-dzaynerov-arkgheh-kam-nostalgia-chunecatci-masin\/#_ftnref2\" name=\"_ftn2\">[2]<\/a> \u201cProgressive Nostalgie?\u201d Alexander Ivanov, Moscow Art Magazine, June, 2007<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Nomad and his box of sounds. Or nostalgie towards the omitted past. One of the streets in the South-Western district (which is named \u00abBangladesh\u00bb by Yerevan dwellers ) was flooded by strange sounds. Sounds were flowing between the cosy old buildings, tactlessly glued to each other and the post soviet traces of the recent ideological failures. What was \u2026<\/p>\n","protected":false},"author":13,"featured_media":1079,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[34,44],"tags":[68,209,248,254,275,373],"class_list":["post-1848","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-music","tag-alexis-paul","tag-gilles-deleuze","tag-leo-leo","tag-loussine-ghoukasyan","tag-michael-voskanyan","tag-vardan-harutyunyan"],"_links":{"self":[{"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/posts\/1848","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/comments?post=1848"}],"version-history":[{"count":2,"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/posts\/1848\/revisions"}],"predecessor-version":[{"id":4189,"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/posts\/1848\/revisions\/4189"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/media\/1079"}],"wp:attachment":[{"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/media?parent=1848"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/categories?post=1848"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arvestagir.am\/en\/wp-json\/wp\/v2\/tags?post=1848"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}