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The Political Aesthetics of the Armenian Avant-GardeThe Journey of the 'Painterly Real', 1987-2004$
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Angela Harutyunyan

Print publication date: 2017

Print ISBN-13: 9780719089534

Published to Manchester Scholarship Online: September 2017

DOI: 10.7228/manchester/9780719089534.001.0001

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The ‘painterly real’ of contemporary art: resurrected ghosts, living heroes and saintly saviours on the 3rd Floor, 1987–94

The ‘painterly real’ of contemporary art: resurrected ghosts, living heroes and saintly saviours on the 3rd Floor, 1987–94

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(p.42) 2 The ‘painterly real’ of contemporary art: resurrected ghosts, living heroes and saintly saviours on the 3rd Floor, 1987–94
Source:
The Political Aesthetics of the Armenian Avant-Garde
Author(s):

Angela Harutyunyan

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719089534.003.0003

This chapter discusses the 3rd Floor – an artistic movement of the late Soviet and early independence years in Armenia (1987-94) – in its complex relationship with the cultural politics of the perestroika period, the official art of the Union of Artists of the Soviet Republic of Armenia, and National Modernism. It argues that the 3rd Floor, thought its strategy of hamasteghtsakan art both reproduced the dynamic of the perestroika politics and surpassed it. The 3rd Floor affirmed the separation between autonomous art and all that falls outside this autonomous sphere – the social world replete with antagonism and discontent.

Keywords:   Perestroika, the 3rd Floor, late Soviet, National Modernism, autonomous art, hamasteghtsakan

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