Meaning,Typography,Art

Meaning, Typography, Art Meaning without typography and art, or typography without meaning and art is nothing but the art without meaning and typography. In fact, the parallels of these understandings are interrelated like meaning without an idea, typography without a text, art without art or arts... Meaning, this is born for the typography and art, typography - for meaning transfer art recognition and its correct introduction, and finally, the concept of the art of meaning and typography, which is nothing but art of meaning and typography. Writing without meaning and art is just a technical and representational sign, which does not have any constructive and ideological sense; it should be understood as “the symbol of the symbol” which replaces the oral speech. Meaning and thinking, which is similar to the art and artists, need the visual support of typography and writing. Thus is born the art, which is the constructive growth of meaning and typography. On the other hand, the real parallel of meaning, typography and art is with the reality, the reality that in fact is the illusion of reality next to the multilayered reality. Meaning, typography and art being closely interrelated in the past centuries, but they reached their peak of real in the period of Renaissance. If in the medieval society art was a part of the human’s material, working activity, in the ranked society it became a unique form of consciousness. The three Dantean institutional concepts (meaning, typography and art) were first combined by Vazari. In parallel with the development of the social life, the continuer of Vazarian institutions of meaning, typography and art was Gzhak, who promoted the expansion of boundaries and measures of visual-cognitive art. During the exhibition titled Meaning, typography, art were shown: rare books taken from the library on modern art collected by Gzhak due to long-term operations; exclusive typographical samples done by the artists during the seven biennales: like “Instant words” by Davit Kareyan, “Girq Hobats” by Hovhannes Sargsyan, “Powerless monuments” by Aristide Antonas, Aleksios Dallas and Filippos Oreopulos; the final catalogues of Gyumri’s biennales, and etc. The exhibition also features Mkrtich Matevosyan’s and Levon Fljyan modern typographies with unique designing solutions. By combining meaning and typography, modern art gave birth to a new form of art called “Visual Art”, which came to replace or complement books, adding the human way of thinking for the visual need. The exhibition also presents Arman Grigoryan’s antiassociative and completely uncommon video project called “Armenians are superstitious”, and Azad Sargsyan will be introduced with his performance called “Meaning, typography, art”.