Armenoui Kasparian Saraidari


The Survivors (2013) 7 Inkjet prints on Tyvek banner, nylon beading wire, MDF boards Installation space 300 x 300 x 300 cm.


The knowledge of the subsequent generations around the experiences of the past relies heavily on the memories of the survivors. Although survivor’s traumatic memory is often accused as a problematic space for remembering and forgetting, still serves as a fundamental referent. The survivor embodies the primary figure for the subsequent generations. However, in the process of recall, photography also holds a vital role. Existing photographic archives often serve as reliable documents that inform the subsequent generations about the historical events. Both personal and public archives function as a source of information and as a space for remembrance.

'The Survivors was an attempt to look at the value of a photographic archive beyond representation. In a symbolic way those images are carrying experiences and memories for more than two generations and still offer lots to discover. So, I got really interested in that cross-generational dialogue. The later generations of the Armenian diaspora share the memories of the survivors and keep the remembrance of their experiences alive.'

                                Read the interview by Cristiane Monarchi in Photomonitor.


Rejecting violence with the lens in former Ottoman territories

P21 Gallery | London, UK.
Curator: Joy Stacey
11 September – 31 October 2015 

Artists: Mou da Fedhila, Joana Hadjithomas & Khalil Joreige, Šejla Kamerić, Armenoui Kasparian Saraidari, Sadik Kwaish Alfraji, Nadia Mounier and Joy Stacey

Autonomy of Self brought together moving image and photography from across the former Ottoman territories to explore how individuals are using the human image to refuse violence and conflict.

Parallel events included the award-winning author Louis de Bernières reading from Birds Without Wings and a panel discussion and film screening with Leslie Hakim-Dowek and Dora Carpenter-Latiri discussed ‘Memories of Beirut and Tunis: Transformed Cities and the Family Album’ and Nouritza Matossian presenting her documentary Heart of Two Nations: Hrant Dink. A symposium with the artists was hosted by the Photography and the Archive Research Centre (PARC) at The Swedenborg Society Hall, and chaired by Max Houghton. The exhibition and events were supported by the Arts Council England, London College of Communication, UAL, and the British Institute for the Study of Iraq. 

Using Format