Interview with Armenian cultural figure Oshin Yeghiazaryants.
– Mr. Yeghiazaryants, your Diasporan Armenian name has been a part of several sectors of the Armenian culture, including architecture and film. They say that your work is tied to Artsakh. They say that you made the Islamic school in Shushi into an Armenian cultural center. Now, you have turned to old Armenian carpets and mosaics. We don’t know whether or not this is true, but we heard that you want to establish an academy. Who are you?
Most of the rumors people have spread about me are true, besides wanting to expand into the business sector. I am a cultural person. I am an Armenian, not a Diasporan Armenian. I was born and raised in Iran, and then I moved to France. I was educated in one of the world’s most significant academies, the International School of Theater named after Jacques Lecoq.
I worked in different French organizations as an architect. One of my clay structures, the “Relaxed Structure” remained at the Jacques Lecoq school. When I moved to Armenia approximately 15 years ago, I participated in several activities to rebuild border villages. I have not worked in the theater yet, but I have always been on the hunt for such a job.
I have filmed several documentaries on Artsakh from the earthquake until now. I came to Armenia for the first time right after the earthquake. By the way, I was also part of the official French delegation sent to negotiate about Artsakh with Arkady Volsky, whom Gorbachev had appointed the “lord and savior” of Artsakh.
I can speak about my work in Artsakh for a long time. We paid for the Berdadzor bridge in Lachin…
As a photographer, I worked on director Roman Coppola’s full-length film “CQ,” which had been presented at the Cannes International Film Festival.
Regarding the Islamic school in Shushi, yes, it has been two years since we finished rebuilding the school. It will soon be presented as a center for Armenian culture. The school’s opening is being delayed due to political reasons.
From 1991-1997, I worked on several films with famous animator Robert Sahakyants for European television. 150 jobs were created in Armenia as a result. I brought the necessary equipment for the animations from Europe.
In the realm of carpets and mosaics, let me reiterate that that is not business. I have not had any business plans with Armenia for over 30 years. At the moment, there are plans with the state to build an academy in the Nshavan village of the Ararat region. 300 Armenian carpets from the 4th century will be presented at the museum there. Jobs will be created, modern carpets will be produced, and carpets needing restoration will be brought to the academy. And one more important thing: students will work and be paid.
– The movie you produced approximately eight years ago with Khachik Chalikyan titled “Anpoch Chgnavore,” which represents the social and political conditions in Armenia, became the subject of various different discussions. Will you talk about this?
The big problem is that Armenians don’t fully understand the role that a producer plays. Yes, this film was selected to be presented at the “Golden Apricot” award ceremony, but I prevented it as the producer. Then, the film premiered. Ashot Adamyan played the President’s role, and the “Hover” choir sang songs written by Edvard Mirzoyan and Vache Sharafyan. Not everything is bad in the realm of Armenian culture. For example, I remember the state orchestra’s performance in honor of Khachatryan’s 100th birthday in Tbilisi that I had organized.
– I know about the work of your foundation, but not entirely. I’m interested to know if your work is solely based on culture?
I named my foundation Prunus Armeniaca, meaning Armenian plum. The name of the apricot tree is not “apricot,” but Prunus Armeniaca, and it’s thanks to my foundation that I can carry out my initiatives. Yes, my foundation “travels.” And if our Armenian plums or apricots don’t travel, they’ll die.
Samvel Danielyan
