PENTHOUSE by SARDI GALLERY
PENTHOUSE begins with a change in the status of space. A private apartment on the top floor of a residential building becomes a place for art without turning into a museum or a gallery in the conventional sense. Contemporary art usually exists within purpose-built institutions: museums, galleries, exhibition halls. These spaces separate the artwork from everyday life and, in doing so, establish a particular way of experiencing it.
PENTHOUSE proposes the opposite gesture. Here, the artwork returns to the environment of real life. It exists alongside furniture, light, architecture, conversation, everyday rituals, and the panorama of the city.
It is precisely at this point that the role of the viewer begins to change. They no longer observe art from a distance. They can imagine the work as their own: on their wall, in their room, among their belongings. The artwork ceases to be an abstract museum object and becomes a possible part of a personal world.
In this sense, PENTHOUSE exists simultaneously as an exhibition, a salon, and a private institution for collecting. Its format is not simply a way of seeing art. It is an opportunity to understand what place art might occupy in your life.
PENTHOUSE carefully preserves the nature of private life. Access is limited, yet this intimacy does not distance art; rather, it creates the conditions for an exceptionally close and trusting encounter. Art does not enter the interior from the outside. It becomes an organic part of it.
And so PENTHOUSE is a space where people come not only to look, but to encounter an artwork within the context of life: to learn its story, experience it within an interior, and imagine it not as an exhibition object, but as a part of their own home. Perhaps this is where true collecting begins.
PENTHOUSE proposes the opposite gesture. Here, the artwork returns to the environment of real life. It exists alongside furniture, light, architecture, conversation, everyday rituals, and the panorama of the city.
It is precisely at this point that the role of the viewer begins to change. They no longer observe art from a distance. They can imagine the work as their own: on their wall, in their room, among their belongings. The artwork ceases to be an abstract museum object and becomes a possible part of a personal world.
In this sense, PENTHOUSE exists simultaneously as an exhibition, a salon, and a private institution for collecting. Its format is not simply a way of seeing art. It is an opportunity to understand what place art might occupy in your life.
PENTHOUSE carefully preserves the nature of private life. Access is limited, yet this intimacy does not distance art; rather, it creates the conditions for an exceptionally close and trusting encounter. Art does not enter the interior from the outside. It becomes an organic part of it.
And so PENTHOUSE is a space where people come not only to look, but to encounter an artwork within the context of life: to learn its story, experience it within an interior, and imagine it not as an exhibition object, but as a part of their own home. Perhaps this is where true collecting begins.
ARTISTS:
Mariam Arami
Mary Badalian
Olia Breva
Ani Chopuryan
Ellen Demirian
Darya Fasihi Jumel
Lilit Galstyan
Lusin Ginosyan
Kima Gyarakyan
Elen Karapetyan
Elena Kakhramanyan
Uwo Kocharyan
Natalia LILVI Mitrofanova
Polivka
Gohar Sargsyan
Dina Simonian
Mariam Arami
Mary Badalian
Olia Breva
Ani Chopuryan
Ellen Demirian
Darya Fasihi Jumel
Lilit Galstyan
Lusin Ginosyan
Kima Gyarakyan
Elen Karapetyan
Elena Kakhramanyan
Uwo Kocharyan
Natalia LILVI Mitrofanova
Polivka
Gohar Sargsyan
Dina Simonian
CURATORS:
Ekaterina Drakunova
Sona Minasian
Ekaterina Drakunova
Sona Minasian
PHOTO
