Andrius Arutiunian

Artist and composer
Netherlands (residence), Armenia, Lithuania (citizenship) °1991
en

Andrius Arutiunian is an Armenian-Lithuanian artist and composer based in The Hague, the Netherlands. A


Recent shows and commissions include CTM festival, Berlin (2022), Rewire, The Hague (2021), FACT, Liverpool (2021), Lucia Festival, Florence (2020), Stedelijk Museum, Amsterdam (2019), documenta 14, Parliament of Bodies, Kassel (2017). He was artist-in-residence at BALTIC Centre for Contemporary Art, Gateshead (2019), ZKM | Centre for Art and Media, Karlsruhe (2019), and Quartertone, Yerevan (2018).  In 2020 Arutiunian was selected for EMARE/ EMAP annual award and residency at FACT Liverpool (2021). Arutiunian is a recipient of the Talent Development grant by Creative Industries NL (2020-21).

In 2022, Andrius Arutiunian will represent Armenia at the 59th Venice Art Biennale.

research

research expositions

  • Extra-musical Systems in Music: their implementation in contemporary music in the context of multimedia (2016) author(s): Andrius Arutiunian published in: KC Research Portal
    The purpose of this research is to define methods of applying extra-musical and data-based systems in multimedia music works. The first part of the paper concentrates on the outline of the motivation and reasoning for using extra-musical systems from a composer's or sound artist's perspective and gives a historical precedent context. Parallels are drawn together with contemporary art and art critique examples. The second part of the research outlines the possible modes of the data-based systems application by analysing multiple multimedia works by composers or sound artists written in the last two decades including a piece by the author of the paper. The types of multimedia and its connection to sound are discussed, the conceptual deconstruction and its semiotic implications of the data used are analysed. The given conceptual and semantic context is applied for analysing the musical parameters and data's usage in sound control. Each of the pieces discussed outlines a particular mode of the conceptuality towards the extra-musical system usage and functions as a primal device for further conclusions drawn. The final part of the research consists of the general overview of the conclusions drawn and attempts to establish a general outline of the motivation and the resulting outcome behind the usage of the extra-musical systems in multimedia works.
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