Mikayel Ohanjanyan

www.ohanjanyan.commail@ohanjanyan.com+39 349 0536467

Was born in Yerevan, Armenia in 1976. He attended the Terlemezyan state College of Fine Arts of Yerevan (graduated with honors in 1995) and then the State Academy of Fine Arts of Yerevan, (graduated with honors in 2001). In 2000 he moved to Italy, entering the Academy of Fine Arts of Florence (graduated with honors in 2005) where he still lives and works.

"In every project of Mikayel Ohanjanyan's plastic elaboration, we always find the attempt to embody ineffability. His sculpture involves and activates opposites: strict exactness vs. shadowy forms, in a very transparent spaciousness, where substance shades off in a light without boundary lines, where invisible shows itself in real things, which reveal invisible changing again just in the moment of its becoming perceptible.”

Toni ToniatoArt Historian and Critic

Education

—2005Diploma cum laude. Sculpture Program of the Florence Academy of Art / Italy

—2001Diploma cum laude. Sculpture department of the Yerevan Academy of Art / Armenia

—1995Diploma with Honours. Sculpture and Applied Arts department of the Yerevan High School of Arts / Armenia

Among most important achievements are

Selected Artist for FIAC - On Site, Petite Palais, Paris, France, 2017

Selected Artist for Frieze Sculpture Park, Regent’s Park, London, UK, 2016

Golden Lion - The National Pavilion of Armenia 56th Venice Biennale, 2015

1st Prize - Premio Henraux, Italiy, 2014

1st Prize - Premio Targetti Light Art, Italiy, 2009

1st Prize - MOVIN’UP 2006, Italiy, 2006

1st Prize - II International Contemporary Art Biennale of Pavia, Italiy, 2003

Honorary Degree - XX Premio Firenze, Italiy, 2002

3rd Prize - XIX Premio Firenze, Italiy, 2001

3rd Prize - XIII International Sculpture Biennale, Ravenna, Italiy, 1998

Member of the Art for the World (Geneva), UNESCO’s International Association of Plastic Arts (Paris), Permanent membership at the Artist’s Union of Armenia.

His works can be found at the Elesiastic College of the French Pontifical Seminar of Vatican (Rome), the Pontifical College of St. Roberto Bellarmine of Vatican (Rome), The Henraux Foundation (Italy), The Targetti’s Light Art Collection (Italy), The Microcolection Museum (Italy), The Collection of Municipality of Neustadt an der Weinstrasse (Germany), The Museum of the Centro Dantesco of Ravenna (Italy), The Museum of Contemporary Art of Pavia (Italy) and among private collectors in Armenia, Italy, France, Germany, Canada, the Netherlands, Belgium and USA.

Personal exhibitions from 2010 onwards

— 2017

“Letters”, VETRINA - Pietrasanta Banco BPM - Vehicle Projects, curated by Enrico Mattei, Pietrasanta / Italy

— 2017

“Diario”, curated by Clare Lilley, Yorkshire Sculpture Park, West Bretton -Wakefield / UK

— 2016

“Durk”, Ca’ Grande / State University of Milan, curated by Donatella Volonté, Milan / Italy

— 2014

“AtTrazioni”, LuzArt Gallery, curated by Ilaria Cicali and Nadjia Chekoufi, Florence / Italy

— 2013

“Equilibri-Plastic Elaborations”, InteriorDAsein, curated by Ilaria Cicali and Archi Galentz, Berlin / Germany

— 2012

“In/Outside of me”, Spazio Blue, curated by Simona Gavioli, Bologna / Italy

—2011

“Introverted Perspective #4”, Quadro 0.96 Gallery, curated by Martina Cavallarin, Florence / Italy

— 2010

“Art projects for urban areas” 12th International Architecture Exhibition Biennale di Venezia, Ca’ Zenobio Palace, Venice / Italy

Group exhibitions from 2010 onwards

— 2017

FIAC - On Site 2017, curated by Christophe Leribault and Eva Wittocx, Grand Palais / Petite Palais, Paris / France

— 2017

“The Mount Analogue” - Standart, 1st International Triennale of Contemporary Art of Armenia, curated by Adelina Cüberyan Von Fürstenberg, Gyumri, Armenia

— 2016

Frieze Sculpture Park 2016, curated by Clare Lilley, Regent’s Park, London / UK

— 2015

“Verso”, Contemporary Art Week, curated by Michela Eremita, Sansedoni Palace - Monte dei Paschi di Siena Foundation, Siena / Italy

“Dreamscapes”, 6th Internazionale Art Biennale of Beijing, the National Pavilion of the Republic of Armenia, curated by Anna K. Gargarian, National Art Museum of Beijing, Beijing / China

“Revelations”, 2nd Internazionale Biennale of Fine Crafts and CreationsItalian Space, Grand Palais, curated by Jean Blanchaert, Paris / France

“Grandchildren - New geographies of belonging”, The DEPO, curated by Silvina Der Meguerditchian, Istanbul / Turkey

“SIHX. Arte e Industria alla corte Deloitte”, curated by Fondazione Henraux e Deloitte Italy, Corte Deloitte, Milan / Italy

“Armenity”, 56th International Art Exhibition Biennale di Venezia, The National Pavilion Of The Republic Of Armenia, The Island Of San Lazzaro Degli Armeni, curated by Adelina von Fürstenberg, Venice / Italy

"Armenian Abstract, Subtile Conjuctions", Kulturhaus Karlshorst Berlin, curated by Archi Galentz, Berlin / Germany

“Auf Mnemosynes Wohl!”, Maxim Gorki Theater, curated by Silvina Der-Me-guerditchian, Berlin / Germany

— 2014

“The Nude as a Guest”, InteriorDAsein, curated by Archi Galentz, Berlin / Germany

— 2013

“Targetti Light Art Collection”, IV festival F-LIGHT, Murate, organized by the Municipality of Florence and the Targetti Foundation, curated by Consuelo De Gara, Florence / Italy

“La Corte”, Palazzo Rucellai, curated by Olivia Toscani Rucellai and Mauro Lovi, Florence / Italy

— 2012

“Respiro della Luce”, Palazzo Bissari, organized by Targetti Foundation and Zoé Foundations, curated by Consuelo De Gara, Vicenza / Italy

“Dolomiti Contemporanee DC NEXT” – Second round exhibition, Blocco di taibon – Fabbrica ex visibilia, curated by Gianluca D'Inca Levis, Taibon Agordino / Italy

“Dove stà ‘Zà’?”, dedicated to 110th anniversary of Cesare Zavattini and his Art collection, Quadro 0.96 Gallery, organized by Quadro 0.96 Gallery and Zavattini Foundation, curated by Aldo Frangioni, Fiesole / Italy

“E quindi uscimmo a riveder le stelle. Il viaggio”, Finalists of Premio San Fedele 2012, San Fedele Gallery, curated by Andrea Dall'Asta, Milan / Italy

— 2011

2nd International Contemporary Art Symposium 2011, Villa Böhm, curated by Ralph Gelbert, Neustadt an der Weinstrasse / Germany

“Neoludica. Art is a Game 2011-1966”, 54th International Art Exhibition Biennale di Venezia, Collateral Events, Sala dei Laneri, curated by Debora Ferrari, Venice / Italy

— 2010

“Crossroad”,12th International Architecture Exhibition Biennale di Venezia, The National Pavilion Of The Republic Of Armenia, Palazzo Ca’ Zenobio, curated by Ara Zarian, Venice / Italy

1st International Contemporary Art Symposium 2010, Centro Studi “I Cappuccini”, curated by Corrado Agricola, San Miniato / Italy

1st International Biennale of Grottaglie, Convento San Francesco di Paola, curated by Mons. Pietro Amato, Grottaglie / Italy

Brief bibliography from 2010 onwards

“Durk”, Mikayel Ohanjanyan, 2016By Donatella VolontéCatalogue by SkiraISBN 978-88-572-3214-0

“Grandchildren - New geographies of belonging”, 2015By The DEPO and Silvina Der MeguerditchianCatalogue by Bandecchi & VivaldiPages 64-69,114-115,

“SIHX”, 2015By Henraux Foundation, Nicola Gnesi and Manuela Della DucataCatalogue by Bandecchi & VivaldiPages 47-53, 73

56th International Art Exhibition - La Biennale di Venezia, 2015“All The World’s Futures / Participating Countries”By Okwui EnwezorCatalogue by Marsilio EditoriPages 016-017

“Armenity”, 2015Catalogue of the National Pavilion of The Republic of ArmeniaBy Adelina Cüberyan Von FürstenbergCatalogue by Skira EditorePages 80-83, 152

“Praestigium Italia II”, 2015Project Imago Mundi by Luciano Benetton Collection and Luca BeatriceCatalogue by FabricaPages 318-319

“Premio Fondazione Henraux”, 2014In memoria di Erminio Cidonio by Henraux Foundation and Enrico MatteiCatalogue by Bandecchi & VivaldiPages 5, 9, 13, 62, 100-101, 108-114, 126.

“Light Art in Italy”, 2013by Gisella GelliniCatalogue by Maggioli EditorePages 154-157

“Light Art in Italy”, 2012by Gisella GelliniCatalogue by Maggioli EditorePages 184-187

“Visual Arts Prize San Fedele”, 2011-2012E quindi riusciamo a riveder le stelle - Il Viaggioby Andrea Dall'AstaCatalogue by Cariplo FoundationPages 17, 46-47, 58

54th International Art Exhibition - La Biennale di Venezia, 2011“ILLUMInations / Collateral Events”by Bice CurigerCatalogue by Marsilio EditoriPages 540-541

“Art and Videogames - Neoludica”, 2011by Debora FerrariCatalogue by Skira EditorePages 214-215

12th International Architecture exhibition - La Biennale di Venezia, 2010“People meet in Architecture / Participating Countries”by Kazuyo SejimaCatalogue by Marsilio EditoriPages 106-107

Some articles and Interview from 2010 onwards

“Apre Frieze, una e trina”, 2016Il Sole 24 Ore, 2 OctobreBy Pia Capelli

“Mikayel Ohanjanyan”, 2016Flash Art, n.326 March - April By Gaspare Luigi MarconePage 28

“E l’arte andò all’Università”, 2016Arte, FebbraioBy Pia CapelliPages 20-21

“Via della Seta: Ohanjanyaninagura la Statale Arte”, 2016Treccani WebBy Simone Zoppellarohttp://www.treccani.it/magazine/cultura/Via_della_Seta_Ohanja-nyan_inaugura_la_Statale_Arte.html

“Mikayel Ohanjanyan inagura la Statale Arte”, 2016ArtribuneBy Ginevra Briahttp://www.artribune.com/2016/01/mikayel-ohanjanyan-universi-ta-statale-milano/

“Un maxi scultore nel Loggiato della Ca’ Grande”, 2016La Repubblica - Milan editionBy Cristiana CampaniniPage XVI

“L‘Armenia nelle sculture alla Statale”, 2016Il Giornale - Milan EditionBy Francesca AméPage 12

“Armenity”, 2015DomuswebBy Gabi Scardihttp://www.domusweb.it/en/art/2015/06/15/armenity.html

“Ohanjanyan, il ritmo dello spazio”, 2015Il ManifestoBy Simone Zoppellarohttp://ilmanifesto.info/il-ritmo-dello-spazio/

“Biennale Arte 2015 - Armenia”, 2015La Biennale di Venezia ChannelBy la Biennale di Venezia Channelhttps://www.youtube.com/watch?v=wM5CE6hYLRs

“Biennale di Venezia. L’Armenia di Mikayel Ohanjanyan”, 2015ArtribuneBy Francesca Alix Nicolihttp://www.artribune.com/2015/05/intervista-mikayel ohanjanyan-bienna-le-di-venezia-padiglione-armenia-leone-d-oro/

“Mikayel Ohanjanyan - The identity of the cube” 2015Wall Street International, New Yorkby Sarah Coronahttp://wsimag.com/art/12778-mikayel-ohanjanyan

“La pura bellezza della pietra nelle opere di Ohanjanyan” 2014 Il Giornale - daily newspaper 17.08.2014, Italyby Luca BeatricePage 27

“Intervista a Mikayel Ohanjanyan”, 2012Unconventionalproject - Communication networkby Eleonora Sangallihttp://www.unconventionalproject.com/intervista-a-mikayel-ohanjanyan/

“Tre domande a Mikayel Ohanjanyan”, 2011Postinterface - Creativity and new technologies networkby Mario Savinihttp://www.postinterface.com/home/114-tre-domande-a-mikayel-ohanjanyan-mariosavini

“Переступить Порог”, 2010Erevan magazine, Dicember 2010 / MoscowBy Eleonora MalkhasyanPages 86-93

Autorizzo l’utilizzo dei miei dati ai sensi della legge 675/96.

Limen #1 (Threshold)

2009Project for an architectural area120 x 80 x 80 cm / Variable size Iron, plexiglas, mirror, neon

A ladder entirely made of white neon tubes multiplied indefinitely from the game of mirrors placed at its base and at its top. The endless zigzag generated by reflections also involves the observer, whose point of view is halfway up the work, generating a feeling of endless passages and doors. This project is destined for architectural area, where the lower mirror (about ø 10 m. or according to the place) becomes the pavement and the observer finds himself in a dimension without a floor with the “possibility” to climb up or fall down.The idea is to make the visitor reflect upon the other realities and dimensions, not only physical but mental ones, metaphysical, psychological, cultural and geographical ones.

Photography © Andrea Messana, © Debora Ferrari

Limen #2 (Threshold)

2010Project for an urban or architectural area110 x 90 x 90 cm / Variable sizeIron, plexiglas, mirror, cost bronze

The project consists of a large conical structure (about 10 m high) made of stairs that are multiplied indefinitely thanks to the play of two mirrors located at the base and at the top of this structure. The endless reflection cone with its "steps" and "infinite door" involves a passer-by, an observer. The situation of apparent absence of gravity causes a shift in perception, it raises questions. The choice is either to climb further up or descend further down. The structure turns slowly, enabling the passers-by to cross it and find themselves suddenly in an artistic and architectural space that requires the protagonists, who are the clue for understanding this work of art and this space.

Photography © Andrea Messana

Untitled

2010Project for an urban or architectural area

The sculpture project is aimed to redesign an urban or architectural space where the ground and walls of the buildings are decorated graphically with a binary number pattern, creating thereby a space of strong informational impact. The sculptures of different sizes, placed in this elaborated space, are stylized heads or modern men of very pure and refined forms, which at the same time remain a bit archaic. Positioned not only vertically but also horizontally the sculptures could serve as benches for passers-by and create a space for playing. This project enables the observer to be always the major protagonist since it reveals on one side the contradi-ctions between the immensity of contemporary means of communication and solitude and the failure of social communication in large urban areas, and on the other side becomes a space for people to interact.

Photography © KEVO.biz, © Andrea Messana

Perspectives

2011106 x 160 x 160 cmIron, plexiglas, polyester thread, carbon fibers, color, software

This work includes the result of research on form and space, that I have been developing for some years, along with increased reality. Among other things, it is the first time I’ve given visitors the possibility of discovering other dimensions in the sculpture, in this case poetic-phi-losophical. It is a cubic structure of 1m 3 of oxidized iron, placed on a base, 1,6m x 1,6 m. (that is also a part of the sculpture), and black, opaque, plexiglass, in an oxidized iron frame. Inside the cubic structure, numerous threads of polyester are intertwined from one side to the other, developing very thin geometric surfaces, created by the carbon fibres. On both sides of every surface, there are small, coloured balls, which besides giving an aesthetical lightness to the work, are an actual code by which to read sentences in the space of the sculpture, deciphered with a smartphone App specifically created for this work.In fact, the sculpture is interactive, in how much the visitor, after their first impact with a form and an unknown space, charged with tension and perspectives, enter into play with the work. It’s worth saying, that with the help of a smartphone, one begins to decipher the colours, we mentioned before, discovering the same sentence in the most widely spoken in languages of the world. It becomes a real game and spatial journey, of research into ones own language, to discover the meaning of the self. The sentence reads " Know thyself" from Taletes, which in turn, incites in the observer an intimate and profound reflection. The user, each in his

own way, in this spacial journey becomes the protago-nist of the work.In formal and spatial terms, the work crosses the boun-daries of form itself, in that, it tries to represent the introverted dimension of form and space, where it highlights the contrast between the One, its versatility, its stillness and its dynamism, inside-outside... Relationships that, despite the seemingly timeless aspect of sculpture, directly reflect the nuances of our modern society, with all its contradictions and tensions, and which give each visitor the opportunity to interpret the work in a very personal way.

Photography © Andrea Messana, © VJvisualoop

Rooms (Labyrinth)

2010Project for an urban or architectural area60 x 80 x 80 cm Carbon fibers, stainless steel, plexiglas

The work, consisting of a cubic structure that progressi-vely reduces creating a introverted perspective, questions shapes and introverted dimensions.This is a project for installation or a theatrical set design, where the observer or spectator becomes the integral part of the work.

Photography © Mikayel Ohanjanyan

Introverted Perspective #5

201140 x 40 x 40 cmIron, polyester thread, plaster

The series of Introverted Perspective focuses on the research of size and perceptions, on the relationship between external and internal, macro and micro.

Photography © Domenico Nicolo, © Andrea Messana

INTROVERTED PERSPECTIVE #3

201155 x 55 x 15 cmIron, polyester thread, plaster

INTROVERTED PERSPECTIVE #7

201225 x 25 x 8 cm Iron, chromed bronze, wire nilon

Photography © Andrea Messana, © Oliviero Santini

UNTITLED

2012Project for an installation35 x 215 x 35 cm Plaster, polyester thread, bronze

This is a work consisting of two cubes of marble kept under tension by a very small cubic structure placed at the center of the space and intervened between them.The idea is to highlight the contrast between the appa-rent strength and fragility of the full, and the delicacy and power of the void.The work can be realized with various materials and may have dimensions up to 15 m. in length.

Photography © Oliviero Santini

Introverted Perspective #12

201380 x 80 x 80 cmIron, neon, nylon thread

The work focuses on the research of introverted sizes and perceptions, on the tension, on the relationship between external and internal, on the border of the sculpture.

Photography © Andrea Ruggeri, © Oliviero Santini

Untitled

2012Variable size Iron, optical fibers, LED

The work is designed from a cubic structure of iron and optical fibers illuminated with the help of LED.The visual sensation is as if the structure is suspended and "squeezed" by a strip of light.The idea is to highlight the contrast between the appa-rent strength and the weakness of one, and the delicacy and power of the other.

Photography © Mikayel Ohanjanyan

Limen #4 (Threshold)

2012Project for an urban or architectural areaReflecting high-grade steel, white neon

The work is meant to be suspended.It is composed of 5-7 or more disks of various dimension (according to the necessity of space) of highgradesteel and steps of white neon which connect the reflecting disks with each other. This combination creates a continuous “journey” and transition from one dimension to the other, from one threshold to theother one. The effect of reflection and infinite space created by the reflecting disks and the white neons involves the visitor thus giving him the possibility of “travelling”, dreaming.My idea is to make the visitor reflect upon the possibility of the existence of other realities and dimensions, not only physical but mental ones, metaphysical, psycholo-gical, cultural and geographical ones.Metaphorically it means aiming at tolerance towards the unexpected, of what is different from one’s own convictions and knowledge, towards different religions, cultures, languages and traditions.

Photography © Andrea Messana, Design © Mikayel Ohanjanyan

Materiality of the Invisible

2014160 x 160 x 51 cm Marble, wire stainless steel

I came up with the idea as I tried to portray, in terms of form and matter, the empty space of one of my earlier works called “Introverted Perspective #7”. It is an attempt to materialize the invisible, while trying to emphasize some of its conceptual and aesthetic features. The concept of the project can be perceived as multidimensional: on one hand it portrays the empty space as a form and matter, while on the other hand it questions the matter, compressed by steel cables, creating new perspectives between the boundary of the matter and the empty cube at the centre of the sculpture.This work depicts a human and his relationship with his surroundings. A relationships that never stops shaping new landscapes, new perspectives, not only physical, but also psychic and sensory as well.

Photography © Silvia Rossetti , © Nicola Gnesi

Tasnerku (Twelve)

2015Instalation ø 1200 cm, each piece ø120 x 60 cm. Basalt, corten, wire stainless steel

With this work, created for the exhibition Armenity / 56th Venice Biennale, I tried to conjure up a special sensation I perceived in Armenia. It is a vibration, a spatial rhythm that goes beyond any imagination. The same that is then reflected in the thinking of art, architecture, music and all forms of expression. I believe that this is exactly what Osip Mandelstam in 1930 during his trip to Armenia describes as “Armenia, the kingdom of screaming stones”.

Photography © Mikayel Ohanjanyan , © Piero Demo

Durn (Door)

2016120 x 1700 x 160 cmMixed materials

This work is a simple but impressive sculptural installation, based on two cubic structures out of metal that are held together by a little cube placed at the center of their common space.It’s a reflection of one of music’s symbolic aspects and it’s dissonant side.The tension that keeps up the two big structures is the same that converges onto the small cube, metaphor for the Door, and plastic expression of the si-fa tritone of the circle of the fifths, defined by the music anthropologist Marius Schneider as “the area of double beings and the contact between water and fire”.

Photography © Valentino Albini, © Mikayel Ohanjanyan

Diario (Diary)

2016150 x 600 x 120 cmMarble, iron, wire stainless steel

Diario is a reflection on the unique value of every single person, of each human being that we meet along the road, from our birth to the end of our life: mother, father, friends, colleagues and direct or indirect contacts.During our lifetime, these acquaintances shape our identity, values, and human dignity; this happens independently from positive or negative experiences, character and temperament, traditions and places.For me, mankind and its internal and external world have always been a source of inspiration: the unique-ness of every people, their own way to see themselves, the world around and the universe in general. Thus, others become a gateway, another dimension and space.As a testimony of this path, I engraved the name of every single person I have met so far on both the interior surfaces of each of seven marble blocks. These, together with the table, form my artwork Diario.With this artwork I aim at bringing the visitor’s attention to the inherent value of life and mankind, to the importan-ce of every single meeting and conflict, especially in the crucial time we are living in.

Photography © Mikayel Ohanjanyan, © Nicola Gnesi

The Doors of Mher

2017Approx. 15 m in length, blocks max. 120 cm, min. 40 cm.Basalt, stainless wire

This work is inspired by the Armenian epos Sasna Tsrer (''Daredevils of Sassoun'') which tells the story of four generations of heroes. I am particularly fond of the last hero Pokr (little) Mher. In the last part of the epos we learn that the hero, after his numerous epic enterprises and tired of the unjust world which could no longer bear the burden of his legendary horse nor of him as a hero, goes to a place called Agravuqar or Vana Qar, also known as the Door of Mher. With his shining sword he opens the Door to enter and enclose himself in the rock, awaiting the day when he will come back out. I find this tragic story extremely contemporary, one in which a concentration of values is shut into a ''place'' waiting to burst, in order to project and contaminate both presence and future.The work consists of four blocks of basalt, metaphorical-ly, North, South, East, and West. Each block is itself split into two parts held together by steel cables. Texts will be carved into the cut surfaces of the stones, perceived only at the edges of the blocks that are placed and fastened intentionally askew, revealing the texts yet making them unreadable. The texts speak of a message left by Mher to future generations, where he invites the human being to not wait for him to exit from the rock, as told by the Epos. He states that he has been enclosed through the ages within the interior Agravuqar in each of us and will emerge when we have the

Photography © Vahan Stepanyan, © ,Mikayel Ohanjanyan

courage to look and learn to delve deep inside oursel-ves. He says that only when we are able to find and stand before our own rock, will there then be the Order for him to emerge. With this imaginary message, I want to invite the visitor to reflect on the values that we hide within us and their indisputable importance in the relationship between I - Others and Others - I. One has the sensation that these blocks were hiding something special and profound, something luminous and yet invisible.The work is full of not only the physical but also the psychological in its tension between the written and the material, between dream and reality, between interiori-ty and exteriority. The visitor walks across the space created by the four doors, entering into a dimension of contemplation.

Letters

2017Approx. 3 m in length, blocks max. 45 cm, min. 25 cm.Basalt, stainless wire, iron

My inspiration in the making of this work came from a childhood memory. When I was a child, I remember my maternal grandmother had a small box full of letters. Some, folded into triangles, were very old. Others, seeming more recent, were actually copies of the old ones handwritten herself so as not to wear out the originals. She often read these letters with tears in her eyes and when they became worn out, she copied them again in this continuous way. I did not understand much as I was very small at the time and when I asked what the letters were and why she was crying, she never told me anything.Over the years, I came to know that they were her brothers' letters, written from the front during World War II and that they had never returned home. It was never even known where they had fallen.I have since had different occasions to read them, in which they always impress me in their simplicity and the will of Life, never once mentioning the war. One in particular even has a request to their parents to send a kind of cheese and apples typical of their birthplace.The work consists of three blocks of gray basalt of various sizes. .

Photography © Silvio Pennesi

Each block in turn is divided into two parts, joined together by the steel cables that encase them. Between the two parts of each block there are corten slabs, which just barely emerge from the stone. All the letters I spoke of are hand engraved on these slabs.I dedicate this work to my grandmother and to all of the people who have lost their loved ones to the reality of atrocity such as war, unfortunately still present in human reality with its equally atrocious consequences.