On Marna. Yerevan. 1927

Curator: Let’s delve into Martiros Sarian's "On Marna. Yerevan." created in 1927 using oil paint. Editor: Wow, it's so moody! Immediately, I’m hit with this feeling of…almost a melancholy quiet, the muted greys kind of swallowing everything, with little glimpses of, are those red rooftops? Curator: Indeed. The landscape presented here reflects a pivotal moment in Yerevan's transformation under Soviet urban planning. The industrial elements subtly challenge romantic notions of the city’s identity. Editor: The smoke stacks…it is interesting, you see the little boats on the water, but the eye goes to those ominous clouds rising in the distance, I love that tension! It really complicates the narrative. Are we seeing a kind of sacrifice? Curator: One could argue that, certainly. The artwork invites conversations on labor, progress, and their effects on historical landscapes, particularly through its expressionistic style that amplifies emotions linked to the depicted scenes. What are your thoughts on how the river is handled in terms of materiality and form? Editor: It is this swirly pool reflecting all that heavy atmosphere, just mirroring the gray, I sense that everything is reflected; nothing is ever what it seems. And the oil paint texture makes the water feel so tangible. I like the boldness in such quiet tones. It really does stick with you, right? Curator: Precisely. It offers us a look into the contradictions inherent in societal change, opening spaces for questions on whose voices were dominant and suppressed during the period, while underscoring the subtleties present in the seemingly straightforward Soviet depictions of urbanization. Editor: It feels honest, that the painting exists in this space where it knows everything is not as clear as you might think. It’s beautiful. Curator: Absolutely. Thank you.