Focus: Hrair Sarkissian

Colette Copeland
March 2020

Focus: Hrair Sarkissian, Ft. Worth Modern Art Museum, Courtesy of the Artist

I experienced Hrair Sarkissian’s work at the Ft. Worth Modern on March 2nd, before the world turned upside down. As I write this on March 15th, the last scheduled day of the exhibition, the museum is closed like so many others around the world. For some, the cancellation of major sporting events like NBA, MLB, NCAA, PGA signifies the end of the world as we know it. For me, it is the museums–the places I go for solace and rejuvenation. In only two weeks, my interpretation of Sarkissian’s work shifted, as self-quarantine, WFH, and social distancing become the new norm.

Execution Squares, 2008 Archival inkjet prints 50 3/8 x 64 1/8 inches, Courtesy of the Artist

The Focus exhibition features three bodies of work, each displayed in three intimate gallery settings. Sarkissian’s best known work Execution Squares (2008) features a series of 14 large format photographs of public squares from three Syrian cities. The artist photographed the sites in the early morning, at the time when executions typically occur. Devoid of human activity, the eerily quiet urban spaces resonate with hidden violent histories, but also with the possibility of violence yet to come. Without the title, we see a deserted urban landscape, a city whose architecture may differ from our own, but a place where communities once gathered. This scene is now replicated around the world as we wait and watch, eyes glued to our screens, suspicious of any human contact.

Final Flight, 2018-2019, Mixed media 10 1/4 x 2 3/8 x 2 inches,  Courtesy of the Artist

Sarkissian’s recent work Final Flight (2018-2019) examines the history of a Syrian bird from the Palmyra desert region–the northern bald ibis that went extinct in the 1980’s. Bedouins found a colony of 7 birds in 2002 and scientists set up a breeding center. As the birds migrated, Saudi Arabian hunters killed them for sport and in 2014 the bird was declared extinct once again. The exhibition includes 7 cast bird skulls set atop pedestals and a video projection of the birds’ habitat. I’m struck by the fact that the birds’ migratory route crossed 7 countries and that only 1 female (named Zenobia after the ancient queen of Palmyra) knew the route. Despite the dangers, the birds continued their route year after year, until there were none. This is not an isolated story; scientists estimate that 150-200 plant, insect and animal species go extinct every day. Sarkissian’s work poetically speaks to human’s need to control and dominate, even in the face of extinction. The story also reminds me of our President’s recent damning phrase that the coronavirus is a foreign threat. Sarkissian’s work also speaks to the construct of borders. The birds were not allied by geographic boundaries, nor were they tied to their place of origin for their lifespan.

Homesick (2014) is a two-channel video installation. One screen shows a model of Sarkissian’s family home in Damascus, a 4-story apartment building where his parents still live. Through stop action animation, the building is slowly demolished until all that is left is a pile of rubble and refuse. On the other screen, we see a male figure with a sledgehammer hitting an interior wall. As the video progresses, we become aware that it is the artist destroying his own home. His tense, labored breath, sweat and physical exhaustion become more pronounced as each floor collapses in a sea of dust. Is this a metaphor for the inevitable fate of Syria or the artist acting upon his personal fear for the family left behind? Sarkissian’s performative video is an act of violence upon himself, his family and his lineage. It is about documenting and destroying memories and the idea of homeland. If we take a macro view of the action, perhaps it is a statement about the butterfly effect, where small actions can produce profound changes. Our own decisions over the next few weeks will have lasting ramifications upon others. Some may decide to ignore travel and self-quarantine warnings, since they are not in a high-risk group, thus perhaps spreading contagion to others and the butterfly effect continues.

Homesick, 2014 Film stills from two-channel HD video, 11 minutes and 7 minutes, Courtesy of the Artist

Sarkissian’s work examines cultural and historical artifacts and residue of political violence in Syria. In an interview with curator Omar Kholief, the artist was asked what it means to show his work for the first time in the U.S. at this political juncture. He responded, “If I look to these specific works and see what’s happening, I think it relates to the U.S., because there is contentious politics, war, different kinds of public executions and tragedies caused by natural disasters. We share history…” Sarkassian’s work serves as a testament to how really good art can speak to us on multiple levels, not only as a historical marker in a particular cultural context, but as a shared human experience, one that bonds us globally.

Focus: Hrair Sarkissian
Ft. Worth Modern Art Museum
Ft. Worth, Texas
January 24-March 15, 2020 →

Hrair Sarkissian →

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Colette Copeland is a multi-media visual artist whose work examines issues surrounding gender, death and contemporary culture. Sourcing personal narratives and popular media, she utilizes video, photography, performance and sculptural installation to question societal roles and the pervasive influence of media, and technology on our communal enculturation.

Colette Copeland →