Berlin – it’s to say that music joins us, but Silvina der-Meguerditchian shows this truism to a nuance and polyphonic exhibition Those who take care of us. At Kunstraum Kreuzberg, the Armenian Armenian artist confirms the binding power of music, as well as to make music, while it reveals the ways that are located as an artistic activity.
Barbara Höffer and Lusin Reinsch consists of curator, show videos, archive documents, photos and media facilities. A lawArmenia and other parts of Southwest Asia and other traditional parts of northern Africa also appear in a glass cup. It is the right pride of the place; The first cluster of work titled and grouped under the subject Shoutgives the importance of instrument. “Qanun Archives: Cairo Munich” for short film (2024) – Initially, it is told from the perspective of a black Nile to make channels. Hanan interacts with the musician El Shamonty, who immigrated from Cairo to Germany towards Western music, aside his traditions.
In his films, Der-Meguerditchians are rigid hierarchies of the musical, fish, trees and deremond ghosts with carrier stories. “In the archives of Qanun: Buenos Aires” (2025), located in the 1950s, a young man in the city’s Armenian community is led by a spirit to exile Masters of Qanoun, and convinces an Argentine friend to build an instrument. Another short, “Armenia” (2025), It captures women’s agility in Qanoun and VoiceOver’s first Armenian Armenian player’s route in Angela Atabekian in the tradition of men. In the end, in these stories, music limits geographical, social and cultural boundaries, act as a key agent to build and conserve collective memory.
As the exhibition progresses, Qanoun also emerges as a diasporic migration stand – not through sound or vibration, but a state of consciousness, binding connective tissue Memory (second subject of the show) and conservation, or Stuff (third). In the central galleries, Der-Meguerditchians are increasingly stressed and archives, such as passports, with laminated carpets hanging from the ceiling. These regular mosaics create a mnemonic cask – locations, such as Aleppo, Istanbul and Berlin, Commonge; Family portraits and postcards appear between pottery, jewelry and other small objects. These portable mements talk to the metative loss, in the last section of the exhibition, no longer has portable or archives memory carriers, but the body itself.
The artist reminds women’s bodies in a series of wool braids, each appear in the walls and sculptural objects with women’s names. Short film “care care” (2024), young women, sitting outdoors in a rural setting, hair brush in the strokes of fluids. Maybe there is no better way to describe rhythmic and tongues than “musical” than “musical”. – And at the end of the Der-Meguerditchian, the main aspect of his work is coming out. Not only does music, but also the human body, has confirmed and renewed through his daily gestures as a language, language, conservation and care.
Those who take care of us Kunstraum Kreuzberg / Bethanien continues (Mariannplatz 2, Berlin, Germany) until April 6, the exhibition curated by Barbara Höffer and Lusin Reinsch.
