An Armenian Catalogue as Metonymy: Archiving Performance in the Other Milanese Avant-Garde

The catalogue produced for the Armenian intermedial performance Ararat (1977) in Milan stands as the most significant remnant of an avant-garde project that combined music, painting and poetry. The volume includes musical scores by Ludwig Bazil and artwork by Herman Vahramian, artists connected to the Armenian community, as well as critical essays. Analysing the catalogue as an integral component of the performance demonstrates its role as an evocative remnant that aligns with the event’s intermediality. Drawing on archival studies, I argue that the catalogue embodies a metonymic relation to the performance, serving as a crucial tool for fostering a historiography of Milanese-Armenian cultural production. Ararat ’s diasporic context amplifies the catalogue’s impact and contributes to the memory practices of the marginalized community. Steeped in affective resonance, the artefact incites the community to engage with cultural and historical narratives, contributing to a broader discourse on Armenian identity within the Milanese context.