<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>

'The Forensic Excavations Inventory is a storytelling tool box designed to investigate the effect of Armenian Genocide on my own life.

Moreover it is an adaptable storytelling technique I have been developing since 2017 fit to explore a variety of topics and generate knowledge not otherwise obtainable.

(I have been using it in the development of TRADITION, a work about the Ore Mountains in Saxony, Germany, part of the former East Bloc.)

In the process I laboriously extract objects like toys, furniture and body parts of of family members from a small pool of family photos, and write something about them. What the object reminds me of, what I remember in view of its context, or knowledge about its origin or meaning.

I was born in Sofia, the People's Republic of Bulgaria, and after the wall fell, grew up alone with my mother in the former east part of Berlin, with occasional visits from my grandmother and yearly holidays in Bulgaria until I was 12. My grandmother worked briefly in the former German Democratic Republic as an opera singer and my mother partially grew up and later on studied and worked there as well.

The family I knew were all survivors and descendants of survivors of the Armenian Genocide in the former Ottoman Empire which began in 1915. My grandparent's family members were either murdered and buried in anonymous mass graves or after fleeing, scattered around the world without contact to each other.

I was raised as a German-Armenian without knowledge of who my father was. My name stems from Peter Schuett, a West-German communist poet who, at the urging of my mother, accepted paternity without being involved in the slightest in my conception nor upbringing. As a child I was shown photos with me as a baby in his arms, and my mother happily embracing him, with a wedding ring glistening on her finger.

I learned these pictures were staged in order to convince the Bulgarian authorities as well as her abusive family of my legal status. Peter Schuett gladly partook in this adventure, published a poem about me, and was questioned by the GDR intelligence service ("Stasi") about the extent of his involvement in my conception.

'Destruction' is in the word deconstruction. I am excavating the missing pieces in my biography by doing the complete opposite of what archaeologists are doing - they search the grounds for shards of a once-whole object to reconstruct it by drawing the missing pieces. In contrast, I had to destroy my archetypical family picture. The once-whole photos expand spatially and open up an inbetween level, a void, in which I can express myself. Without context, the objects are perspectively distorted and need to be nominally identified ('TV set', 'hand'), analogous to how I experienced myself, as context-less, before I began revaluating my childhood experiences.

Political implications lie hidden in plain sight in the photos just as the intergenerational trauma that I have been affected by. Recent studies proved Germany's major involvement in the Genocide regarding logistics and weaponry. As a further step I will make physical objects of the extricated items, place them in contemporary contexts, and photograph them. Through time travel the artifacts of my childhood everyday life become documents and connect the story of migrant kinship, consumership, nationalism and security between
Eurasia, Eastern and Western Europe.'

Beatrice Moumdjian, 2019

DEUTSCH
Mit Roland Barthes koennte man sagen, dass in dieser Arbeit ein Spiel zwischen 'Punctum' und 'Studium' stattfindet: Je mehr wir der Analyse des in den Bildern Verborgenen zusehen, desto mehr wird uns die Umgebung vertraut und trifft uns im naechsten Bild als Erinnerung. Der im Titel benannte Prozess einer 'totalen Dekonstruktion' dient gleichsam dazu, die vor der gewaltsamen Zerstoerung gerettete familiaere Erinnerung zu bewahren. Exemplarisch wird deutlich, was Erinnerung ist, was kontextualisiert werden kann, aber auch was als Luecke bleibt - und als fortlaufende Ausgrabung eine offene Form erhaelt.'

Clemens v. Wedemeyer, 2018

Exhibition history
2019 Forthcoming announcement.
2019 Up in Arms/Art in the Underground (Up in Arms/Kunst im Untergrund). Site-specific public art installation. Neue Gesellschaft für bildende Kunst Berlin nGbK. Berlin, DE
2018 Gallery of the Academy of Fine Arts. Cultural Memory. Leipzig, DE
2017 Gallery of the Academy of Fine Arts. Studienpreis-Award. Leipzig, DE catalogue

Awards
2019 Neue Gesellschaft fuer bildende Kunst Berlin nGbK. Up in Arms/Art in the Underground competition (Up in Arms/Kunst im Untergrund). Status: Winner. Award: 4000EUR
2017 Academy of Fine Arts Leipzig. Studienpreis-Award. Status: 2nd/3rd place. Award: 2500EUR. catalogue

Publications
2018 Studienpreis-Award 2017. Academy of Fine Arts. Leipzig, DE

notes
.First three photos: visualizations for nGbK Up in Arms/Art in the Underground public art competition.
.Installation view Studienpreis-Award exhibition 2017 (with timber frame plinth): Alexander Pannier.
.Last photo: visualization, me holding my great-grandmother Viktoria's nose in my arms as a physical object. 3D-Rendering. Photo: Lars Preisser
.compare also the work Magic City