1993 Armenian Modern Art, Stockholm, Sweden
1993 Armenian Days, Moscow, Russia
1993 Armenian Young Association, Jerusalem, Israel
1994 Armenian Art, «Melnikov Gallery», Haidelberg, Germany
1994 Eternal Armenia, Paris, France
1994 With love from Armenia, Gallery of Natalia Galkina, Sochi, Russia
1994 House of the Composers, Yerevan, Armenia
1994 The New York Geneological Society, New York, USA
1995 Tekeyan Days. Yerevan, Armenia
1995 Drouot Richelieu, Paris, France
1997 Armenian Art Exhibition, «Hilton Gallery», Nicosia, Cyprus
1998 Armenian Art Exhibition in Embassy of France, Yerevan, Armenia
1999 Gallery Saint-Luc, Lyon, France
2001 Galerie d'Orsay, Boston, USA
2002 Galerie d'Orsay, Boston, USA
2003 Galerie d'Orsay, Boston, USA
2003 Inernational Artexpo, New York, USA
2003 «JAF» Culture! Center, Marsel, France
2004 International Artexpo, New York, USA
2005 Progressive Fine Art, Toronto, Canada.

Personal Exhibitions (Solo Exhibitions)

1995 Yerevan, Armenia.
2001 Paris, France.
2003 Teryan 83 "Gallery, Yerevan, Armenia
2004 Arame Art Gallery, Yerevan, Armenia
2006 Arame Art Gallery, Yerevan, Armenia (www.aramegallery.com)
Progressive Fine Art, Toronto, Canada.
International Artexpo, New York, USA.

Catalogues (Catalogs)

Arame Art Gallery (2003, 2004)
International Artexpo New York (2003, 2004)
L'Armenie a Drouot (1994,1995)
Catalogue «Armenia» (www.editprint.am), (2002, 2004).

1968
Vagrich Bahchanyan. Cafe "Blue Bird". Moscow
1973
Vagrich Bakhchanyan. Galerie Charley Chevalier. Paris
1974
Vagrich Bakhchanyan. Galerie Gras, Vienna
Vagrich Bakhchanyan. Galerie Sazenhofen, Salzburg, Austria
1977
Vagrich Bakhchanyan. Galerie Gras, Vienna
Save Time. New York, USA
1979
Agitpunkt (performance). Museum of Modern Art, New York, USA
1982
Vagrich Bakhchanyan. Galerie Micro Hall Center, Edewecht, Germany
2003
Not a day without a line. National Center for Contemporary Art, Moscow
2007
Works and Days. Foundation Era ", Moscow
2008
Picasso - the USSR. Gallery «pop /off /art», Moscow
Group exhibitions
1965
Informal artists and poets. Kharkiv, Ukraine
1974
Progressive Strömungen in Moskau 1957-70. Museum Bochum, Bochum, Germany
1976
La peinture russe contemporaine. Palais des Congres, Paris
1977
New Art from the Soviet Union. Arts Club of Washington, Washington
Exhibition in Favor of the Children of the Soviet Political Prisoners. Parkway Focus Gallery, London

Nonkonformisten aus Moskau. Galerie Stantschev, Dusseldorf, Germany

La nuova arte sovietica: una prospettiva non ufficiale. La Biennale di Venezia, Venice, Italy
1978

Aspetti e documentazione degli artisti non conformisti dell `Union Sovietica. Museo Civico di Lodi, Lodi, Italy

Rassegna sul dissenso culturale nell `Est europio. Scuola Art e Mestiert, Aula Magna Scuola cantonale di Commercio, Aula Magna Municipio, Sala Patriziale, Bellinzona, Switzerland

New Art from the Soviet Union. Pratt Institute Gallery, Colombia; Montgomery Hall, St'Mary College, Maryland, USA

La nuova arte sovietica. Palazzo Reale, Turin, Italy

L'art russe non officiel. Musee des Beaux-Arts de Chartres. Chartres, France

1979

Artists Books. Museum of Modern Art, New York, USA; Centre Georges Pompidou, Paris

20 Jahre unabhongige Kunst aus der Sowjetunion. Museum Bochum, Bochum, Germany

1980

Premiere Biennale des painters russes. Vesinet, Center des arts et loisses, Montgeron, France

Nonconformists. Contemporary Commentary from the Soviet Union. Art Gallery, University of Maryland, Maryland, USA

1981

Russian New Wave. Contemporary Russian Art Center, New York, USA

Nouvelles Tendences de l'Art Russe Non-Officiel. 1970-1980. Centre Culturel de la Villedieu, Elankur, France

16 Bienal de Sao Paulo. Sao Paulo, Brazil

1982 - 1984

Russian Samizdat Art. Franklin Furnace Gallery, New York; Visual Studies Workshop, Rochester; Chappaqua Gallery, Westchester; Washington Project for the Arts, Washington; Ronald Feldman Gallery, New York; Anderson Gallery, Commonwelth University, Richmond; Hewlett Gallery, Carnegy-Mellon University , Pittsburgh; LACE Gallery, Los Angeles, USA

1984

Les Russes au present. Le centre culturel de la Villedieu, Elankur, France

1990-91

Other Art. Moscow 1956-1976. The State Tretyakov Gallery, Moscow, State Russian Museum, Leningrad

1995

Kunst im verborgenen. Nonkonformisten Russland 1957-1995. Wilhelm-Hack-Museum, Ludwigshafen am Rhein; documenta-Halle, Kassel; Staatliches Lindenau-Museum, Altenburg, Germany, Central Exhibition Hall "Manege", Moscow

1996

Nonconformists. Second Russian avant-garde. 1955-1988. The State Russian Museum, St. Petersburg State Tretyakov Gallery, Moscow

1997

History in the faces. 1956-1996. Central Exhibition Hall, Nizhny Novgorod; Regional Art Museum, Samara, Perm Municipal Art Gallery, Perm, Novosibirsk Regional Picture Gallery, Novosibirsk, Ekaterinburg Museum of Fine Arts, Ekaterinburg

1998-2001

Praprintium. Staatsbibliothek, Berlin; Neues Museum Weserburg, Bremen; Museum fuer literatur am Oberrhein, Karlsruhe, Germany; Oesterreichischen Nationalbibliothek, Vienna; Minoritenkloster, Graz, Austria

2000
Non-conformisti dalla Collezione Bar-Gera. Palazzo Forti, Verona, Italy

Cold War /Hot Culture. M. Barrick Museum, Las Vegas, USA

2003

Multiples. Kingsborough College of CUNY, New York, USA

Ortstermin Moskau - 1970 und die Zeit danach. Galerie Sandmann, Berlin

2005
Avantgarde im Untergrund. Russische Nonkonformisten aus der Sammlung Bar-Gera. Kunstmuseum, Bern
New Items. National Center for Contemporary Art, Moscow
Moscow Grafika: Artists' Prints 1961-2005. International Print Center New York. New York, USA
Author's book - 2. National Center for Contemporary Art, Moscow
2006
Artists Against The State: Perestroika Revisited. Ronald Feldman Gallery, New York, USA
Russian Art of the 20th century: Then and Now. Ober Gallery, Kent, USA
2007
Sots Art. The State Tretyakov Gallery, Moscow; La Maison Rouge, Paris
Forbidden Art 2006. Museum and Public Center. A. Sakharov, Moscow
Word and image. National Center for Contemporary Art, Moscow
Adventures of the Black Square. The State Russian Museum, St. Petersburg
Sztuka Buntu. Muzeum Historii Miasta Łodzi, Łódź; Muzeum Regionalne, Radomski, Poland
The fate of the country - the fate of the artist. Seashore State Art Gallery. Vladivostok
Russian America. Seashore State Art Gallery. Vladivostok
2008 +7 (495) ... National Center for Contemporary Art, Moscow
Moscow - New York=Parallel Play. Chelsea Art Museum, New York, USA
Collections
State Tretyakov Gallery, Moscow
The State Russian Museum, St. Petersburg, Russia
National Center for Contemporary Art, Moscow
National Art Museum of Ukraine, Kiev
Paul Getty Museum of Art, Los Angeles, USA
Zimmerli Art Museum, Rutgers Universiry, New Brunswick, USA

A: In the courtyard stood wedgies. In our house lived Germans. Once one of them took me to ride with him in the Wedge-heeled. He stopped on the street Uritskogo near rivers. He sat me down on the roof and asked not to leave. I'm sitting on the tank, a black car drove up. Issued German officer. He said something to his driver, he pulled out from the rear of the circle of sausage. The officer put it on me like a necklace. The driver took a picture. It's amazing: I was not an Aryan appearance. They left. Anti-Semitism I have tried to steal the sausage. And a quirky guy asked me to change - the sausage on the pencils, which I gladly did. Then, of course, got a scolding from the mother.

Q: A post-war era, remember?

A: I remember the salute in honor of the Victory. And a terrible picture. My father took me to Dzerzhinsky Square. A huge area, according to encyclopedias, the largest in Europe. Remember this, the Kharkov Provincial complex, they are very proud of this area. After the war, her spoiled, broken in the center of the garden, put a statue of Lenin, which shows on a public toilet. Well, at that time the square was crowded with all the gallows. Little I realized what was happening, and then read at Ehrenburg, it seems that on the day they hung policemen and traitors. Corpses I have seen before. Even in the occupied Kharkov once hung partisan, I think. Right on the balcony of the house, and shoot it was impossible.

Q: You had a street childhood?

A: Yes. Parents were divorced after the war. The younger sister stayed with her mother and I with my father. The whole day sitting indoors. Then my father got married, I had half-brothers, and all was not up to me. And I began by something as Gavroche. I became acquainted with the thieves of the world.

Q: Your ability to draw a matter of respect for the criminal element?

A: I drew a lot when sitting at home under lock and key. When I began to wander the streets, drawing pushed aside. In general, when such talents are not highly respected in the thug world. You know, I traveled to different subcultures. After school, for example, worked as an assistant mechanic. Quite a different story. Then he served in the army for three years. There was a lot of interesting, the company had gathered from all over the Union: the Balts, Georgians, Armenians, that my "own" did not recognize.

Q: How did you come to, to become an artist? It would seem that there were no signs ...

A: When our house went for demolition because of disrepair, we have moved closer to DC Metalist Kharkiv at the big plant. There were studio. We went with a friend in the art. For me it replaced shoblu from the previous place of residence. And I began to go there before the army and after, too. There was a wonderful teacher Alexei Mikhailovich Shevelev, God rest his soul. He was all neortodoksalen and gave full freedom. Forced to do at home songs, up to the abstract. Then he began to invite people who in 1920 were the pride of Ukrainian avant-garde. So I and other studio members met with the pupil of Malevich Basil Yermilov. He produced a deep impression. One said: "As my friend Tolia Petritsky (a Petritsky also known Ukrainian avant-garde), this sifilik Vrubel!" We were shocked, of course, for us Vrubel was a god. After the army I became better acquainted with Yermilov. He once invited me to her. And there I saw him stuff the 1920's, which, of course, never exhibited, the work "boychukistov" ...

Q: Who are "boychukisty"?

A: There was a group of Ukrainian artists, they were engaged in monumental paintings. Their leader was shot as if for nationalism. Ermilov, incidentally, was lucky with Russian surnames. And so many artists in the Ukraine shot. "Boychukisty" were for the Soviets, not enemies, as Ermilov. He himself has equipped studio in an abandoned attic. I Ermilova I saw things that never were. I then became interested in Khlebnikov, asked about it at Yermilov. "Yes, - said Ermilov - Vitya I knew very well." And lack poem "Ladomir" with his own illustrations. Ermilov showed me the house where Khlebnikov rented a room. He came to Kharkov eat off. When the first years of revolution, Moscow has been starved, Kharkov behaved. Khlebnikov loved the city, walked through the bazaars, wrote down some words. In Kharkov, a lot of his words, which are nowhere to be found. He even has a verse where a footnote to the word "Wipers" - at Kharkov dialect means "thief, bum. Even once we walked with Yermilov, and he shows me a small house: "And here lived Vova. I say: "What Vova?" - "Well, Vova, Tatlin.

Q: What, Tatlin also eat off in Kharkov come?

A: No, he has lived there father. And childhood Tatlin lived in Kharkov, before he became a cabin boy. Last year, before we left for Moscow, Ermilov said to me: "Vagrich, you have a spouse, it seems, is studying English? You can ask her something to translate? "We come, Ermilov gets a folded sheet of paper, unfolds. And there is something обалденное drawn and written in different colors, markers, crayons in Russian, Ukrainian and English. I ask what it is. "This Dodia sent", - says Ermilov. Well, that is, David Burliuk. He was born near Kharkov. I Yermilov told how Burliuk lost an eye. When he lived in his Gilee, drilled a hole in the women's bath and peeping. The women learned about this, and when Burliuk again came, he stuck needles in his eyes.

In: Ermilov you not afraid to show and tell such things?

A: In the same house where he lived Ermilov, a studio of another avant-garde - Boris Kosarev. Also remarkable figure, however, it was reconstructed in the Stalin era, worked as a theatrical artist, even received the Stalin Prize. Kosarev was a very reserved man. He was in his studio would not allow even his own daughter. Well for Ermilova man I was tested. Already occupied drippingom, and Pollock things not seen, and read about it in the newspaper. And in his spare time, worked as a designer when the local club, took a jar of paint and sprayed onto the canvas. However, Ermilov dripping not approved. His favorite artist was Picasso.

Q: In what year did you first abstract work?

A: I was discharged in 1960, then such work came in 1961 somewhere. Another collage I did.

Q: How did you hear about the technique of collage? Also in the newspapers?

A: No, it helped me a lot journal "Poland", which came out in Russian. Actually imagine: at the newsstand next to the whole Soviet greyness, is a beautiful Polish magazine with an abstraction on the cover. So it was, I'm not kidding. And the left - Ogonyok. Contrast impress. About Collage I learned from there.

Q: Who are you showing his abstract work?

About: Friends. Limonov. We were sold on the art of French-language newspaper, whose editor was a friend of the Soviet Union, Louis Aragon. On the last page was a list of Parisian galleries. I asked a friend who knew the French language, write a sample letter asking for information. And they come to my address directories. One of the galleries sent me a letter - please, they say, their belongings. I collected some dozen works on paper. There were things on the grounds of folk embroidery and a few abstractions. I went to Kharkov Glavtelegraf, and gallery they received. They sent me a letter that they want to show them to some international youth exhibition. They added that if I send more work, they will do an exhibition. I again went to Glavtelegraf and collected another parcel. For a long time there was no answer, and then it occurred to me my package back. It is clearly digging. The reason for the return - if a bad wrap. I tried to pass things through the familiar Frenchman who studied in Kharkov. But then joined the KGB. I was hauled in for questioning. It all ended relatively well - fellow court in the workplace. I then designed the workers' club at the same factory. In the hall hung up my things. Invited professor of the Kharkiv Art Institute. He brought slides of Western art. I remember there was a pop-art already: Jasper Johns, Rauschenberg, Liechtenstein. He graduated from the professor's conclusion that this art is deeply hostile to us, and therefore Bahchanyan on the wrong path. We worked at the factory in the main village. They cackle, showed the pictures and slides his fingers and cried: "Oh, Petka, but it's you!" As a result, I was sentenced to rescheduling. Instead of an artist I have caster. A few days later appeared in a local newspaper article about me. I had to leave on their own.

Q: What are some of the early works survived?

A: No, I gave back in Kharkov. I went to work in tusovka with daddy, laid out right in the park on the street. Who liked, he took it.

Q: You came to Moscow in 1967 and began working in the Literary Gazette. You prevented your Kharkov past?

A: Artists of Kharkov Union is constantly writing to Moscow cavil at me. They say that you give the work is not our man. For them, reproduction print of "Soviet culture" was an event, banquets were held. And then some Bahchanyan weekly published in central newspapers.

Q: How did you get into "Literary"?

A: My countryman Anatoly Brusilovsky had connections. He advised me to go to the newspaper and show their collages. They liked me, and I began to work. The atmosphere in the newspaper was good. There was no cronyism, people came from the street. The newspaper published some interesting things: critical articles on the figures of Western art. I remember there was an article about the Dali with excerpts from the diary of Hitchcock. And for the staff arranged a small retrospective of Hitchcock's films in the auditorium, to know what to write about.

Q: underground artists you communicate?

A: Yes, I've been in workshop Kabakov. Once sat and discussed how to exhibit. I asked each to take on one job, go to the Kremlin and get up to that wall, which looks at a river. "Take pictures - I say - that is, and will show". But all refused: provocation, Mol. And then the case of "bulldozer", but I was already in Vienna. So the copyright on the idea of the exhibition under the open sky belongs to me.

Q: Since 1974, the second you live in the United States. Some bright events were in your life in America?

A: In 1979 I decided to do an exhibition on the centenary of the birth of Stalin. Suggested this idea familiar artists. There have been Alexander Kosolapov, Henry Khudyakov. In Moscow, to celebrate this date is not, and we decided to make the exposure. But we were little. Here comes Vitaly Komar, Melamid no more. I invited him to participate. He told me: "My soul, who is interested in America today, Stalin?" Then, Komar and Melamid ArtForum commissioned article on the journal "AZ", just published the first issue with my work. Komar asked me to bring my things. Among them were collages with Lenin and the girl type covers for "Lolita" by Nabokov. Another collage with Stalin. Komar told me that in the magazine they produced a sensation. And then came Melamid, looked at my stuff and said Komar: "Acne, here's what to do!" And the fate of Sots Art was solved. And in general, as soon as I came to the United States, immediately felt ill. And so far I was not very good.

Q: Since you are so heavily in America, do not want to emigrate again?

A: Where? From New York's nowhere to go, just to the moon.

Q: Did you watch the modern Russian art? What do you like?

A: "AES + F, to me they seem interesting. Generally I do not know very well Russian artists.

However, it all started not with the communists and the fascists. When the Germans entered the Kharkov, Vagrichu was four. The officer helped the swarthy boy at the tank. On his neck hung round with smoked sausage. A priceless gift to the hungry Kharkov Vagrich changed to colored pencils. Father Vagricha less fortunate. In his crippled by the Gestapo, and he died after the war, before the age of fifty. Vagrich went to work at the plant, not even finishing the eighth grade. We wanted to buy him at the Brighton Beach matriculation, but Vagrich said that he decided to die half-educated - as Brodsky.

I do not know what Vagrich done in Kharkov, but, knowing his 20 years in New York, I guess, that anything good. Suffice it to say that Limonov, who invented Vagrich nickname Bahchanyan considered mama's boy. Fan Khlebnikov and Kruchenykh, laureate of international competitions cartoonists, a connoisseur of western avant-garde designer red corner of the factory "Piston" - only in our past, all this did not interfere with each other. Or rather - hindered, but not Bahchanyanu. Once Vagrich became visible in the figure, wrote a satirical article about him and fired from work.

Read more:http://samizdat.zaraz.org/thick/muh_...khchanian.html

A: In the courtyard stood wedgies. In our house lived Germans. Once one of them took me to ride with him in the Wedge-heeled. He stopped on the street Uritskogo near rivers. He sat me down on the roof and asked not to leave. I'm sitting on the tank, a black car drove up. Issued German officer. He said something to his driver, he pulled out from the rear of the circle of sausage. The officer put it on me like a necklace. The driver took a picture. It's amazing: I was not an Aryan appearance. They left. Anti-Semitism I have tried to steal the sausage. And a quirky guy asked me to change - the sausage on the pencils, which I gladly did. Then, of course, got a scolding from the mother.

Q: A post-war era, remember?

A: I remember the salute in honor of the Victory. And a terrible picture. My father took me to Dzerzhinsky Square. A huge area, according to encyclopedias, the largest in Europe. Remember this, the Kharkov Provincial complex, they are very proud of this area. After the war, her spoiled, broken in the center of the garden, put a statue of Lenin, which shows on a public toilet. Well, at that time the square was crowded with all the gallows. Little I realized what was happening, and then read at Ehrenburg, it seems that on the day they hung policemen and traitors. Corpses I have seen before. Even in the occupied Kharkov once hung partisan, I think. Right on the balcony of the house, and shoot it was impossible.

Q: You had a street childhood?

A: Yes. Parents were divorced after the war. The younger sister stayed with her mother and I with my father. The whole day sitting indoors. Then my father got married, I had half-brothers, and all was not up to me. And I began by something as Gavroche. I became acquainted with the thieves of the world.

Q: Your ability to draw a matter of respect for the criminal element?

A: I drew a lot when sitting at home under lock and key. When I began to wander the streets, drawing pushed aside. In general, when such talents are not highly respected in the thug world. You know, I traveled to different subcultures. After school, for example, worked as an assistant mechanic. Quite a different story. Then he served in the army for three years. There was a lot of interesting, the company had gathered from all over the Union: the Balts, Georgians, Armenians, that my "own" did not recognize.

Q: How did you come to, to become an artist? It would seem that there were no signs ...

A: When our house went for demolition because of disrepair, we have moved closer to DC Metalist Kharkiv at the big plant. There were studio. We went with a friend in the art. For me it replaced shoblu from the previous place of residence. And I began to go there before the army and after, too. There was a wonderful teacher Alexei Mikhailovich Shevelev, God rest his soul. He was all neortodoksalen and gave full freedom. Forced to do at home songs, up to the abstract. Then he began to invite people who in 1920 were the pride of Ukrainian avant-garde. So I and other studio members met with the pupil of Malevich Basil Yermilov. He produced a deep impression. One said: "As my friend Tolia Petritsky (a Petritsky also known Ukrainian avant-garde), this sifilik Vrubel!" We were shocked, of course, for us Vrubel was a god. After the army I became better acquainted with Yermilov. He once invited me to her. And there I saw him stuff the 1920's, which, of course, never exhibited, the work "boychukistov" ...

Q: Who are "boychukisty"?

A: There was a group of Ukrainian artists, they were engaged in monumental paintings. Their leader was shot as if for nationalism. Ermilov, incidentally, was lucky with Russian surnames. And so many artists in the Ukraine shot. "Boychukisty" were for the Soviets, not enemies, as Ermilov. He himself has equipped studio in an abandoned attic. I Ermilova I saw things that never were. I then became interested in Khlebnikov, asked about it at Yermilov. "Yes, - said Ermilov - Vitya I knew very well." And lack poem "Ladomir" with his own illustrations. Ermilov showed me the house where Khlebnikov rented a room. He came to Kharkov eat off. When the first years of revolution, Moscow has been starved, Kharkov behaved. Khlebnikov loved the city, walked through the bazaars, wrote down some words. In Kharkov, a lot of his words, which are nowhere to be found. He even has a verse where a footnote to the word "Wipers" - at Kharkov dialect means "thief, bum. Even once we walked with Yermilov, and he shows me a small house: "And here lived Vova. I say: "What Vova?" - "Well, Vova, Tatlin.

Q: What, Tatlin also eat off in Kharkov come?

A: No, he has lived there father. And childhood Tatlin lived in Kharkov, before he became a cabin boy. Last year, before we left for Moscow, Ermilov said to me: "Vagrich, you have a spouse, it seems, is studying English? You can ask her something to translate? "We come, Ermilov gets a folded sheet of paper, unfolds. And there is something обалденное drawn and written in different colors, markers, crayons in Russian, Ukrainian and English. I ask what it is. "This Dodia sent", - says Ermilov. Well, that is, David Burliuk. He was born near Kharkov. I Yermilov told how Burliuk lost an eye. When he lived in his Gilee, drilled a hole in the women's bath and peeping. The women learned about this, and when Burliuk again came, he stuck needles in his eyes.

In: Ermilov you not afraid to show and tell such things?

A: In the same house where he lived Ermilov, a studio of another avant-garde - Boris Kosarev. Also remarkable figure, however, it was reconstructed in the Stalin era, worked as a theatrical artist, even received the Stalin Prize. Kosarev was a very reserved man. He was in his studio would not allow even his own daughter. Well for Ermilova man I was tested. Already occupied drippingom, and Pollock things not seen, and read about it in the newspaper. And in his spare time, worked as a designer when the local club, took a jar of paint and sprayed onto the canvas. However, Ermilov dripping not approved. His favorite artist was Picasso.

Q: In what year did you first abstract work?

A: I was discharged in 1960, then such work came in 1961 somewhere. Another collage I did.

Q: How did you hear about the technique of collage? Also in the newspapers?

A: No, it helped me a lot journal "Poland", which came out in Russian. Actually imagine: at the newsstand next to the whole Soviet greyness, is a beautiful Polish magazine with an abstraction on the cover. So it was, I'm not kidding. And the left - Ogonyok. Contrast impress. About Collage I learned from there.

Q: Who are you showing his abstract work?

About: Friends. Limonov. We were sold on the art of French-language newspaper, whose editor was a friend of the Soviet Union, Louis Aragon. On the last page was a list of Parisian galleries. I asked a friend who knew the French language, write a sample letter asking for information. And they come to my address directories. One of the galleries sent me a letter - please, they say, their belongings. I collected some dozen works on paper. There were things on the grounds of folk embroidery and a few abstractions. I went to Kharkov Glavtelegraf, and gallery they received. They sent me a letter that they want to show them to some international youth exhibition. They added that if I send more work, they will do an exhibition. I again went to Glavtelegraf and collected another parcel. For a long time there was no answer, and then it occurred to me my package back. It is clearly digging. The reason for the return - if a bad wrap. I tried to pass things through the familiar Frenchman who studied in Kharkov. But then joined the KGB. I was hauled in for questioning. It all ended relatively well - fellow court in the workplace. I then designed the workers' club at the same factory. In the hall hung up my things. Invited professor of the Kharkiv Art Institute. He brought slides of Western art. I remember there was a pop-art already: Jasper Johns, Rauschenberg, Liechtenstein. He graduated from the professor's conclusion that this art is deeply hostile to us, and therefore Bahchanyan on the wrong path. We worked at the factory in the main village. They cackle, showed the pictures and slides his fingers and cried: "Oh, Petka, but it's you!" As a result, I was sentenced to rescheduling. Instead of an artist I have caster. A few days later appeared in a local newspaper article about me. I had to leave on their own.

Q: What are some of the early works survived?

A: No, I gave back in Kharkov. I went to work in tusovka with daddy, laid out right in the park on the street. Who liked, he took it.

Q: You came to Moscow in 1967 and began working in the Literary Gazette. You prevented your Kharkov past?

A: Artists of Kharkov Union is constantly writing to Moscow cavil at me. They say that you give the work is not our man. For them, reproduction print of "Soviet culture" was an event, banquets were held. And then some Bahchanyan weekly published in central newspapers.

Q: How did you get into "Literary"?

A: My countryman Anatoly Brusilovsky had connections. He advised me to go to the newspaper and show their collages. They liked me, and I began to work. The atmosphere in the newspaper was good. There was no cronyism, people came from the street. The newspaper published some interesting things: critical articles on the figures of Western art. I remember there was an article about the Dali with excerpts from the diary of Hitchcock. And for the staff arranged a small retrospective of Hitchcock's films in the auditorium, to know what to write about.

Q: underground artists you communicate?

A: Yes, I've been in workshop Kabakov. Once sat and discussed how to exhibit. I asked each to take on one job, go to the Kremlin and get up to that wall, which looks at a river. "Take pictures - I say - that is, and will show". But all refused: provocation, Mol. And then the case of "bulldozer", but I was already in Vienna. So the copyright on the idea of the exhibition under the open sky belongs to me.

Q: Since 1974, the second you live in the United States. Some bright events were in your life in America?

A: In 1979 I decided to do an exhibition on the centenary of the birth of Stalin. Suggested this idea familiar artists. There have been Alexander Kosolapov, Henry Khudyakov. In Moscow, to celebrate this date is not, and we decided to make the exposure. But we were little. Here comes Vitaly Komar, Melamid no more. I invited him to participate. He told me: "My soul, who is interested in America today, Stalin?" Then, Komar and Melamid ArtForum commissioned article on the journal "AZ", just published the first issue with my work. Komar asked me to bring my things. Among them were collages with Lenin and the girl type covers for "Lolita" by Nabokov. Another collage with Stalin. Komar told me that in the magazine they produced a sensation. And then came Melamid, looked at my stuff and said Komar: "Acne, here's what to do!" And the fate of Sots Art was solved. And in general, as soon as I came to the United States, immediately felt ill. And so far I was not very good.

Q: Since you are so heavily in America, do not want to emigrate again?

A: Where? From New York's nowhere to go, just to the moon.

Q: Did you watch the modern Russian art? What do you like?

A: "AES + F, to me they seem interesting. Generally I do not know very well Russian artists.

However, it all started not with the communists and the fascists. When the Germans entered the Kharkov, Vagrichu was four. The officer helped the swarthy boy at the tank. On his neck hung round with smoked sausage. A priceless gift to the hungry Kharkov Vagrich changed to colored pencils. Father Vagricha less fortunate. In his crippled by the Gestapo, and he died after the war, before the age of fifty. Vagrich went to work at the plant, not even finishing the eighth grade. We wanted to buy him at the Brighton Beach matriculation, but Vagrich said that he decided to die half-educated - as Brodsky.

I do not know what Vagrich done in Kharkov, but, knowing his 20 years in New York, I guess, that anything good. Suffice it to say that Limonov, who invented Vagrich nickname Bahchanyan considered mama's boy. Fan Khlebnikov and Kruchenykh, laureate of international competitions cartoonists, a connoisseur of western avant-garde designer red corner of the factory "Piston" - only in our past, all this did not interfere with each other. Or rather - hindered, but not Bahchanyanu. Once Vagrich became visible in the figure, wrote a satirical article about him and fired from work.

Read more:http://samizdat.zaraz.org/thick/muh_...khchanian.html

Born in 1961, Yerevan, Armenia
1978-1982 Studied at the Panos Terlemezian Arts College
1984-1990 Studied at the Yerevan Academy of Fine Arts
2001 Member of Union of Artists of Armenia
Collective Exhibitions
1987 Armenian Artists Union, Yerevan, Armenia

1993 Independent Art Exhibition "Grand Palace" Paris, France

1998 Armenian Colors Schleicher, Germany

2001 Modern Art Museum Yerevan, Armenia

2003 "Romantic Realism" at Arame Art Gallery, Yerevan, Armenia

2004 "Still-life" at Arame Art Gallery, Yerevan, Armenia

2007 "Dreamscape Exhibition", The Netherlands

Personal Exhibitions
1993 Gallery Mouvance Paris, France
1996 Gallery Mouvance Paris, France
2000 Gallery Mouvance Paris, France
2001 Modern Art Museum Yerevan, Armenia
2002 Gallery Mouvance Paris, France
2003 International Artexpo New York, USA
2004 Gallery Mouvance, Paris, France
2005 Gallery Mouvance, Paris, France
2006 Gallery Bel-Air Fine Ar, Geneva, Switzerland
2007 Venus and the Female Intuition, Denmark, The Netherlands, France

Universe Sarkis Amalbashyana many faces. It found its place as the ancient architectural monuments, the ancient square, luxurious palaces, and curves Armenian courtyards, streets and ramshackle houses of Gyumri. Knights in iron armor, and refined society ladies standing next to the crocodiles, fish, cows, and over the crucifixion of Christ in the air hover fighters. And the author's skill lies in the fact that he was able to connect on his canvases, seemingly incongruous things. Images of East and West, religious and genre scenes, great and small, beautiful and ugly - like the real world are all co-exist in harmony and full communion. Thus, in the 2005 film "Space" on a pig flying angel, and a number of hang a great many men of very different ranks and professions, and in spite of this confusion of figures and images in the picture there is no randomness.

Born Sarkis Amalbashyan in Gyumri in 1953. This city gave Armenia and the world many talented artists. It is not surprising - after all Gyumri - a city with a unique national coloring and rich historical past. The future artist was born in a family that had no relation to painting. Moreover, parents and family were totally against the chosen son of the profession - they believed to be an artist undignified.

Streets and scenes seen in his native Gyumri, appear constantly in the works of the author. One of the brightest and most frequently recurring images in the paintings of the painter - hanging on the ropes a cow (painting "Meat Market", 1992) - also linked to memories of the city. Once on the streets then Leninakan artist saw a truck with the carcasses of cows, which was carried on a meat processing plant. One carcass was dropped from the back of the truck, and with the help of a crane tried to hoist into place. Scene Amalbashyana so shocked that he created 22 version of what he saw the spectacle. And all these pictures are now in different parts of the world.

After studying with the 1969-th to 1971 th years in art school of Gyumri, in 1971, the future artist goes to art school named after P. Terlemezian in Yerevan. Already in the years of study at the school the young artist began to think about moving to Yerevan - in fact it is here in the capital have focused the best creative forces in the country. The tragic earthquake of 1988 only accelerated the decision long ago decided to move to Yerevan.

New works by the author were exhibited in the same 1988 in Moscow as part of a group exhibition "Young Artists of the USSR. The first personal exhibition Sarkis Amalbashyana held in 1992 in London at the gallery "New Academy". This was followed by exhibition in Paris in the gallery «La Hune» in 1996.
Each year the popularity grew, and the master became convinced that it was on the right track. Doing things you love and be rewarded for it. This, according to Amalbashyana, and there is a real miracle.
     Sarkis Amalbashyan developed his own unique style. He did not "trailer". It calls itself the master of those artists that are sure to follow someone, in other words, emulate someone whose work is selling well. Himself the author considered to be artists "wrong," does not always do what they need, risks and always ready to failure. However, the picture is of painters, according Amalbashyana, reciprocate the love of the author.
Where not only exhibited the artist - the U.S., Russia, Cyprus, Portugal, Germany, France, Great Britain, Switzerland - and from exhibitions in Armenia for a long time refused. Believe that the time was not ripe. And so until 2006, when, and held the first major solo exhibition of his works at the National Gallery. Rodina has always had special significance for the artist, and his paintings, we will always recognize the Armenian colors and images.

Sarkis Amalbashyan can work on several paintings, ten and even fifteen - simultaneously. So can fly months, until these canvases will be completed. To complete the picture, the master - is one in which is embedded right amount of energy and strength. And in the artist's studio, located on the fifth floor of the Yerevan home of Soviet times, is the binoculars. And often the master of the window looking at the streets, homes, ranging over the bottom of the passers-by. Images and scenes for future paintings, he draws it from here - from the tragicomedy of human life. The artist seeks to reflect, as he himself says, "substantial uniformity of human experience" - passion, greed, beauty, hope, vanity - that for centuries accompanied the man.
Creativity Sarkis Amalbashyana specific and beyond the traditional concepts of painting. And this applies both to the style of the author and the content of his work. Some critics point to the artist's works influence of the Armenian medieval miniatures, Russian icons, the new Russian avant-garde and Byzantine art, free from the laws of perspective. Strong impression on the audience always produce eye-catching color pictures of the author. That is - bright, full and intense, the artist sees the world around us. Amalbashyan never tried to analyze their drawings. Have you ever tried to understand why these colors, these and other images are not so frequently in his paintings.
"Sarian said:" Where the mind is reached, dies creativity. I do not know why often draw angels, why depict people, though composed of large cells, why my paintings a lot of animals. I just paint. Just know that it's necessary, because - well. Not my business to understand.

Subjects paintings Amalbashyana varied, as indicated by their own names: "The Last Supper" in 1999, "Prodigal Son" 2001, "Yerevan Cafe" 2005, "Trolley" 2005, "Duration of grasshoppers in a red space" 2002 " Letter from my childhood, "2000. And although each of the paintings of the author differs meticulous compositions, this does not prevent him to improvise and each time hitting the viewer. Important place in the paintings Amalbashyana engage in religious symbolism. On his canvases often found images of angels, fish, lambs. Sometimes the religious theme is stated in the names of the paintings themselves: "Sunday forgiveness" 2005, "Communion" 1997, "The Last Supper" 1999 "First Advent" 1990, "We have found the Messiah" in 2000, "Prodigal Son" in 2001, and others .

A special place in the work Amalbashyana given to the animals - in many of his paintings you can see the various shapes of animals. Often, images of animals reduced to mere skeleton, skeleton, bones or pieces of flesh. Often the image of the animal is given a symbolic meaning: the fish may simply be a fish, like in the movie "the pool" - in 2001, and sometimes the image may be a purely religious meaning - "Courtship" 2004, "The Fifth visit" 1990 year, "Mirror" of 1993.

"I include in my work a lot of pictures of animals. Dogs and horses to be domesticated and used in everyday life, as well as such as fish, which are more have a symbolic meaning, and more like the locust or cicada, which prevent people and represent him to the risk, "- explains the author.

The Art of Sarkis Amalbashyana, without a doubt - one of the brightest pages of not only Armenian, but also the world of modern painting. Best svidetelsto that artist's work appreciated - the fact that the pictures Amalbashyana became an ornament of the best private collections throughout the world.

And, despite the assertion that being an artist - a vocation, the author believes that it is - a profession. Profession, which require absolute sincerity, profession, which itself selects or rejects the artist.

Ani Abrahamyan
-------------------------------------------------- ----------------
Born in 1956, Gyumri, Armenia
  
1969 Studies at the School of Fine Arts, Gyumri, Armenia.
1975 Graduates from Panos Terlemezian Fine Art College, Yerevan, Armenia.
  
Collective Exhibitions
  
1988 Young Artists of USSR Moscow, Russia
1989 Artists and Work of Art Helsinki, Finland
1990 Contemporary Art from Armenia
        New Academy Gallery London, UK
1990 Modern Soviet Painting, Galleria da Praca Lisabon, Portugal
1990 Young Soviet Artists Kassel, Germany
1991 Group Exhibition at theArtist's House Yerevan, Armenia
1992 Contemporary Armenian Artists, Gallery Vision Kassel, Germany
1992 Armenian Post-Modernism Moscow, Russia
1992 Exhibition at the Gallery Express Avant-Garde Moscow, Russia
1993 Four Contemporary Armenia Artists, Gloria Gallery Nicosia, Cyprus
1993 Beyond Idiom-Contemporary Crossover Art
        in Armenia, Amenrican University of Armenia Yerevan, Armenia
1994 Personal Icon, Gallery Ex-Voto Yerevan, Armenia
1994 Contemporary Art of Armenia, Columined
        House of Unions Moscow, Russia
1994 Yerevan Landscape, Gallery Ex-Voto Yerevan, Armenia
1995 Armenia: The Rediscovery of a Land of Ancient
        Culture at Bochum Museum Bochum, Germany
1995 Stream of Fire, European Cultural Month Nicosia, Cyprus
1995 Contemporary Art from Armenia 80-95,
        Central House of Artists Moscow, Russia
1995 Artists of Armenia and the Diaspora
        Cite des Beaux Arts Paris, France
1996 The Arsenal Metz, France
1996 Palais de Justice Poitiers, France
1996 6th Arrondissement Municipal Gallery Paris, France
1997 Works on Paper, Charlie Khatchatrian Gallery Yerevan, Armenia
1997 London Contemporary Art Fair London, UK
1998 International Artexpo New York, USA
1998 Dreams and Visions Chicago, USA
1998 First International Biennial Gyumri, Armenia
1999 With Many Voices Fourth Presbyterian Church Chicago, USA
1999 On the Eve of the 21st Century, Artists House Yerevan, Armenia
1999 Three Tendencies, Hieart Center Yerevan, Armenia
2000 Second International Biennial Gyumri, Armenia
2000 International Exhibition Third Millennium Figures
        Of the Future, at the Pontifical Council for Culture Vatican
2001 Contemporary Armenian Art, National
        Gallery of Armenia Yerevan, Armenia
2002 Art of Nations Moscow, Russia
2004 International Artexpo New York, USA
2004 Fourth International Biennial Gyumri, Armenia
2004 Still-life at Arame Art Gallery Yerevan, Armenia
  
One Man Exhibitions
  
1992 New Academy Gallery London, UK
1996 Galerie La Hune Paris, France
1997 AUX Gallery Yerevan, Armenia
1999 13 Ayios Kassianos Nicosia, Cyprus
2001 Die Galerie Bodenschatz Basel, Switzerland
2002 Vicki Hovhannisyan, Contemporary Art Gallery Chicago
2002 Melina Mercury Hall Nicosia, Cyprus
  
Public Collections
  
National Gallery of Armenia
Museum of Modern Art Yerevan, Armenia
The Peren's Collecion Los Angeles, USA
Cultural Fund of USSR and the Republic of Armenia
Ministry of Culture Yerevan, Armenia
Royal Gallery of GordonGaffeschian Collection Washington DC, USA

Universe Sarkis Amalbashyana many faces. It found its place as the ancient architectural monuments, the ancient square, luxurious palaces, and curves Armenian courtyards, streets and ramshackle houses of Gyumri. Knights in iron armor, and refined society ladies standing next to the crocodiles, fish, cows, and over the crucifixion of Christ in the air hover fighters. And the author's skill lies in the fact that he was able to connect on his canvases, seemingly incongruous things. Images of East and West, religious and genre scenes, great and small, beautiful and ugly - like the real world are all co-exist in harmony and full communion. Thus, in the 2005 film "Space" on a pig flying angel, and a number of hang a great many men of very different ranks and professions, and in spite of this confusion of figures and images in the picture there is no randomness.

Born Sarkis Amalbashyan in Gyumri in 1953. This city gave Armenia and the world many talented artists. It is not surprising - after all Gyumri - a city with a unique national coloring and rich historical past. The future artist was born in a family that had no relation to painting. Moreover, parents and family were totally against the chosen son of the profession - they believed to be an artist undignified.

Streets and scenes seen in his native Gyumri, appear constantly in the works of the author. One of the brightest and most frequently recurring images in the paintings of the painter - hanging on the ropes a cow (painting "Meat Market", 1992) - also linked to memories of the city. Once on the streets then Leninakan artist saw a truck with the carcasses of cows, which was carried on a meat processing plant. One carcass was dropped from the back of the truck, and with the help of a crane tried to hoist into place. Scene Amalbashyana so shocked that he created 22 version of what he saw the spectacle. And all these pictures are now in different parts of the world.

After studying with the 1969-th to 1971 th years in art school of Gyumri, in 1971, the future artist goes to art school named after P. Terlemezian in Yerevan. Already in the years of study at the school the young artist began to think about moving to Yerevan - in fact it is here in the capital have focused the best creative forces in the country. The tragic earthquake of 1988 only accelerated the decision long ago decided to move to Yerevan.

New works by the author were exhibited in the same 1988 in Moscow as part of a group exhibition "Young Artists of the USSR. The first personal exhibition Sarkis Amalbashyana held in 1992 in London at the gallery "New Academy". This was followed by exhibition in Paris in the gallery «La Hune» in 1996.
Each year the popularity grew, and the master became convinced that it was on the right track. Doing things you love and be rewarded for it. This, according to Amalbashyana, and there is a real miracle.
     Sarkis Amalbashyan developed his own unique style. He did not "trailer". It calls itself the master of those artists that are sure to follow someone, in other words, emulate someone whose work is selling well. Himself the author considered to be artists "wrong," does not always do what they need, risks and always ready to failure. However, the picture is of painters, according Amalbashyana, reciprocate the love of the author.
Where not only exhibited the artist - the U.S., Russia, Cyprus, Portugal, Germany, France, Great Britain, Switzerland - and from exhibitions in Armenia for a long time refused. Believe that the time was not ripe. And so until 2006, when, and held the first major solo exhibition of his works at the National Gallery. Rodina has always had special significance for the artist, and his paintings, we will always recognize the Armenian colors and images.

Sarkis Amalbashyan can work on several paintings, ten and even fifteen - simultaneously. So can fly months, until these canvases will be completed. To complete the picture, the master - is one in which is embedded right amount of energy and strength. And in the artist's studio, located on the fifth floor of the Yerevan home of Soviet times, is the binoculars. And often the master of the window looking at the streets, homes, ranging over the bottom of the passers-by. Images and scenes for future paintings, he draws it from here - from the tragicomedy of human life. The artist seeks to reflect, as he himself says, "substantial uniformity of human experience" - passion, greed, beauty, hope, vanity - that for centuries accompanied the man.
Creativity Sarkis Amalbashyana specific and beyond the traditional concepts of painting. And this applies both to the style of the author and the content of his work. Some critics point to the artist's works influence of the Armenian medieval miniatures, Russian icons, the new Russian avant-garde and Byzantine art, free from the laws of perspective. Strong impression on the audience always produce eye-catching color pictures of the author. That is - bright, full and intense, the artist sees the world around us. Amalbashyan never tried to analyze their drawings. Have you ever tried to understand why these colors, these and other images are not so frequently in his paintings.
"Sarian said:" Where the mind is reached, dies creativity. I do not know why often draw angels, why depict people, though composed of large cells, why my paintings a lot of animals. I just paint. Just know that it's necessary, because - well. Not my business to understand.

Subjects paintings Amalbashyana varied, as indicated by their own names: "The Last Supper" in 1999, "Prodigal Son" 2001, "Yerevan Cafe" 2005, "Trolley" 2005, "Duration of grasshoppers in a red space" 2002 " Letter from my childhood, "2000. And although each of the paintings of the author differs meticulous compositions, this does not prevent him to improvise and each time hitting the viewer. Important place in the paintings Amalbashyana engage in religious symbolism. On his canvases often found images of angels, fish, lambs. Sometimes the religious theme is stated in the names of the paintings themselves: "Sunday forgiveness" 2005, "Communion" 1997, "The Last Supper" 1999 "First Advent" 1990, "We have found the Messiah" in 2000, "Prodigal Son" in 2001, and others .

A special place in the work Amalbashyana given to the animals - in many of his paintings you can see the various shapes of animals. Often, images of animals reduced to mere skeleton, skeleton, bones or pieces of flesh. Often the image of the animal is given a symbolic meaning: the fish may simply be a fish, like in the movie "the pool" - in 2001, and sometimes the image may be a purely religious meaning - "Courtship" 2004, "The Fifth visit" 1990 year, "Mirror" of 1993.

"I include in my work a lot of pictures of animals. Dogs and horses to be domesticated and used in everyday life, as well as such as fish, which are more have a symbolic meaning, and more like the locust or cicada, which prevent people and represent him to the risk, "- explains the author.

The Art of Sarkis Amalbashyana, without a doubt - one of the brightest pages of not only Armenian, but also the world of modern painting. Best svidetelsto that artist's work appreciated - the fact that the pictures Amalbashyana became an ornament of the best private collections throughout the world.

And, despite the assertion that being an artist - a vocation, the author believes that it is - a profession. Profession, which require absolute sincerity, profession, which itself selects or rejects the artist.

Ani Abrahamyan
-------------------------------------------------- ----------------
Born in 1956, Gyumri, Armenia
  
1969 Studies at the School of Fine Arts, Gyumri, Armenia.
1975 Graduates from Panos Terlemezian Fine Art College, Yerevan, Armenia.
  
Collective Exhibitions
  
1988 Young Artists of USSR Moscow, Russia
1989 Artists and Work of Art Helsinki, Finland
1990 Contemporary Art from Armenia
        New Academy Gallery London, UK
1990 Modern Soviet Painting, Galleria da Praca Lisabon, Portugal
1990 Young Soviet Artists Kassel, Germany
1991 Group Exhibition at theArtist's House Yerevan, Armenia
1992 Contemporary Armenian Artists, Gallery Vision Kassel, Germany
1992 Armenian Post-Modernism Moscow, Russia
1992 Exhibition at the Gallery Express Avant-Garde Moscow, Russia
1993 Four Contemporary Armenia Artists, Gloria Gallery Nicosia, Cyprus
1993 Beyond Idiom-Contemporary Crossover Art
        in Armenia, Amenrican University of Armenia Yerevan, Armenia
1994 Personal Icon, Gallery Ex-Voto Yerevan, Armenia
1994 Contemporary Art of Armenia, Columined
        House of Unions Moscow, Russia
1994 Yerevan Landscape, Gallery Ex-Voto Yerevan, Armenia
1995 Armenia: The Rediscovery of a Land of Ancient
        Culture at Bochum Museum Bochum, Germany
1995 Stream of Fire, European Cultural Month Nicosia, Cyprus
1995 Contemporary Art from Armenia 80-95,
        Central House of Artists Moscow, Russia
1995 Artists of Armenia and the Diaspora
        Cite des Beaux Arts Paris, France
1996 The Arsenal Metz, France
1996 Palais de Justice Poitiers, France
1996 6th Arrondissement Municipal Gallery Paris, France
1997 Works on Paper, Charlie Khatchatrian Gallery Yerevan, Armenia
1997 London Contemporary Art Fair London, UK
1998 International Artexpo New York, USA
1998 Dreams and Visions Chicago, USA
1998 First International Biennial Gyumri, Armenia
1999 With Many Voices Fourth Presbyterian Church Chicago, USA
1999 On the Eve of the 21st Century, Artists House Yerevan, Armenia
1999 Three Tendencies, Hieart Center Yerevan, Armenia
2000 Second International Biennial Gyumri, Armenia
2000 International Exhibition Third Millennium Figures
        Of the Future, at the Pontifical Council for Culture Vatican
2001 Contemporary Armenian Art, National
        Gallery of Armenia Yerevan, Armenia
2002 Art of Nations Moscow, Russia
2004 International Artexpo New York, USA
2004 Fourth International Biennial Gyumri, Armenia
2004 Still-life at Arame Art Gallery Yerevan, Armenia
  
One Man Exhibitions
  
1992 New Academy Gallery London, UK
1996 Galerie La Hune Paris, France
1997 AUX Gallery Yerevan, Armenia
1999 13 Ayios Kassianos Nicosia, Cyprus
2001 Die Galerie Bodenschatz Basel, Switzerland
2002 Vicki Hovhannisyan, Contemporary Art Gallery Chicago
2002 Melina Mercury Hall Nicosia, Cyprus
  
Public Collections
  
National Gallery of Armenia
Museum of Modern Art Yerevan, Armenia
The Peren's Collecion Los Angeles, USA
Cultural Fund of USSR and the Republic of Armenia
Ministry of Culture Yerevan, Armenia
Royal Gallery of GordonGaffeschian Collection Washington DC, USA

The main features underscore the creative artist - a bright colouristic saturation, complex texture, harmonious Laid composition. For all the variety of genres (Grigorian wrote and landscapes and still lifes and nude model, and genre paintings) are especially good at portraits of female artist. More than 50 works by Yuri Grigoryan are in the collections of public museums and galleries in Russia and countries of the former Soviet Union, including the State Tretyakov Gallery, the Museum of Oriental Art, the Museum of Contemporary Art in Moscow, the National Gallery of Armenia, etc.

Considerable number of works by Yuri Grigoryan are well-known art galleries in different countries - Gallery G. Basmadzhana Actuel (France), Nicolay & Son (Germany), Show Office Montreal (Canada), New Generation Cultural Society (Australia) Roy Miles Gallery (England), Museum of Schnittke (Germany), Museum of Bernd-Artin Wessels (Germany), Moscow Museum of Denver (USA) as well as in many corporate and private (such as Mikhail Gorbachev, Al Gore and others) collections in Moscow, St. Petersburg, Arkhangelsk, Sochi and abroad - in Croatia, Germany, USA, France, Italy, Canada, Turkey, Montenegro, Great Britain, Australia, Japan, China, Thailand, South Korea. Creativity Yuri Grigorian devoted two monographs, although full bibliographic list includes more than 40 titles. Among the authors - leading art critics and journalists of the country, and writers. And the family archive of the artist kept a written confession to be sympathetic to his works of Aram Khachaturian, Yuri Dombrowski, Andrei Dementiev. As before, most recently Yu Grigoryan is active exhibition activities, successfully participating in international auctions.

In August 2006, awarded the title of "Honored Artist of Russia" presidential decree.


Works of artist Yuri Grigorian stored in:
• State Tretyakov Gallery;
• State Museum of Oriental Art;
• "Geleri actuel, Basmadzhana, France;
• "Nicholas and Son, Germany;
• "Show Office Montreal, Canada;
• "cultural community of New Generation", Australia;
• Museum R. Schnittke, Germany;
• Denver Museum of MI, USA;
• collections Miles, UK;
• Private kolelktsiyah in the United States (Al Gore);
• Canada, Britain, France, Germany, Croatia, South Korea, Australia and Russia.
Personal exhibitions Yuri Grigoryan:
• 2002-2003 - Exhibition in Gallery "Centaur", Moscow.
• 2002 - exhibition "70 years of the Moscow Union of Artists", Manege, Moscow.
• 2001 - a charity exhibition under the auspices of the Gorbachev Foundation, Museum of Contemporary Art, Moscow.
• 2001 - "Moscow Artists", Central House of Artists, Moscow.
• 2001 - exhibition "1700 years of Christianity in Armenia, Moscow.
• 2001 - "Monolith", Moscow.
• 2001 - Exhibition in Nice, France.
• 2000 - Exhibition at the Academy of Arts of Russia, Moscow.
• 2000 - vystavkav Travel House Gallery, Moscow.
• 2000 - Exhibition in Nice, France.
• 1999 - Exhibition at the Embassy of Germany, Moscow.
• 1998,1999 - Exhibition in Munich.
• 1998 - Exhibition in London
• 1998 - Exhibition in Gallery "Manege", Moscow.
• 1998 - Exhibition at the ITAR-Tass, Moscow.
• 1997 - Exhibition in Casablanca, Morocco.
• 1997 - exhibition in Central House of Artists, Moscow.
• 1997 - Exhibition in Vienna, Austria.
• 1995,1996,1997 - Exhibition on the island Kopchula, Croatia.
• 1994 - Exhibition in Germany.
• 1992 - Exhibition in the United States.
• 1989 - Exhibition in the house of foreign countries, Moscow.
• 1980 - Exhibition in Yerevan.
• 1977 - Exhibition in the magazine "Youth", Moscow;

Solo exhibitions Yuri Grigoryan:

2003 - Exhibition at the Central House of Artists, Moscow.
2002-2003 - Exhibition in Gallery "Centaur", Moscow.
2002 - "Art Manege", Manege, Moscow.
2002 - exhibition "70 years of the Moscow Union of Artists", Manege, Moscow.
2001 - children's art exhibition under the auspices of the Gorbachev Foundation, Museum of Contemporary Art, Moscow.
2001 - exhibition "1700 years of Christianity in Armenia, Moscow.
2001 - "Monolith", Moscow.
2001 - Exhibition in the Moscow Academic Art Lyceum, Moscow.
2001 - "Tgavel House Gallery", Moscow.
2000 - National Dog Show in Central House of Artists, Moscow.
2000 - Exhibition "Golden Brush", Central House of Artists, Moscow.
1999 - Central House of Arts, Moscow.
1999 - Slavic cultural center, Moscow.
1997 - Moscow 850 years.
1997 - o.Korchula, Croatia.
1997 - Vienna, Austria.
Since 1997, a permanent participant of the annual youth exhibition.
1995 - Mahlah diploma in the Art Academy of Russia, Moscow.
1994 - Bremen, Germany.

Solo exhibitions Yuri Grigoryan:

2003 - Exhibition at the Central House of Artists, Moscow.
2002-2003 - Exhibition in Gallery "Centaur", Moscow.
2002 - "Art Manege", Manege, Moscow.
2002 - exhibition "70 years of the Moscow Union of Artists", Manege, Moscow.
2001 - children's art exhibition under the auspices of the Gorbachev Foundation, Museum of Contemporary Art, Moscow.
2001 - exhibition "1700 years of Christianity in Armenia, Moscow.
2001 - "Monolith", Moscow.
2001 - Exhibition in the Moscow Academic Art Lyceum, Moscow.
2001 - "Tgavel House Gallery", Moscow.
2000 - National Dog Show in Central House of Artists, Moscow.
2000 - Exhibition "Golden Brush", Central House of Artists, Moscow.
1999 - Central House of Arts, Moscow.
1999 - Slavic cultural center, Moscow.
1997 - Moscow 850 years.
1997 - o.Korchula, Croatia.
1997 - Vienna, Austria.
Since 1997, a permanent participant of the annual youth exhibition.
1995 - Mahlah diploma in the Art Academy of Russia, Moscow.
1994 - Bremen, Germany.