institution
Interdisciplinary labs in sound, visual art, movement and ecology.
The laboratories are structured around interdisciplinary collaboration — artists meet across fields and build shared methods and norms. We develop the most promising projects and present them in Armenia and abroad. Both the collaborative process and the continuation of the work are core to what we do.
Études
Études is a 3‑day laboratory leaning toward performance and installation, culminating in a collective public showcase. visit the page
- 12 daysThree meals a day, lectures, workshops, rehearsals, studio time, a daily 15-minute rave, and very little sleep.
- 60 artistsFrom 9 countries, working across music, sound art, visual art, animation, video, and artificial intelligence.
- 22 curatorsClassical composers, jazz virtuosos, technical magicians, media artists, and interdisciplinary creators guiding the process through talks, workshops, and one-to-one dialogues.
- 37 ProjectsConcerts, performances, and installations initiated by curators, participants, and the hosq team — presented at the Notations Festival & Public Program.
Études is a 3‑day experimental lab for sound artists, choreographers and visual artists who work without a fixed script or pre‑produced piece. Over three intensive days, participants meet, form teams and build audio‑visual performances from scratch, using their own tools, bodies and environments as material. The lab focuses on the intersection of practices — from dance and theatre to sound art, light, video and interactive media — and treats the performance space as a living ecosystem rather than a static stage.
Here, process is more important than polish: Études creates conditions where “readiness” and “quality” step aside to make room for curiosity, risk and mutual learning. Framed by the theme “Traditions of the Future”, it invites participants to question hidden norms, rethink how we use memory, heritage and technology, and imagine futures not based on a pre‑existing world but created through shared practice. At the end of the lab, all works are woven into a single collective piece presented to the public and supported for further development and touring beyond the three‑day frame.
Process over product
We prioritize process, attention and shared time over finished results. The lab is a space for trying, failing, repeating and re‑composing — not for delivering a polished “show”.
Collective authorship
Works are created through dialogue between artists, not through isolated genius. Decisions are negotiated; authorship is shared; the final piece is a weave of multiple voices rather than a single signature.
Experiment as ethics
Experimentation is not only a formal game but an ethical position. We test how to work together, how to listen, how to distribute care and responsibility inside a group and towards audiences and contexts.
Traditions of the future
We examine the invisible norms, habits and taboos that shape our daily lives and artistic decisions. We ask which of them must be left behind — and how to invent flexible, non‑dogmatic ethics for futures that do not yet exist.
Memory without paralysis
We work with memory, archives and cultural heritage without being trapped by them. We refuse both amnesia and fetishization of the past, searching instead for practices that keep sensitivity alive without producing paralysis or nostalgia.
We prioritize process, attention and shared time over finished results. The lab is a space for trying, failing, repeating and re‑composing — not for delivering a polished “show”.
Collective authorship
Works are created through dialogue between artists, not through isolated genius. Decisions are negotiated; authorship is shared; the final piece is a weave of multiple voices rather than a single signature.
Experiment as ethics
Experimentation is not only a formal game but an ethical position. We test how to work together, how to listen, how to distribute care and responsibility inside a group and towards audiences and contexts.
Traditions of the future
We examine the invisible norms, habits and taboos that shape our daily lives and artistic decisions. We ask which of them must be left behind — and how to invent flexible, non‑dogmatic ethics for futures that do not yet exist.
Memory without paralysis
We work with memory, archives and cultural heritage without being trapped by them. We refuse both amnesia and fetishization of the past, searching instead for practices that keep sensitivity alive without producing paralysis or nostalgia.
Beyond the pre‑existing world
Following Merab Mamardashvili’s idea of “stopping to think in terms of a pre‑existing world”, we treat the lab as a place to create worlds rather than simply represent them. Stage, space, bodies, sound and light become tools for world‑building.
Interdisciplinarity as necessity, not decor
Crossing disciplines is not a decorative gesture but a working condition. Choreographers, sound artists, performers and visual artists challenge each other’s methods and vocabularies, allowing unfamiliar tools to reconfigure their practice.
Care for context
Each edition of Études is embedded in a specific place and community. We recognize the social, political and ecological conditions around us and allow them to shape our questions, dramaturgies and working methods.
Access and hospitality
We strive to create an environment where participants with different backgrounds, experiences and abilities can work together. Hospitality, clear communication and shared rules are part of the artistic work, not something “on the side”.
Continuation beyond the lab
The final performance is not an endpoint but a starting point. Études supports the further development and touring of the collective work, allowing it to grow, transform and encounter new audiences and spaces.
Following Merab Mamardashvili’s idea of “stopping to think in terms of a pre‑existing world”, we treat the lab as a place to create worlds rather than simply represent them. Stage, space, bodies, sound and light become tools for world‑building.
Interdisciplinarity as necessity, not decor
Crossing disciplines is not a decorative gesture but a working condition. Choreographers, sound artists, performers and visual artists challenge each other’s methods and vocabularies, allowing unfamiliar tools to reconfigure their practice.
Care for context
Each edition of Études is embedded in a specific place and community. We recognize the social, political and ecological conditions around us and allow them to shape our questions, dramaturgies and working methods.
Access and hospitality
We strive to create an environment where participants with different backgrounds, experiences and abilities can work together. Hospitality, clear communication and shared rules are part of the artistic work, not something “on the side”.
Continuation beyond the lab
The final performance is not an endpoint but a starting point. Études supports the further development and touring of the collective work, allowing it to grow, transform and encounter new audiences and spaces.
“Kap” (translated from Armenian as “connection”) is a performance that explores the boundaries of empathy.
The piece consists of two parts, each configuring the interaction between performers and audience in a different way.
In both parts, the performers do not use pre-written or memorized text as the material for stage action. All of the text in the performance—all the logos—is born in real time, within the space of the audience.
Responding to that text, the performers initiate a complex process of emotional and semantic exchange, in which it quickly becomes unclear—and ultimately irrelevant—who is the author and who is the spectator.
Thus emerges a shared space of action and empathy, which manifests each time differently and depends entirely on the composition of the participants.
Curators: Ilya Moschitsky, Alexander Plotnikov
Performers: Amirhossein Bazgir, Nasrin Shojaei, Pouya Jafari, Margarita Sargsyan
Visual: Basilio Utekhin
Music: Gayane Aslanyan, Nadya Xyxu
The piece consists of two parts, each configuring the interaction between performers and audience in a different way.
In both parts, the performers do not use pre-written or memorized text as the material for stage action. All of the text in the performance—all the logos—is born in real time, within the space of the audience.
Responding to that text, the performers initiate a complex process of emotional and semantic exchange, in which it quickly becomes unclear—and ultimately irrelevant—who is the author and who is the spectator.
Thus emerges a shared space of action and empathy, which manifests each time differently and depends entirely on the composition of the participants.
Curators: Ilya Moschitsky, Alexander Plotnikov
Performers: Amirhossein Bazgir, Nasrin Shojaei, Pouya Jafari, Margarita Sargsyan
Visual: Basilio Utekhin
Music: Gayane Aslanyan, Nadya Xyxu
We created a performance “Antanèlee” (which means "unbearable" in Armenian) in just two days. It was possible only because of the intense energy and focused creativity that Etudes Lab sparked in all of us.
The piece spoke of pain: a universal experience we each carry in our own way. It asked: Why do we call it motherland? And how do we care for our women, the ones who carry generations, who often carry the pain in silence? How do we let society shape us to the point of hurting ourselves? And in the bigger picture, how does harming ourselves also mean harming the land we come from?
“Antanèlee” moved through these questions, from our deep connection to homeland, to the wounds society leaves on us, and to the quiet violence we inflict on our roots. It was a raw blend of vision, emotion, and aesthetics.
Curator: Tsolak MLKE-Galstyan
Participants: Christina Danielyan, Eliza Baghdiyan, Eliza Olkinitskaya, Faina Makoeva, Giuseppe di Bisceglie, Inna Ghazaryan, Kai Khachatryan, Kseniia Gribiniuk, Lusine Mlke-Galstyan, Seda Grigoryan
The piece spoke of pain: a universal experience we each carry in our own way. It asked: Why do we call it motherland? And how do we care for our women, the ones who carry generations, who often carry the pain in silence? How do we let society shape us to the point of hurting ourselves? And in the bigger picture, how does harming ourselves also mean harming the land we come from?
“Antanèlee” moved through these questions, from our deep connection to homeland, to the wounds society leaves on us, and to the quiet violence we inflict on our roots. It was a raw blend of vision, emotion, and aesthetics.
Curator: Tsolak MLKE-Galstyan
Participants: Christina Danielyan, Eliza Baghdiyan, Eliza Olkinitskaya, Faina Makoeva, Giuseppe di Bisceglie, Inna Ghazaryan, Kai Khachatryan, Kseniia Gribiniuk, Lusine Mlke-Galstyan, Seda Grigoryan
In this ethereal space, fragments of Yerevan’s once-living trees whisper their final secrets. As you touch these transformed branches, sound sensors awaken fading resonances, turning lost echoes into amplified murmurs of life. Your touch revives the dying voices, inviting you to bear witness to nature’s quiet rebellion against oblivion.
Artists: Seda Grigoryan, Anton SEC, Lusine Mlke-Galstyan, Eliza Baghdiyan, Nadya Xyxu, Elena Tang
Artists: Seda Grigoryan, Anton SEC, Lusine Mlke-Galstyan, Eliza Baghdiyan, Nadya Xyxu, Elena Tang
Audiovisual choreographic performance reflecting on memories, trauma, dreams and the trial of gaining control over your subconscious. The performance was a collaboration of Georgian and Armenian artists Nino Giorgadze, Irakli Margishvili , Anoosh Sarkisyan , Narek Buniatyan and Gayane Andreasyan , serving as a collaborative processing of the shared collective memory. The performance united concepts of synesthesia, body autonomy and multisensory experiences within the context of dreams.
The technical setup for the performance consisted of improvisational music setups of three artists synced with lights and projected visuals. The performer adapted to them and, later, through the use of a motion control sensor, gained agency over them.
By Nino Giorgadze, Irakli Margishvili , Anoosh Sarkisyan , Narek Buniatyan and Gayane Andreasyan
The technical setup for the performance consisted of improvisational music setups of three artists synced with lights and projected visuals. The performer adapted to them and, later, through the use of a motion control sensor, gained agency over them.
By Nino Giorgadze, Irakli Margishvili , Anoosh Sarkisyan , Narek Buniatyan and Gayane Andreasyan
This is visual investigation of memory and body (both are always changing), which both contain our past (in conscious and unconscious ways). This is a manifesto (text and/or voice) and a neurogenerated video based on real photos of the performer, connected with body movement performance.
By Oleg Iakovlev (curation, manifest, voice)
Anoosh Sarkisyan (performing, manifest)
Andrey Tikhonov (manifest)
Nadya Xyxu (sound)
By Oleg Iakovlev (curation, manifest, voice)
Anoosh Sarkisyan (performing, manifest)
Andrey Tikhonov (manifest)
Nadya Xyxu (sound)
This performance is about trauma stuck in the body, about the background hum of pain that doesn’t go away, about how trauma immobilizes.
As I currently develop a concept related to my mari identity and conduct research in the field of collective memory and trauma, I find a shared wound of leaving home — a trauma that connects me with my ancestors and with many others who are forced to leave their homes today.
By Andrey Tikhonov, Nastya Anisimova
As I currently develop a concept related to my mari identity and conduct research in the field of collective memory and trauma, I find a shared wound of leaving home — a trauma that connects me with my ancestors and with many others who are forced to leave their homes today.
By Andrey Tikhonov, Nastya Anisimova
Tsolak Mlke-Galstyan
Tsolak Mlke-Galstyan is an accomplished choreographer, director, and art manager with over two decades of experience in contemporary dance and performing arts in Armenia. As the co-founder and Art Director of Mihr Theatre, he has played a pivotal role in shaping the contemporary dance scene. Tsolak is also the curator of dance platforms and festivals, including the HIGH FEST International Performing Arts Festival. His works span choreography, stage direction, and art management, and he has led numerous educational and social-arts projects. Tsolak’s commitment to collaboration and cultural exchange has contributed to the growth of the contemporary dance landscape in Armenia and internationally, with engagements across Europe, the US, and the Middle East.
Ilya Moshchitsky
Ilya Moshchitsky is a director and founder of the independent theater company "Temporary Association Chronotope," with a diverse career in Armenia, Ukraine, and Russia. His works have been showcased at international festivals, including the Edinburgh Fringe, "NET" in Moscow, and "GogolFest" in Kyiv. Winner of the 2018 Breakthrough Award for "Best Director" and nominated for the 2022 Golden Mask Award, Moshchitsky's performances have been staged in cities like St. Petersburg, Moscow, and Berlin. In 2022, he relocated to Yerevan, where "Chronotope" continues to stage plays, festivals, and workshops in multiple languages.
Sergei Komarov / Lidiia Griaznova
Sergei Komarov and Lidiia Griaznova curate the sound art program at CYFEST and Cyland Audio Archive (CAA). Sergei Komarov is an engineer, sound artist, and curator. He co-founded the Kurvenschreiber band and works as a Max/MSP programmer for installations at CYLAND MediaArtLab. He has collaborated with Asymmetrique Answer and creates independent sound art. He currently lives and works in Yerevan, Armenia. Lidiia Griaznova is a curator and artist. She has been a managing editor and curator at CYLAND MediaArtLab since 2019 and holds an MA in Curatorial Studies from Bard College and St. Petersburg State University. Lidiia has curated exhibitions, book-based projects, and a special issue of Leonardo Journal. As an artist, she works with books as new media art. She currently lives and works in London, UK.
Dima Ustinov
Dima Ustinov is a composer, improviser, and electronic musician. He writes and performs music that can be described as ambient / neoclassical / minimalist. His personal music practice and research lies at the intersection of musical performance, meditative practices, and soundhealing. Big part of Dima's mission is to unite and elevate people through music. He has melted 20+ years of experience as a musician and 6 years as music coach into this project for public, teams and residences. It allows total beginners and experienced musicians to enjoy playing together instantly. Dima also works with 'augmented piano’- a combination of piano, complex FX chains and electronic instruments that can create lush and textural soundscapes.
Misak Samokatian
Misak Samokatian is an artist, musician and art-director. He has been involved in the field of interactive, kinetic and audio-visual installations since 2011. As an artist he works with light, sound, video, space and time. His works have been presented at True \ False Festival (USA), Burning Man Russia(RU), Synthspoium(RU, AM), Winzavod Centre for contemporary art(RU), Moscow Biennale of Contemporary Art(RU), Proun Moscow(RU), Urvakan Festival(AM), Hay-Art Cultural Centre(AM), NPAK(AM)
Anton Schegolev
Anton Shchegolev aka ply tone is a musician, sound artist, sound designer, teacher, technostuff lover and sound enthusiast based in Yerevan, Armenia. His interests lie not only in analog gear and modular synth systems, acoustics and soundscapes but also in exploring the transhuman relationship between society and technology. Inspired by Scandinavian folk high schools’ educational practices, Anton has been implementing social approaches in his teaching for over seven years. As the founder of SEC (Sound Enthusiastic Community), he strongly believes that independence of thought raised by a never ending process of self-education and mutual support grounded in open reciprocity will help create unusual takes, serious fun processes, a collaboration over competition mindset and sustainable responsibility among sound creators and enthusiasts.
Alexander Plotnikov
Born in Moscow in 1995, Alexander Plotnikov studied film and theater before starting his career in 2019. His work—blending poetic and documentary styles—addresses post-memory and reparative aesthetics, as seen in his banned play “Aphasia,” which intertwined his Ukrainian grandfather’s tragic post-Chernobyl experience with Tolstoy’s “War and Peace.” His productions, including “Lenin and the Children” and “Anna Karenina,” earned critical acclaim and multiple Golden Mask nominations. After the invasion of Ukraine, he remained in Moscow, creating five anti-war performances under censorship—works like “Hiroshima” and “The Red Book” became landmarks of opposition theater. Now in artistic exile in Armenia, he continues to explore modern theater, with his latest mono-play “Alpha Centauri” questioning Soviet triumph myths and the oppressive side of progress.
Vardges Sayadyan
Vardges Sayadyan is an accomplished professional in the live entertainment industry, with over two decades of experience spanning live sound and event production. His contributions to the live entertainment industry extend globally, where he has led technical teams for international festivals and events such as Burning Man, Urvakan , Sensor etc, while his educational initiatives have helped shape the next generation of professionals in local region.
Shoghakat Mlke-Galstyan
Shoghakat Mlke-Galstyan is an arts manager, choreographer, and educator with over nine years of international experience. As Creative Director of Mihr Theatre, she has significantly contributed to Armenia's contemporary dance scene, blending performance and strategy to push artistic boundaries. Shoghakat holds an MA in Arts Management from Yerevan State Institute of Theater and Cinematography and has conducted postgraduate research at Zurich University of Arts. Her projects span Armenia, Europe, and the US, focusing on cultural policy, social art, and community engagement. Recognized with the Golden Medal from the Armenian Ministry of Culture, she is dedicated to bridging cultural gaps and promoting arts education.
Andriesh Gandrabur
Andriesh Gandrabur is a Russian composer, sound designer, and educator specializing in sound art and sound design. He serves as the head of the "Sound Art and Sound Design" program at the Higher School of Economics' School of Design and teaches at the British Higher School of Design. Gandrabur has been involved in various artistic projects, including founding the DOS music production school and co-founding the music communications agency Main In Main. He has also contributed to theater productions, such as composing music and sound design for Marina Brusnikina's play "In Rings" at the "Praktika" Theater. In the film industry, his works include music for "Permafrost" (2023) and "Another Long Day" (2021). Previously, Gandrabur worked as a creative director at a major advertising agency and was actively involved in musical projects, including the band My Space Rocket and Dsh!Dsh!
Andronik Khachiian
Andronik Khachiian is an artist, curator, and art manager with a diverse educational background in design, advertising, acting, filmmaking, and contemporary art. He has curated exhibitions globally, managed creative labs, and organized festivals, with a focus on community engagement and interdisciplinary collaboration. Over the past decade, Andronik has led artistic residencies, fostering creative spaces for diverse audiences. His work spans visual arts, performance, and music, aiming to create immersive, socially engaged experiences. With his multi-disciplinary education and extensive experience, Andronik integrates creativity, experimentation, and emotional connection in his projects.
how Études works
Études unfolds as a three‑day intensive. On Day 1, participants gather, share their practices and map out possible points of connection. Through facilitated exercises, short improvisations and collective discussions, temporary groups form around shared interests rather than fixed project pitches. The theme “Traditions of the Future” is approached as a question, not a brief: it enters the room through the participants’ biographies, political realities and aesthetic choices.
On Day 2, groups rapidly prototype sketches and working scores. Short showings and feedback sessions structure the day: each team presents where they are, receives responses from peers and curators, and re‑enters the studio with new hypotheses. Methods from choreography, sound art, theatre and installation are mixed — from spatial walks and text scores to live coding, modular synthesis, video and light experiments.
Day 3 is dedicated to composing a shared performance. Instead of presenting separate pieces one after another, the lab focuses on building a common temporal and spatial structure in which different works coexist. Transitions, overlaps and frictions become dramaturgical tools. The day culminates in an open presentation for an invited audience, where the lab’s internal processes briefly become public.
On Day 2, groups rapidly prototype sketches and working scores. Short showings and feedback sessions structure the day: each team presents where they are, receives responses from peers and curators, and re‑enters the studio with new hypotheses. Methods from choreography, sound art, theatre and installation are mixed — from spatial walks and text scores to live coding, modular synthesis, video and light experiments.
Day 3 is dedicated to composing a shared performance. Instead of presenting separate pieces one after another, the lab focuses on building a common temporal and spatial structure in which different works coexist. Transitions, overlaps and frictions become dramaturgical tools. The day culminates in an open presentation for an invited audience, where the lab’s internal processes briefly become public.
what hosq provides and how we support the process
Curatorial frame and dramaturgy:
hosq convenes and supports the team of curators from choreography, sound art, theatre and visual practices (including SEC, CYFEST and partner institutions; см. также Études Lab #1). Together we design the thematic frame, selection process and the internal logic of the three days.
Infrastructure and technical ecosystem:
We provide rehearsal and performance spaces, basic equipment and materials (sound, light, projection, staging) and, where possible, accommodation and meals for participants. Additional technical riders are negotiated with the production team and partners.
Facilitation and group work:
hosq accompanies the group through daily meetings, check‑ins and feedback formats. We help structure time, mediate conflicts, and ensure that different levels of experience and disciplines can work together without hierarchy closing down experimentation.
Care logistics:
Beyond artistic questions, we take responsibility for the invisible labour that keeps the lab running: schedules, transport, communication with venues and partners, documentation, hospitality for participants coming from abroad.
Continuation and touring:
After the lab, hosq works with curators and artists to refine the collective piece and prepare it for further presentations. We coordinate with partner institutions to secure a grant, arrange future showings and support the long‑term life of the work beyond a single edition of the lab.
hosq convenes and supports the team of curators from choreography, sound art, theatre and visual practices (including SEC, CYFEST and partner institutions; см. также Études Lab #1). Together we design the thematic frame, selection process and the internal logic of the three days.
Infrastructure and technical ecosystem:
We provide rehearsal and performance spaces, basic equipment and materials (sound, light, projection, staging) and, where possible, accommodation and meals for participants. Additional technical riders are negotiated with the production team and partners.
Facilitation and group work:
hosq accompanies the group through daily meetings, check‑ins and feedback formats. We help structure time, mediate conflicts, and ensure that different levels of experience and disciplines can work together without hierarchy closing down experimentation.
Care logistics:
Beyond artistic questions, we take responsibility for the invisible labour that keeps the lab running: schedules, transport, communication with venues and partners, documentation, hospitality for participants coming from abroad.
Continuation and touring:
After the lab, hosq works with curators and artists to refine the collective piece and prepare it for further presentations. We coordinate with partner institutions to secure a grant, arrange future showings and support the long‑term life of the work beyond a single edition of the lab.
Notations
A two-week interdisciplinary lab where a shared score becomes living material for new sound, media and performance works. visit the page
- 12 daysThree meals a day, lectures, workshops, rehearsals, studio time, a daily 15-minute rave, and very little sleep.
- 60 artistsFrom 9 countries, working across music, sound art, visual art, animation, video, and artificial intelligence.
- 22 curatorsClassical composers, jazz virtuosos, technical magicians, media artists, and interdisciplinary creators guiding the process through talks, workshops, and one-to-one dialogues.
- 37 ProjectsConcerts, performances, and installations initiated by curators, participants, and the hosq team — presented at the Notations Festival & Public Program.
Notations is a two-week interdisciplinary laboratory held at the Armenian State Philharmonia. Built around Avet Terterian’s Third Symphony as a working score — digitized for the first time for this lab by Armenian National Music — it brings together composers, media artists, performers and researchers to reinterpret Armenian classical music through sound art, installation, performance and digital media. The symphony is treated as active material: something to dissect, translate, rearrange and recompose across disciplines. The lab develops and tests a method for structuring complex interaction between disciplines, cultures, languages and experience levels, defining shared working formats, daily rhythms and collective decision-making structures.
Instead of producing parallel projects, the lab builds a single evolving process where differences remain visible yet structurally linked. The process culminates in a two-day public showcase at the State Philharmonia presenting works developed during the lab — concerts, performances and installations conceived as independent formats that can travel, adapt to new spaces and be presented internationally. Participants consistently describe Notations as a safe and supportive environment that lowers the barrier to experimentation. The model is designed for replication and adaptation in other institutional and international contexts.
Laboratory of symphony, interpretation,
and collective experiment
Everything begins with a single piece.
Avet Terteryan’s Symphony No. 3 — digitized for the first time especially for this laboratory by Armenian National Music — becomes an entry point, an invitation.
To look closer.
To listen deeply.
To rearrange.
To question.
To seek.
The focus is on what happens in between.
A score is sound and text, movement and light, architecture and mistake, silence and interaction.
We compose through touch, speech, gesture, movement, editing, rhythm, attention.
We create scores of existence in space and time.
Process over form.
Form over outcome.
Still, we care about everything that grows out of honest searching, of dialogue, of presence.
Fragile. Unexpected. Alive.
and collective experiment
Everything begins with a single piece.
Avet Terteryan’s Symphony No. 3 — digitized for the first time especially for this laboratory by Armenian National Music — becomes an entry point, an invitation.
To look closer.
To listen deeply.
To rearrange.
To question.
To seek.
The focus is on what happens in between.
A score is sound and text, movement and light, architecture and mistake, silence and interaction.
We compose through touch, speech, gesture, movement, editing, rhythm, attention.
We create scores of existence in space and time.
Process over form.
Form over outcome.
Still, we care about everything that grows out of honest searching, of dialogue, of presence.
Fragile. Unexpected. Alive.
Ten days in the lab — a time of friction.
Between participants. Between the piece and our experience. Between past and present.
A synthesis emerges — cross-genre, multi-format.
A chain reaction begins.
Notes, spaces, objects come alive.
People open to each other.
The audience enters a space of co-existence.
Becomes part of the dialogue.
A participant. A co-author. A witness.
The laboratory functions as an ecosystem.
Impulses emerge from within and from beyond.
Curators, experts, mediators, professionals hold balance within a flexible structure.
They take risks. They improvise.
To reach something greater than the sum of our potentials.
This is Notations.
Change is our result.
In the body. In perception. In relation.
Even if just for a moment.
Between participants. Between the piece and our experience. Between past and present.
A synthesis emerges — cross-genre, multi-format.
A chain reaction begins.
Notes, spaces, objects come alive.
People open to each other.
The audience enters a space of co-existence.
Becomes part of the dialogue.
A participant. A co-author. A witness.
The laboratory functions as an ecosystem.
Impulses emerge from within and from beyond.
Curators, experts, mediators, professionals hold balance within a flexible structure.
They take risks. They improvise.
To reach something greater than the sum of our potentials.
This is Notations.
Change is our result.
In the body. In perception. In relation.
Even if just for a moment.
Notations brings together 21 concerts, 36 installations and 7 performances, developed during a 12‑day laboratory with 60 artists and 22 curators. These works form a two‑day festival at the State Philharmonia of Armenia with 1000+ visitors, and a number of projects have already been exported and presented at international festivals, including platforms in Edinburgh.
concerts
Curators: Aram Hovhannisyan, Vardan Harutyunyan
1. Neumatic Roots by Napoleon Poghosyan
A reflection on Avet Terterian’s notation style, which explores aleatoric and repetitive techniques.
+ Intervisual Sonic No. 1
Sound reflection on the graphic animation, echoing the previous piece.
2. Dissonant Mind by Mileta Gazanchyan
A performance with traditional music elements that features a striking contrast between three parts. Its complex symbolism remains open to viewer interpretation.
+ Intervisual Sonic No. 2
Sound reflection on the graphic animation, echoing the previous piece.
3. 'maze(d) by Neunhas
A mosaic of tiny musical fragments from Part 2 of Avet Terterian’s Symphony No. 3. An attempt to give polyphonic texture to monody.
+ Post-visual Sonic No. 3
Sound reflection on the graphic animation, echoing the previous piece.
Performers: Grigor Budaghyan (Clarinet), Gohar Solkaryan (Qanon), Varduhi Mirzoyan (Cello), Thereza Markosyan (Piano), Haig Gragian (Live electronics, saz, dispositive electronics), Ariana Hernandez Vera (Prepared piano), Gayane Aslanyan (Keyboard electronics, live electronics)
Animation: Raf Tadevossian, Katerina Klitonchik, Yelena Nersesyan, Anna Kichigina, Aleksandra Deeva, Andrey Silvestrov, Blue Pencil
1. Neumatic Roots by Napoleon Poghosyan
A reflection on Avet Terterian’s notation style, which explores aleatoric and repetitive techniques.
+ Intervisual Sonic No. 1
Sound reflection on the graphic animation, echoing the previous piece.
2. Dissonant Mind by Mileta Gazanchyan
A performance with traditional music elements that features a striking contrast between three parts. Its complex symbolism remains open to viewer interpretation.
+ Intervisual Sonic No. 2
Sound reflection on the graphic animation, echoing the previous piece.
3. 'maze(d) by Neunhas
A mosaic of tiny musical fragments from Part 2 of Avet Terterian’s Symphony No. 3. An attempt to give polyphonic texture to monody.
+ Post-visual Sonic No. 3
Sound reflection on the graphic animation, echoing the previous piece.
Performers: Grigor Budaghyan (Clarinet), Gohar Solkaryan (Qanon), Varduhi Mirzoyan (Cello), Thereza Markosyan (Piano), Haig Gragian (Live electronics, saz, dispositive electronics), Ariana Hernandez Vera (Prepared piano), Gayane Aslanyan (Keyboard electronics, live electronics)
Animation: Raf Tadevossian, Katerina Klitonchik, Yelena Nersesyan, Anna Kichigina, Aleksandra Deeva, Andrey Silvestrov, Blue Pencil
Dedicated to Terterian
A jazz piece built from excerpts of Symphony No. 3: rhythmic patterns are transformed into polyrhythms, while melodic fragments are harmonized.
Fake Prince
By Arman Peshtmaljyan
An illustrative piece based on a reharmonized and reimagined jazz standard. A poor boy falls in love with a princess, dreams of being a prince, and then wakes to reality.
Nman chi / Unlike
By Nikola Chen
An impression of Armenian traditional scales, reinterpreted through sampled folk instruments performed by a jazz/electro collective.
A jazz piece built from excerpts of Symphony No. 3: rhythmic patterns are transformed into polyrhythms, while melodic fragments are harmonized.
Fake Prince
By Arman Peshtmaljyan
An illustrative piece based on a reharmonized and reimagined jazz standard. A poor boy falls in love with a princess, dreams of being a prince, and then wakes to reality.
Nman chi / Unlike
By Nikola Chen
An impression of Armenian traditional scales, reinterpreted through sampled folk instruments performed by a jazz/electro collective.
Improvisation on 3rd Symphony's Duduk theme
This performance grew from a shared exploration of how each of the participants imagines sound. It blends traditional instruments with an experimental approach.
Shhau (Electronics, plugged grand piano)
Hayk Karoyi (Woodwinds, electronics)
Argam Hakobyan (Electronics)
Levon Yerkanyan (El. Guitar)
Hovhannes Hovhannisyan (Electronics, El. Cello)
Mar Margaryan (El. Qanun, vox)
Nare Davtyan (Vox)
Vahe Abrahamyan (Electronics)
Davit Aydiyan (Electronics, Viola)
Ash Ghazar (Qamancha)
Evgeniy Kazenkov (Instruments with electronics)
This performance grew from a shared exploration of how each of the participants imagines sound. It blends traditional instruments with an experimental approach.
Shhau (Electronics, plugged grand piano)
Hayk Karoyi (Woodwinds, electronics)
Argam Hakobyan (Electronics)
Levon Yerkanyan (El. Guitar)
Hovhannes Hovhannisyan (Electronics, El. Cello)
Mar Margaryan (El. Qanun, vox)
Nare Davtyan (Vox)
Vahe Abrahamyan (Electronics)
Davit Aydiyan (Electronics, Viola)
Ash Ghazar (Qamancha)
Evgeniy Kazenkov (Instruments with electronics)
Curators and participants of Notations Laboratory come together for a spontaneous musical experiment—moody, freeform, and off-script. Expect unconventional textures, unexpected harmonies, and a blend of sound table magic, voice, and instruments.
Performers: Levon Yerkanyan (Voice), Mileta Gazanchyan (Rhodes keys), Simona Markevich (Sound table, voice), Dark Babette (Sound table, voice), Emma Bayer (Sound table), Tigran Toti (Trumpet), Abgar Alaverdyan (Bass), Hamlet Grigoryan (Drums), Andriesh Gandrabur (Guitar), Hayk Karoyi (Brass), Hovhannes Hovhannisyan (Contrabass), Nikola Chen (Sound Engineering)
Performers: Levon Yerkanyan (Voice), Mileta Gazanchyan (Rhodes keys), Simona Markevich (Sound table, voice), Dark Babette (Sound table, voice), Emma Bayer (Sound table), Tigran Toti (Trumpet), Abgar Alaverdyan (Bass), Hamlet Grigoryan (Drums), Andriesh Gandrabur (Guitar), Hayk Karoyi (Brass), Hovhannes Hovhannisyan (Contrabass), Nikola Chen (Sound Engineering)
performances
A single, monumental cluster where acoustic and electronic tones converge into a dense resonance — a cosmic silence dedicated to Avet Terterian’s 3rd Symphony.
Performers: Andriesh Gandrabur, Davit Aydiyan, Hovhannes Hovhannisyan, Lusine MLKE-Galstyan, Eliza Bagdhiyan, Simona Markevich, Sergey Umroyan, Mar Margaryan, Black Babette, Varduhi Mirzoyan, Syuzanna Juharyan, Evgeny Kazenkov, Tigran Suchyan, Hayk Karoyi, Grigor Baghdasaryan, Emma Bayer
Performers: Andriesh Gandrabur, Davit Aydiyan, Hovhannes Hovhannisyan, Lusine MLKE-Galstyan, Eliza Bagdhiyan, Simona Markevich, Sergey Umroyan, Mar Margaryan, Black Babette, Varduhi Mirzoyan, Syuzanna Juharyan, Evgeny Kazenkov, Tigran Suchyan, Hayk Karoyi, Grigor Baghdasaryan, Emma Bayer
Live Musicians: Hayk Karoyi, Ash Ghazar, Arash Azadi, Emma Bayer, Yasmin Rai, Anna Sakhlyan, Lusine MLKÉ-Galstian, Simona Markevich
By Andronik Khachiian
Constellation of audio-visual performances. Four musicians follow the lead of ever-changing visual conductors — animated, abstract scores shaped live by guest hands.
Lusine MLKÉ-Galstian (Flute, vocal)
Eliza Baghdiyan (Guitar)
Gayane Aslanyan (Keys)
Black Babette (Effects)
Nadya Xyxu (Video artist)
Blue Pencil (Author of “The Sonic Cosmography")
Animation: Raf Tadevossian, Katerina Klitonchik, Yelena Nersesyan, Anna Kichigina, Aleksandra Deeva, Andrey Silvestrov
Set-design: Avdeev Yuriy, Daria Sadovnikova, Robert Poghosyan, Karina Malik
Constellation of audio-visual performances. Four musicians follow the lead of ever-changing visual conductors — animated, abstract scores shaped live by guest hands.
Lusine MLKÉ-Galstian (Flute, vocal)
Eliza Baghdiyan (Guitar)
Gayane Aslanyan (Keys)
Black Babette (Effects)
Nadya Xyxu (Video artist)
Blue Pencil (Author of “The Sonic Cosmography")
Animation: Raf Tadevossian, Katerina Klitonchik, Yelena Nersesyan, Anna Kichigina, Aleksandra Deeva, Andrey Silvestrov
Set-design: Avdeev Yuriy, Daria Sadovnikova, Robert Poghosyan, Karina Malik
By Nadya Xyxu & Eliza Baghdiyan
A generative vocal performance enhanced with electronics. An algorithm produces the Armenian alphabet, inspired by Avet Terterian’s Symphony No. 3.
A generative vocal performance enhanced with electronics. An algorithm produces the Armenian alphabet, inspired by Avet Terterian’s Symphony No. 3.
By Emma Bayer
Fragments draws from the pacing, silence, and density of Terteryan’s Symphony No. 3, reimagined as a graphic score for improvisation.
Fragments draws from the pacing, silence, and density of Terteryan’s Symphony No. 3, reimagined as a graphic score for improvisation.
By Emma Bayer & Dark Babette
Nonlinear Liturgy weaves improvisation and granular synthesis into a slow, ritual-like soundscape echoing Terteryan’s sensibility through suspended time and immersive listening.
Lilia Voskanyan (Violin), Davit Aydiyan (Alto), Hayk Karoyi (Blul, duduk, Zurna), Grigor Budaghyan (Clarinet), Tigran Suchyan (Flugelhorn), Lusine MLKE-Galstyan, Eliza Baghdiyan, Simona Markevich, Fe (Vocal) Field recordings from Orgov Radio-Optical Telescope Naré Davtyan (Voice & lyrics), Ash Ghazar (Qamancha), Mar Margaryan (Qanun), Shahen Khandkaryan (Percussion), Kai Nystagmus (Curator)
Nonlinear Liturgy weaves improvisation and granular synthesis into a slow, ritual-like soundscape echoing Terteryan’s sensibility through suspended time and immersive listening.
Lilia Voskanyan (Violin), Davit Aydiyan (Alto), Hayk Karoyi (Blul, duduk, Zurna), Grigor Budaghyan (Clarinet), Tigran Suchyan (Flugelhorn), Lusine MLKE-Galstyan, Eliza Baghdiyan, Simona Markevich, Fe (Vocal) Field recordings from Orgov Radio-Optical Telescope Naré Davtyan (Voice & lyrics), Ash Ghazar (Qamancha), Mar Margaryan (Qanun), Shahen Khandkaryan (Percussion), Kai Nystagmus (Curator)
By Arman Harutyunyan
By Black Babette
I sit playing on synths and Playtronics, surrounded by a mess of cables, with wires tangled in my hair — as if I’m caught in them.
I sit playing on synths and Playtronics, surrounded by a mess of cables, with wires tangled in my hair — as if I’m caught in them.
By Nikola Chen & Black Babette
Nanotonal granularism combining nonlinear psychobio-pharmonto-analytical research into the sonification of noise.
Nanotonal granularism combining nonlinear psychobio-pharmonto-analytical research into the sonification of noise.
By Roma Ricaai
For the first time at the Philharmonia of Armenia, a neural network composes and performs an orchestral piece, led by a human conductor.
For the first time at the Philharmonia of Armenia, a neural network composes and performs an orchestral piece, led by a human conductor.
By Fe, Vardan Harutyunyan & Gevorg Grigoryan
A performance with 2 pianos and live visuals.
A performance with 2 pianos and live visuals.
By Roma Ricaai
A live improvisation where musicians interact with an AI system. Instrument signals are transformed into entirely new sounds using custom machine learning models.
Performers: Roma Ricaai, Fe, Simona Markevich
A live improvisation where musicians interact with an AI system. Instrument signals are transformed into entirely new sounds using custom machine learning models.
Performers: Roma Ricaai, Fe, Simona Markevich
By Himiko Ni
An improvised sonic conversation between artists and the river’s recorded memory, transformed live into new forms of listening.
Performers: Simona Markevich, Fe, Roma Ricaai
An improvised sonic conversation between artists and the river’s recorded memory, transformed live into new forms of listening.
Performers: Simona Markevich, Fe, Roma Ricaai
installations
A visual symphony on the facade of the Armenian State Philharmonia, inspired by the music of Avet Terterian.
By Seda Grigoryan, Tigran Araqelyan, Yura Boguslavsky, Gevorg Grigoryan, Andrey Silvestrov, Emily Nikoghosyan, Shahane Harutyunyan, Blue Pencil, Sasha Deeva, Katerina Klitonchik, Anya Kichigina, Lena Derunc, Raf Tadevosyan
By Seda Grigoryan, Tigran Araqelyan, Yura Boguslavsky, Gevorg Grigoryan, Andrey Silvestrov, Emily Nikoghosyan, Shahane Harutyunyan, Blue Pencil, Sasha Deeva, Katerina Klitonchik, Anya Kichigina, Lena Derunc, Raf Tadevosyan
By Nadya Xyxu & Blue Pencil
Sound can generate not just music, but also impulse, color, and language — all becoming part of the audience's emotional journey. Knocking on the grand sound!
Sound can generate not just music, but also impulse, color, and language — all becoming part of the audience's emotional journey. Knocking on the grand sound!
by Misak Samokatian
A light and sound installation where composers and technologists weave code, acoustics, and the architecture of the Philharmonic into a living audiovisual organism.
A light and sound installation where composers and technologists weave code, acoustics, and the architecture of the Philharmonic into a living audiovisual organism.
By Fe
Sound installation, based on Khaz-inspired graphic scores, interpreted by musicians on ancient Armenian instruments.
Sound installation, based on Khaz-inspired graphic scores, interpreted by musicians on ancient Armenian instruments.
By Himiko
An interactive installation where viewers navigate a virtual soundscape of water sources, each holding its own rhythm, memory, and emotion.
An interactive installation where viewers navigate a virtual soundscape of water sources, each holding its own rhythm, memory, and emotion.
XR.001 is an immersive journey blending AR, VR, and projection mapping to explore how perception shapes reality.
AR Audioreactive Journey: Participants interact with sound and visual elements that trigger responsive, dynamic environments, amplifying the sensory experience.
VR Experience: Participants experience immersive video projections that envelop them, transforming the building space and extending the experience through a showcase of the artists’ works.
Projection Mappings: This separate aspect of the project features projection mappings around the building, in collaboration with different artistic groups, to showcase artworks and real-time visual projections.
Curator: Gevorg Grigoryan
Artists: Emilya Nikoghosyan, Shahane Harutyunyan, Anna Kalenchyan, Luiza Khechoyan
AR Audioreactive Journey: Participants interact with sound and visual elements that trigger responsive, dynamic environments, amplifying the sensory experience.
VR Experience: Participants experience immersive video projections that envelop them, transforming the building space and extending the experience through a showcase of the artists’ works.
Projection Mappings: This separate aspect of the project features projection mappings around the building, in collaboration with different artistic groups, to showcase artworks and real-time visual projections.
Curator: Gevorg Grigoryan
Artists: Emilya Nikoghosyan, Shahane Harutyunyan, Anna Kalenchyan, Luiza Khechoyan
By Himiko
A visual meta-fairy tale told through six digital works, reflecting on cosmic creation, destruction, and the raw language of light and noise.
A visual meta-fairy tale told through six digital works, reflecting on cosmic creation, destruction, and the raw language of light and noise.
By Seda Grigoryan
An immersive audiovisual installation where circling domes evoke a meditative space for reflecting on presence and responsibility in a world of simultaneous collapse and wonder.
Ani Galstyan, Shoghakat MLKÉ-Galstian, Shhau (Music)
An immersive audiovisual installation where circling domes evoke a meditative space for reflecting on presence and responsibility in a world of simultaneous collapse and wonder.
Ani Galstyan, Shoghakat MLKÉ-Galstian, Shhau (Music)
By Ekaterina Klitonchik
Bring the rose to life through music. Video Installation with Live Performance (Theremin)
Bring the rose to life through music. Video Installation with Live Performance (Theremin)
Animaton Department Interactive Installation with Live Performance
By Andrey Silvestrov
A story told in 7 panes of glass.
A story told in 7 panes of glass.
By Himiko
A sound and light installation tracing the imagined life of an astral body through memory, energy, and time — both infinite and fleeting.
Poems are written by Mar Margaryan & Blue Pencil
Read by Mar Margaryan & Blue Pencil
A sound and light installation tracing the imagined life of an astral body through memory, energy, and time — both infinite and fleeting.
Poems are written by Mar Margaryan & Blue Pencil
Read by Mar Margaryan & Blue Pencil
By Daria Sadovnikova & Karina Malik (GORG)
Interactive Installation. Take a flashlight and shine it around.
Interactive Installation. Take a flashlight and shine it around.
By Avdeev Yuriy & Robert Poghosyan (GORG)
Sound emerging from flea market finds, where the past takes on a new rhythmic form.
Sound emerging from flea market finds, where the past takes on a new rhythmic form.
By Yasmin Rai
This octophonic work blends traditional Armenian instruments, synthesizers, and field recordings from Orgov Observatory. Echoing Terteryan’s Symphony No. 3, it fuses organic and electronic sound into a hypnotic, ritual-like sonic space.
This octophonic work blends traditional Armenian instruments, synthesizers, and field recordings from Orgov Observatory. Echoing Terteryan’s Symphony No. 3, it fuses organic and electronic sound into a hypnotic, ritual-like sonic space.
By Andrea Laudante
Time, take me by the hand— lead me back to the house that once held our lives. Terterian’s Third Symphony is an act of resistance. To resist is to remain.
Time, take me by the hand— lead me back to the house that once held our lives. Terterian’s Third Symphony is an act of resistance. To resist is to remain.
By Simona Markevich
No-man kneads us again out of Earth and Loam,
No-man spirits our Dust.
No-man…
Paul Celan
No-man kneads us again out of Earth and Loam,
No-man spirits our Dust.
No-man…
Paul Celan
By Arash Azadi
A ritual soundscape blending Armenian instruments, poetry, and minimal granular synthesis used in maximalist form.
A ritual soundscape blending Armenian instruments, poetry, and minimal granular synthesis used in maximalist form.
By Anna Sakhlyan
A multi-channel sound installation, an anxious search, a never-ending attempt to connect with the collective work that was happening during recent weeks.
A multi-channel sound installation, an anxious search, a never-ending attempt to connect with the collective work that was happening during recent weeks.
Sound & Music Compilation Presentation
Music makers shaped infinite soundscapes through generative scores — rooted in time, place, and the cosmic pulse of Terterian’s 3rd Symphony.
Visitors were welcome to sit in the room and listen — the music was made for that.
Music makers shaped infinite soundscapes through generative scores — rooted in time, place, and the cosmic pulse of Terterian’s 3rd Symphony.
Visitors were welcome to sit in the room and listen — the music was made for that.
Shhau
Shhau is an artist working across music production, sound design, and education, active in Yerevan’s contemporary music scene since 2012. His practice merges experimental electronic music, philosophy, and narrative-driven composition, while maintaining strong ties to the jazz community through ongoing collaborations. Over the past decade, he has produced and co-produced three full-length albums and worked with prominent rock and hip-hop artists as a producer, drum programmer, and mixing engineer. Alongside his artistic work, he teaches music production and sound design, and is a co-founder of Mansard, a multidisciplinary creative studio uniting music, visual art, and photography.
Vardan Harutyunyan
A Yerevan-born composer, pianist, and electro-acoustic artist working across contemporary composition, improvisation, and sound ecology. A graduate of the Yerevan State Conservatory, he founded SoundLab Gyumri and the Contemporary Sound Orchestra, and co-created the project *Soundpath*, presented at NPAK’s Alternative Festival. His research-driven practice explores resonance, overtones, and wave physics, linking sound with ecological and social systems.
Aram Hovhannisyan
Aram is a composer of contemporary music active on both local and international stages, collaborating with leading festivals, ensembles, and soloists. Since 2017, he has directed the Crossroads Festival and founded Ensemble Assonance in Yerevan, contributing to the development of Armenia’s contemporary music scene. Since 2018, he has been affiliated with the Yerevan Komitas State Conservatory, where he serves as Vice-Rector for Academic and International Affairs and teaches composition.
Dima Ustinov
Over the past 20 years, Dima has been active across multiple areas of the music field, including live performance with his own band, DJing, organizing parties and music festivals, music education and mentoring, as well as producing original tracks and remixes. Today, his practice centers around two main directions: performing live electroacoustic music for piano and synthesizers, and creating interactive, immersive musical experiences for audiences. He also serves as Music Dean of the online education platform Journey, contributing to the development of new approaches in contemporary music learning.
Seda Grigoryan
Seda is a cultural leader and media professional working at the intersection of storytelling, cultural policy, and advocacy. With an MA in Film Production from the University of West London, she was part of CivilNet from its founding and later became the first Head of the Creative Europe Desk in Armenia, supporting access to European cultural networks and funding. Today, she leads ASA – Advocacy Society for the Arts, focusing on building a sustainable ecosystem for artistic expression in Armenia. Alongside her institutional work, she develops experimental video and installation projects.
Tigran Toti
Music band’s Katuner Armenian Navy band Creator of Dialog project The head of Artsakh state jazz orchestra
Artyom Naghdyan
Artyom Naghdyan is a musician, sound specialist, and cultural producer, currently serving as CEO of the State Philharmonia of Armenia. He leads the technical direction of major events including Yerevan Jazz Fest, HighFest, and the Yerevan Book Festival. Trained in cello and sound design in Armenia, the United States, and at Warner Bros. in Los Angeles, he has worked across concerts, films, and large-scale festivals, integrating music, technology, and collaborative production. His approach centers on building meaningful connections between people, places, and ideas through thoughtfully produced cultural projects.
Andriesh Gandrabur
Composer, sound designer, and educator working at the intersection of sound art, media, and performance. Founder of the Sound Art and Sound Design program at HSE School of Design.
Hayk Karoyi
Hayk Karoyi is a musician and sound artist working between traditional instrumentation and experimental electronics. A graduate of the Yerevan State Conservatory, he co-founded the bands Room 118 and Goght, performing internationally across Asia and Europe. Since 2017, he has developed an electronic music practice presented at festivals including Terraforma, Signal, and Stihia. He also composes for film and interdisciplinary projects, and in 2024 co-founded the sound-based app Tanuma.
Andronik Khachiian
Artist and curator across bio art, performance, and sound. He has led interdisciplinary laboratories and curated exhibitions in Europe, Mexico, and Armenia.
Daria Sadovnikova
Daria is a multidisciplinary artist working with video, sound, installation, and set design. With a background in painting and film production design, she creates video artworks, soundscapes, and spatial projects that combine moving image, collage, and audio. Her practice focuses on building immersive environments that connect visual storytelling with sound.
Karina Malik
In 2015, she began her artistic career as an architect and model maker, but since 2019, she has shifted her focus to set design and work with materials and objects. Today, she works as an art director, creating a visual environment through installations and decorations of any scale and complexity.
Kai Khachatryan
A Yerevan-based sound artist and experimental musician working between underground culture and electro-acoustic research. Active in punk bands since 2002 and producing experimental music since 2010, his practice centers on field recordings and electromagnetic sounds captured with self-built devices. Focused on timbral transformation rather than structural change, he preserves the raw authenticity of street and acoustic environments. His work often draws on psychological themes, translating complex mental states into immersive sonic forms.
Misak Samokatian
Misak Samokatian is an artist, musician, and art director. He has been involved in the field of interactive, kinetic, and audio-visual installations since 2011. As an artist, he works with light, sound, video, space, and time.
Yura Boguslavsky
Yura is an animation director, animator, scriptwriter, producer, and educator, as well as the co-founder of the Invisible Friends creative team and Tsekh Animacii studio. A graduate of SHAR Animation School (2009–2011), he has been creating animation since the age of eight and teaching it since eighteen. Since 2010, he has led animation workshops internationally, working with participants across Russia, Armenia, Ukraine, Belarus, Estonia, Georgia, Germany, France, Italy, Serbia, Slovakia, Israel, and beyond. His practice combines artistic production with a strong commitment to education and the development of young animators.
Yuriy Avdeev
Yuriy is an artist working with objects, space, and installation at the intersection of art, engineering, and design. He began studying artistic material processing technology in 2010 and spent several years working across industries, gaining extensive experience in materials, equipment, advertising displays, props, and large-scale three-dimensional environments. From 2019 to 2022, he ran an independent workshop in Moscow focused on spatial design and artistic installations. Now based in Yerevan, he operates a small-scale production studio and is a member of the Gesamt set design team, developing scenography, installations, exhibition architecture, and experimental spatial solutions for cultural and commercial projects.
Gevorg Grigoryan / dob_
Gevorg is a multimedia artist and creative technologist working with music, audiovisual performance, digital installations, and theater production. Since 2012, he has developed and presented multimedia projects in Armenia and internationally, combining tools such as TouchDesigner, Blender, and Adobe Suite with strong project management and art direction. He is the founder of “di.” studio, focusing on immersive digital environments and technology-driven artistic experiences.
Petros Goroyan
Sound Engineer
Tigran Araqelyan
Tigran Arakelyan is an accomplished artist with over a decade of experience in animation and cinema. Graduating from "Hakob Kojoyan" art school in 2009 and later earning an Art Direction degree from "Yerevan State University of Theatre and Cinematography" in 2013, he began his career early. Co-founding OnOff Studio in 2018, Tigran has led the creation of artistic project and his detbute animated film is "ZAKO," where he explores innovative VR technologies to push creative boundaries.
Robert Poghosyan
Robert is an artist, musician, and researcher whose practice combines material experimentation with sound-based exploration. Drawing on years of hands-on experience with diverse materials, he develops installations and performances that translate conceptual ideas into tangible forms. His multidisciplinary approach allows him not only to realize his own artistic visions but also to collaborate closely with other artists, supporting the technical and creative realization of their projects. Through sound and spatial interventions, he has contributed to several collaborative artworks that bridge research and artistic production.
Shoghakat MLKÉ-Galstian
Arts manager, choreographer, actress - dancer and educator. As Creative Director of MIHR Contemporary Dance Theatre, she helped shape Armenia’s contemporary movement scene and its distinctive “Music of Movement” language.
Karen Vardanyan
Karen is a lighting designer, that has been working with this form for the past 20 years. His range of work includes concerts, dance performances, festivals, outdoor events, corporate events, film and video shoots, broadcasting events.
how Notations works
Notations unfolds over twelve days at the State Philharmonia. The Third Symphony by Avet Terterian functions as a shared score — a common reference point that different disciplines can enter from their own angle. Daily rhythms combine lectures, workshops, rehearsals, studio time and one‑to‑one dialogues with curators; participants move between composing, improvising, spatial work, media experiments and collective feedback. The method focuses on how to keep many practices interconnected: shared formats, common time structures and collective decision‑making create one evolving process instead of separate project lines. The final two days become a public festival where this process is opened to audiences through concerts, performances and installations.
what hosq provides and how we support the process
Curatorial frame and partnerships:
hosq convenes the curatorial team and co‑designs the laboratory with the State Philharmonia of Armenia and partners such as CYFEST, Yerevan State Conservatory and Armenian National Music. Together we set the thematic frame (Terterian’s Third Symphony), the selection process and the internal logic of the lab and showcase.
Infrastructure and technical ecosystem:
We work with the Philharmonia’s spaces and technical teams to provide rehearsal rooms, concert halls, multichannel setups and support for complex sound, light and media works, as well as access to digitised scores and archival material.
Facilitation and group work:
hosq facilitates the daily structure, feedback formats and coordination between disciplines, helping participants navigate from individual ideas to a shared process while keeping room for risk and experiment.
Care and logistics:
We handle scheduling, communication, basic hospitality and on‑site support, so that artists can focus on the work while still feeling held by the environment.
Continuation and touring:
Notations is designed with export in mind: selected works and formats are further developed and presented in Armenia and internationally, and the lab model itself can be adapted together with partner institutions.
hosq convenes the curatorial team and co‑designs the laboratory with the State Philharmonia of Armenia and partners such as CYFEST, Yerevan State Conservatory and Armenian National Music. Together we set the thematic frame (Terterian’s Third Symphony), the selection process and the internal logic of the lab and showcase.
Infrastructure and technical ecosystem:
We work with the Philharmonia’s spaces and technical teams to provide rehearsal rooms, concert halls, multichannel setups and support for complex sound, light and media works, as well as access to digitised scores and archival material.
Facilitation and group work:
hosq facilitates the daily structure, feedback formats and coordination between disciplines, helping participants navigate from individual ideas to a shared process while keeping room for risk and experiment.
Care and logistics:
We handle scheduling, communication, basic hospitality and on‑site support, so that artists can focus on the work while still feeling held by the environment.
Continuation and touring:
Notations is designed with export in mind: selected works and formats are further developed and presented in Armenia and internationally, and the lab model itself can be adapted together with partner institutions.
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