The Second Edition of the Theatrical Posters International Biennale Armenia Was Held (Photos)

This biennale is Armenia's only international large-scale event in the field of graphic design. The first edition took place in 2022 and quickly captured the attention of important international professional structures and designers. The second edition stood out for the high quality and volume of the submissions: 425 authors from 48 countries submitted 925 works, and after a rigorous selection, 142 authors from 34 countries with 170 works were showcased in the exhibition, earning the international jury's appreciation.

In addition to the exhibition, the members of the international jury—Lech Majewski (Poland), Niklaus Troxler (Switzerland), and Henning Wagenbreth (Germany)—presented lectures as part of the biennale.

One of the key partners of the biennale is Newmag Publishing House. We spoke with Edik Boghosian, the co-founder of the biennale, designer, and artist, about the event.

Why was the biennale originally planned to be an annual event, and why was it later changed to a biennial?

We initially planned to hold the Theatrical Posters International Biennale Armenia annually, but after working on the first edition, it became clear that the scale of the work required more time. We wanted to maintain the highest international standards in every aspect of the project. Additionally, we realized that limiting it to one year would result in fewer quality submissions. By shifting to a biennial format, we can better prepare both financially and logistically, allowing us to receive more high-quality applications.

How do the organizers maintain contact with the award winners, and is there an effort to build a community of award-winning designers?

Given the large base of participants, we are able to stay in touch with most of them. I want this biennale to be a platform for collaboration, not just for award-winning designers, but for key institutions as well. My goal is to foster long-term cooperation and hopefully create active groups in the future.

How is the international jury selected for the biennale?

I personally select the jury based on my experience in Iran, where I have connections and knowledge of the most prominent international figures in poster design. The jury groups are formed with directors of major biennales, designers active in theater design, and representatives of respected graphic design schools. We ensure that their presence will have a meaningful impact on the careers of our local students and professionals.

Grand Prix Winner of the Theatrical Posters International Biennale Armenia

Best Poster of the Theatrical Posters International Biennale Armenia

Best Poster of the Theatrical Posters International Biennale Armenia

How do international projects contribute to the professional growth of local designers?

Such projects help local designers grow by exposing them to international standards. For example, viewing posters in person is a completely different experience from seeing them online. Posters are an urban cultural expression that should engage directly with the viewer. This event allows designers to interact with iconic figures in the field and be inspired by works from around the world.

What feedback have you received from Armenian theater poster designers?

Several Armenian designers attended the opening and participated in lectures. It’s heartening that our project encourages designers to visit Armenia, discover its potential, and connect with professionals from abroad. The exchange of experiences during the exhibition was truly inspiring.

How has the public reacted to the biennale, especially theater lovers?

The reactions have been diverse, from enthusiastic comments on the designs to a deeper appreciation for the importance of posters. Many visitors have started paying more attention to posters after attending the exhibition, realizing their significance as cultural tools.

How is the role of the poster designer viewed in Armenia?

In smaller countries like Armenia, niche specializations like poster design are not widespread. However, in other countries, designers often focus on specific branches of the industry, and posters are one such field. Today, Armenian designers are not only creating posters but also working on projects like book covers and music packaging.

How has the process of creating theatrical posters evolved in modern Armenia?

In the Soviet period, theatrical posters were often created by artists like Minas. Today, there’s been a shift towards more conceptual, artistically-driven designs. This trend is particularly strong in smaller theaters and independent groups.

How are past theatrical posters preserved and used creatively today?

Since 2017, the management of the Gabriel Sundukyan National Academic Theater has been working to restore the culture of theatrical posters in Armenia. We’ve moved away from traditional cast-based posters and focused more on conceptual, visually captivating designs. Unfortunately, not all posters from the past were archived well, but we have digitized and preserved many of the surviving works. We also discovered gaps in the preservation of post-independence posters, particularly from the 2000s.

How do you choose the biennale’s partners?

We select partners based on mutual agreement and negotiations. Some partners provide services for the biennale on a donation or barter basis, while others offer their support at discounted rates. We are grateful to our loyal partners, including the JHM Foundation, the German Goethe-Institut, the Swiss Pro Helvetia Foundation, and the Embassy of the Republic of Poland in Armenia.

We are grateful to our special sponsors DoubleTree by Hilton Yerevan City Centre, Yeremyan Projects and InVino Club. We express our deep gratitude to the management of Matenadaran, the Parajanov Museum and the Ararat Museum of the Yerevan Brandy Factory. And to all the partners who helped us to implement the biennial at a high level once again.

Tell us about your recent visit abroad to Tehran.

In response to an invitation from the Momayez Foundation, I curated an exhibition of Armenian posters as part of design events marking the 19th anniversary of Morteza Momayez, a key figure in modern Iranian graphic design. The exhibition, titled ‘Old Acquaintance, New Meeting’, showcased 39 posters and 38 letter samples from 20 designers and received a great response from the Iranian audience. This was a rare opportunity for Armenian designers to showcase their work outside Armenia.

Photos courtesy of ACT Cultural NGO.