Armen Yesayants

Yesayants, Armen
Armen Yesayants, Director of Exhibitions, Cafesjian Center for the Arts, Yerevan, Armenia.

Conference Report. December 2024

Introduction

The 2024 CIMAM Annual Conference in Los Angeles marked a pivotal gathering for museum professionals worldwide, exploring the pressing theme of 'Sustainable Futures: How? When? For Whom?' This was my first time attending CIMAM and visiting Los Angeles, which added a layer of personal excitement and curiosity. As a travel grantee, I felt privileged to contribute to discussions on sustainability in art institutions and to represent my organization on a global stage. The conference not only fostered dialogue around climate action and inclusivity but also celebrated Los Angeles’ vibrant art scene through studio visits and cultural explorations.

DAY 0: December 5 – Registration and Early Activities

My journey began with around 16-hour flight to Los Angeles, and the excitement of stepping into the city was immediate. The first day, set aside for registration and informal meet-and-greets, offered a glimpse of the enriching experience ahead. I visited MOCA to explore Ordinary People: Photorealism and the Work of Art Since 1968. Initially, I had low expectations for the theme, thinking photorealism lacked depth. However, the exhibition’s nuanced curatorial approach challenged my biases. The selected works unraveled complex narratives about representation, reality, and perception, leaving a lasting impression.

Later that evening, I attended a screening and discussion of Edgar Calel’s film. His deeply rooted connection to Kaqchikel Mayan traditions was palpable in his storytelling. This was particularly inspiring since he was also one of the keynote speakers for the conference. The evening underscored the value of centering Indigenous perspectives in contemporary art discourse, aligning perfectly with the themes of sustainability and inclusivity.

DAY 1: December 6 – Opening and Rethinking Museums for Climate Action

As a travel grantee it was an honor to meet all other lucky selectees and share a special breakfast together inside Wonmi’s Warehouse at MOCA. I was happy to get to know my peers from around the world, to meet them in person and know their fields of interest. It was also very important to see the organizers and supporters and have the opportunity to thank them for this unprecedented opportunity for many of us. This already was an interesting point for networking and some potential discussions of possible collaborations.

The conference officially commenced at the Wonmi’s Warehouse.

Johanna Burton, the Maurice Marciano Director (MOCA), and Clara Kim, Chief Curator and Director of Curatorial Affairs (MOCA) as well as the conference’s Content Committee Chair, set the tone with their opening remarks. They emphasized the urgency of tackling climate change through transformative museum practices. It was nice meeting Clara who I remembered from my participation in Tate Intensive program in 2017, which she was also involved in.

The first keynote by Mark Bradford was particularly powerful. Known for his community- centered practice in South LA, Bradford spoke about bridging the gap between art institutions and marginalized communities. His work with Art + Practice illuminated how museums can foster genuine social engagement. It was also very inspiring to see not a peer from a museum, not an art institution representative, but an artist, speaking about these issues. Listening to an artist who I followed for many years was an inspiring moment and as he put it nicely in his triangle schemes, we need to listen to artists as they are always “right”.

Session #1: What is our Agency? The Contemporary Art Museum and Climate Crisis

Moderated by Suzanne Cotter, this session delved into the paradoxes of institutional responsibility in the face of the climate emergency. Five speakers presented diverse perspectives, each offering insights and strategies for fostering sustainability in museums.

Fiona Ragheb: Sustainability Sacrifice

As Deputy Director for Curatorial and Exhibitions at LACMA, Ragheb tackled the perceived tension between sustainability and institutional growth. She argued that sustainability should not be seen as a "zero-sum game" but as an opportunity to align environmental goals with community and cultural responsibilities.

She shared examples from LACMA's encyclopedic collections, demonstrating how historical art can be recontextualized to address contemporary climate issues. By reframing sustainability as a "both-and" rather than an "either-or" scenario, Ragheb advocated for museums to lead cultural transformations while preserving their core missions.

Kelsey Shell: Cultivating Empathy in Sustainable Museum Practices

Shell, MOCA’s Environmental & Sustainability Strategist, offered a fresh perspective by

emphasizing the role of empathy and community in fostering sustainable practices.

She highlighted programs such as MOCA’s Green Team and the Climate Conversations public series, which encourage staff and visitors alike to engage with sustainability in a collaborative and inclusive manner. The detailed presentation of the Green Team was very interesting. Her presentation also showcased artist-driven projects, such as Pipilotti Rist’s Big Heartedness, Be My Neighbor and Olafur Eliasson’s OPEN, which illustrate the power of storytelling in mobilizing climate action.

Daniel Vega: Environmental Sustainability at the Guggenheim Museum Bilbao

Vega presented a case study on the Guggenheim Museum Bilbao's sustainability journey, detailing their strategic framework, carbon footprint metrics, and action plans.

He shared the successes of initiatives like waste recycling programs, energy efficiency upgrades, and a circular economy model, while candidly discussing the challenges and mistakes encountered along the way. Vega’s transparency provided actionable insights for other museums embarking on similar paths. I was especially impressed by the lighting system changes and how it benefited to the museum. Not just the idea, but the execution and the evaluation in general.

Cecilia Winter: Managing Collections Environments for a Sustainable Future

Winter, from the Getty Conservation Institute, focused on the interplay between conservation and sustainability. She explained how rigid climatic controls, often considered standard for collection preservation, can significantly increase museums' carbon footprints.

Her presentation highlighted the Getty’s Managing Collections Environments Initiative,

which advocates for evidence-based approaches to balance conservation needs with

environmental sustainability. She challenged the audience to rethink the concept of “best practices,” advocating for broader environmental ranges and risk-based decision- making. Her question of “How long is a long time” got me thinking about the idea of sustainability in a whole!

John Kenneth Paranada: Ecological Awakening of the Museum

Paranada’s presentation at the Sainsbury Centre highlighted the power of interdisciplinary approaches in addressing climate change. He emphasized the importance of breaking traditional museum barriers by integrating Indigenous knowledge, fostering partnerships, and championing inclusion.

He detailed initiatives that promote community resilience and behavioral change, illustrating how museums can inspire collective action toward a sustainable future.

Paranada’s concept of the “ecological awakening” of museums was a compelling vision for the sector. His passion about the work and his activities at the Sainsbury Centre make one want to visit and see everything in person.

Key Takeaways from the Session

The session provided a multifaceted look at the challenges and opportunities museums face in the climate crisis. From rethinking storage environments to fostering empathy- driven sustainability cultures, the speakers collectively demonstrated that no single solution exists. Instead, museums must adopt a holistic and collaborative approach, balancing their roles as cultural custodians and agents of environmental change.

The following panel discussion gave a floor for questions as well, where I used my opportunity to raise a question about the problem of smaller institutions that don’t know where to start.

In between the session #1 and session #2 we had a chance to delve into the exhibition Olafur Eliasson: OPEN at LACMA, which was a gem. He is one of my favorite artists globally and I have seen his one man shows in London, Florence, Istanbul and now in LA. Considering his environmental activism through his art this exhibition added a nice touch to the first day of the conference.

Session #2: Sustainable Ecosystems: Rethinking Museum Collections and Buildings within the Urban and Social Realm

Moderated by Chus Martinez, this session addressed the evolving relationship between museums, their physical structures, and their roles in the urban and social fabric. The three presentations provided unique perspectives on how museums can redefine their connections to place, communities, and the environment.

Michael Maltzan: Two Museums, and the Potentials of Time and Distance

Michael Maltzan’s presentation explored the complex dynamics of museum architecture and its potential to transcend traditional notions of sustainability. He began by acknowledging the inherent unsustainability of building practices, stating that a focus solely on the physical properties of a museum risks missing its broader ethical and cultural responsibilities.

Maltzan illustrated this argument through two case studies:

1. The Hammer Museum, Los Angeles

2. Qaumajuq, Winnipeg, Canada

Maltzan concluded by proposing that museum buildings should function as porous, interconnected entities rather than isolated monuments. By fostering deeper connections with the cultural practices they house, museums can become dynamic participants in their communities.

Andrea Lissoni: Another Kind of Monument

Andrea Lissoni posed a provocative question: Can a public art institution be reimagined as a monument? Using Haus der Kunst in Munich as a case study, Lissoni explored the

institution’s complex identity as a historical site and a contemporary art space.

· Haus der Kunst’s Dual Identity

Lissoni described Haus der Kunst as a monumental building steeped in layers of memory and history, yet actively engaging with the present and future. Since 2022, the institution has embraced a transformative agenda, focusing on living artists and challenging traditional art historical narratives.

· "Everything is Program" Philosophy

Lissoni shared Haus der Kunst’s innovative approach of breaking down hierarchical departmental structures. This transdisciplinary and transnational methodology fosters a continuous thread of learning and engagement, creating a unified and adaptable institutional framework.

Lissoni concluded by positioning Haus der Kunst as a prototype for how museums can serve as evolving monuments—structures that are not fixed in their significance but actively contribute to the ongoing dialogues of art, society, and history.

Sara Zewde: What Are Museum Landscapes?

Sara Zewde introduced the concept of museum landscapes as dynamic spaces that go beyond aesthetics to engage with memory, community, and ecology.

· Reexamining Land and Legacy

Zewde discussed how museums are beginning to rethink their relationships with the land they occupy. Her firm, Studio Zewde, uses landscape design as a medium for critical inquiry into site histories, community relationships, and institutional responsibilities.

· Case Study: Dia Art Foundation, Beacon, New York

Zewde’s work with the Dia Art Foundation involved redesigning 8 acres of its Beacon campus. The project transformed the museum’s grounds into an ecological landscape that is accessible to the public, integrating sustainability with cultural stewardship. This particular example was so inspiring for me that I visited DIA Beacon nearly 10 days later and it was mind-blowing.

  • Other Projects

Zewde also referenced projects with other cultural institutions, emphasizing the potential for museums to become stewards of their environments. She argued that landscape design can reflect the evolving models of museums, making them more inclusive and ecologically attuned.

Zewde’s presentation underscored the importance of museums embracing their roles as

caretakers of both cultural and natural heritage.

Respondents: Aileen Burns, Johan Lundh, and Apsara DiQuinzio

The session concluded with reflections from the respondents, who synthesized the themes of the presentations. They highlighted the importance of interdisciplinary approaches in reimagining museums as dynamic participants in their ecosystems. The respondents also emphasized the need for museums to bridge the divide between cultural programming and environmental responsibility.

Panel discussions throughout the day explored the role of museums in reducing carbon emissions and adapting their infrastructures to promote sustainability.

Key Takeaways from Session #2

This session emphasized that museums must evolve as porous, interconnected spaces that respond to their urban, social, and ecological contexts. From architecture to landscape design, each presentation showcased innovative ways museums can redefine their roles in society, bridging the divide between their physical structures and their broader cultural missions.

Breakout Sessions and Evening Activities

After the presentations, participants engaged in breakout discussions at the Aileen Getty Plaza, where they shared their own institutional challenges and brainstormed potential solutions. This collaborative atmosphere underscored the importance of community-driven approaches to sustainability. I shared my concerns about the problem with smaller institutions or developing countries where the sustainability or environmental issues are not even a priority, as those countries and museums have a lot to deal with before even approaching the problem of sustainability.

The day concluded with a visit to the Getty Center, where we viewed two landmark exhibitions, Lumen: The Art and Science of Light and Sensing the Future: Experiments in Art and Technology (E.A.T.). The evening’s dinner reception, preceded by remarks from Joan Weinstein, provided an opportunity for further networking and reflection in a more informal setting. With a stunning night views of LA, this was a remarkable start.

Day 2: Economies of Sustainability: Ethics, Values, and Resilience

Location: Hammer Museum at UCLA

The second day of the CIMAM 2024 Annual Conference shifted the focus to the financial and ethical dimensions of sustainability. With a lineup of influential speakers and a vibrant set of presentations, the day invited participants to critically examine the governance, funding structures, and missions of museums in the face of growing social, political, and environmental challenges.

Welcome Remarks

  • Aram Moshayedi, Interim Chief Curator at the Hammer Museum, opened the day with remarks that highlighted the importance of institutions like the Hammer in advancing critical dialogue. He noted the museum's dedication to fostering inclusivity and sustainability as integral to its programming and operations. His speech was very refreshing and fun, the humor and wit made helped everyone to forget about their jet lags.
  • Kitty Scott, member of the 2024 Content Committee, followed with an introduction that framed the session's theme. She emphasized the urgency of redefining the economic models that underpin the art world, urging museums to rethink their ethical responsibilities.

Keynote Speech: Zita Cobb – Fogo Island: The Possibility of a Place

Day two shifted focus to the Hammer Museum, exploring the intersection of sustainability, funding models, and governance. The highlight for me was Zita Cobb’s keynote on her work with Shorefast and the Fogo Island Arts residency program. She presented a compelling case for prioritizing place-based sustainability, emphasizing the importance of integrating cultural and natural ecosystems.

Panels tackled tough questions about financial resilience in museums, particularly in a world increasingly shaped by private interests. I found Kelsey Shell’s approach at MOCA innovative; her emphasis on empathy and collaboration as tools for sustainable programming was refreshing. Her discussion of the 'MOCA Climate Conversations' program provided actionable takeaways for smaller institutions like ours.

Zita Cobb delivered an inspiring keynote that connected personal experience with broader themes of community and sustainability. Drawing from her work with the

Shorefast Foundation and the Fogo Island Arts residency program, Cobb explored the intersection of place, culture, and sustainability.

  • The Importance of Place

Cobb emphasized that "place matters," reflecting on how human systems often disregard the significance of location in favor of globalization and abstraction. She argued that culture is a community's response to its environment, encompassing shared values, knowledge, and beliefs.

  • Lessons from Fogo Island

Cobb described how Shorefast channels business revenues into cultural and community development programs, creating a sustainable and equitable economic model. The Fogo Island Arts program exemplifies how art can be a catalyst for cultural preservation and joy.

  • A Call to Action

Cobb urged museums and cultural organizations to adopt a holistic approach to sustainability, one that integrates the needs of people, places, and ecosystems. She closed with a thought-provoking question: "How do we create shared value while honoring the histories and futures of our communities?"

This was sensational, and inspiring and moving story, very personal, intimate, layered and the same time charged with art and entrepreneurial core.

Session #3: Economies of Sustainability: Ethics, Values, and Resilience

Moderated by Aram Moshayedi, this session examined the economic frameworks that sustain cultural institutions, addressing how ethics and resilience play into long-term sustainability. Each presentation offered a unique lens on these issues.

Manuel Segade: Tentacular Models of Interdependency

As Director of the Museo Nacional de Arte Reina Sofía, Segade explored the relationships between public and private funding in cultural institutions.

  • A Political Construct

Segade challenged the naturalization of these relationships, describing them as political constructs that require careful consideration and design.

  • A Perspectivist Approach

He proposed a "tentacular" model of interdependency that moves beyond binaries to embrace complexity. This model recognizes that sustainable futures are already present but often require new frameworks to become visible.

Mai Abu ElDahab: Playing with a Different Set of Cards

Mai Abu ElDahab offered a candid reflection on the unique challenges of supporting art communities in the Arab world.

  • Redefining Sustainability

In regions marked by persistent crises, traditional notions of sustainability often feel irrelevant. Abu ElDahab described how Mophradat prioritizes alternative resource- sharing strategies that emphasize time, generosity, and skill transfer over institutional stability.

  • Programmatic Innovations

Mophradat’s non-normative programming creates new relationships between artists and organizations, emphasizing collaboration over transactional interactions.

Ibrahim Mahama & Yesomi Umolu: A Short Century and Archaeology of the Future

In a dynamic conversation, artist Ibrahim Mahama and curator Yesomi Umolu explored how memory and imagination intersect in the creation of sustainable cultural infrastructures.

  • The Savannah Centre for Contemporary Art

Mahama shared insights from his work establishing the SCCA and Red Clay Studio in Tamale, Ghana. These spaces serve as hubs for contemporary art and traditional crafts, engaging underserved rural communities.

  • Confronting Postcolonial Failures

The duo discussed how these initiatives address the legacies of colonialism while inspiring emancipatory thinking for future generations.

Andrea Fraser: Mission, Governance, and Sustainability

Andrea Fraser, artist and professor at UCLA, concluded the session with a thought- provoking presentation on the governance of nonprofit organizations.

  • Reforming Missions

Fraser critiqued the vagueness of most institutional missions, arguing that they often fail to provide meaningful guidance for governance. She advocated for more rigorous formulations of mission statements that align with sustainability goals.

  • Artists in Governance

Drawing from her experience at the ICA Los Angeles, Fraser highlighted the importance of including artists and other stakeholders in governance structures. This approach ensures a more holistic and ethical approach to long-term sustainability.

Respondents: Deepanjana Klein & Eungie Joo

  • Deepanjana Klein, of the Kiran Nadar Museum of Art, and Eungie Joo, of SFMOMA, synthesized the presentations into actionable insights. They emphasized the importance of rethinking governance structures to align with community needs and global challenges.

Introduction to Breath(e): Toward Climate and Social Justice

Following the morning sessions, Mika Yoshitake, co-curator of Breath(e), briefly introduced this innovative exhibition. Yoshitake emphasized the intersection of climate and social justice as a central theme, showcasing how art can address these pressing global challenges. The exhibition integrates immersive and participatory works to inspire collective action and provoke critical conversations around sustainability and equity.

After that there was a unique opportunity to explore the HAMMER museum’s collection as well

as the temporary shows at the moment.

Interlude Presentation: Walid Raad – Two Drops Per Heartbeat

Artist Walid Raad captivated the audience with an interdisciplinary exploration of the Thyssen-Bornemisza Collection.

  • Blurring Boundaries

Raad’s narrative wove together fact and fiction, using historical artifacts, personal anecdotes, and surreal imagery to probe the intersections of art, memory, and imagination.

  • A Unique Perspective

His presentation challenged traditional museum practices, inviting the audience to consider alternative ways of engaging with history and storytelling.

This performance is something one cannot put into words, only a true engagement and experience can tell what this was about; where myth and reality collide in an unexpected twist of absurdity and mystic.

Tours of PST ART Shows and Other Spaces

In the afternoon, participants explored exhibitions across Los Angeles as part of the PST ART initiative. I was in the group that visited a range of venues, including MOCA Grand, REDCAT, and the Broad. These tours highlighted the city's dynamic art scene and the diverse ways institutions are addressing sustainability.

The building of the Broad, the collection and the temporary show of Joseph Beuys: In Defense of Nature, was the highlight considering the scale and the selection of the pieces.

It was a real pleasure exploring the collection of American art with the gems of Western modern and contemporary art, but not only.

For me personally it was fascinating to see the amazing piece by an artist from the Armenian Diaspora in LA featured in the scope of the exhibition All Watched Over by Machines of Loving Grace at Redcat. I am talking about the interactive piece by Mashinka Firunts Hakopian, an Armenian writer, artist, and researcher born in Yerevan and residing in Glendale, CA. Her piece is interwoven with Armenian traditions and new technologies of AI. It was a real pleasure meeting her in person. ԲԱԺԱԿ ՆԱՅՈՂ (One Who Looks at the Cup, 2024): it is a The Coffee Reader, a modest box encased in silver foil, reflecting the warm geometric designs that cover every surface of the surrounding "SWANA (Southwest Asian and North African) futurist kitchen," created by Hakopian’s collaborators, Dahlia Elsayed and Andrew Demirjian. In May, Hakopian, a fellow at Eyebeam, delivered a talk about crafting alternatives to Western knowledge systems, including algorithmic prediction models. In a society that steers our inquiries toward search engines rather than ancestral wisdom, AI divination emerges as a tool to connect with and channel voices from the past, emphasizing collective collaboration over the individualism that defines our innovation-driven culture.

Dinner Reception: Hauser & Wirth

The day concluded with a standing dinner reception at Hauser & Wirth in the Arts District. This informal gathering provided an opportunity for delegates to reflect on the day’s discussions while building connections in a relaxed setting. We also had a chance to explore the shows at the one of the most celebrated art galleries in the world, featuring shows of Firelei Báez, Jason Rhoades and Gustav Metzger.

Key Takeaways from Day 2

Day 2 of the CIMAM conference underscored the urgency of rethinking economic and governance models in the cultural sector. From Zita Cobb’s emphasis on place-based sustainability to Andrea Fraser’s call for mission-driven governance, the day’s presentations offered a roadmap for institutions striving to balance financial resilience with ethical responsibility.

Day 3: Sustainable Communities: Indigenous Perspectives and Worldviews

Location: LACMA & Academy Museum

The final day of the CIMAM 2024 conference brought the focus to Indigenous perspectives, exploring how their worldviews can redefine sustainability, art, and community. Hosted at LACMA and the Academy Museum, the day’s discussions provided profound insights into the intersections of art, ecology, and culture, emphasizing how museums can better align with Indigenous values and practices.

Candice Hopkins delivered an inspiring keynote about the Forge Project, a non-museum initiative prioritizing Indigenous governance and cultural work. Her reflections on creating protocols driven by Indigenous knowledge resonated deeply, as they aligned with my thoughts on decolonizing museum practices.

Welcome Remarks

  • Michael Govan, CEO and Director of LACMA, and Rita Gonzalez, Head of Contemporary Art at LACMA, opened the day by reflecting on LACMA’s commitment to diversity and sustainability in its programming.
  • Joselina Cruz, a member of the Content Committee, provided an introduction to the day’s theme, emphasizing the transformative potential of Indigenous knowledge systems for museums and communities.

Keynote Speech: Candice Hopkins – The Potential in Not Being a Museum

Candice Hopkins challenged traditional museum paradigms by exploring the freedoms and possibilities of non-museum models. Drawing from her work at the Forge Project, she argued that being "not a museum" allows for innovative approaches across disciplines like food sovereignty, land remediation, critical writing, and Indigenous governance.

  • Freedom of Structure

Hopkins explained how Forge Project avoids the rigid frameworks inherited by many

museums, enabling it to operate at the “speed of trust” and center Indigenous cultural

workers.

  • Protocols Led by Artworks

She highlighted how their collection operates as a public trust, with protocols shaped by the works themselves, shifting the norms of accessibility and ownership.

  • Call to Action

Hopkins closed by urging museums to adopt Indigenous-inspired governance systems and engagement protocols, emphasizing the power of these shifts to reshape institutional norms.

Session #4: Sustainable Communities – Indigenous Perspectives and Worldviews

Moderated by Rita Gonzalez, this session featured four powerful presentations from artists, curators, and thinkers. Each speaker explored the transformative potential of Indigenous knowledge and the ways museums can better align with these perspectives.

Edgar Calel – Not Everything Can Be Sold

Guatemalan artist Edgar Calel shared how his work is deeply rooted in the Kaqchikel Mayan tradition.

  • Ancestral Practices

Calel described the rituals in his community, where offerings of fruits, flowers, and tobacco are made to honor ancestors and their wisdom.

  • Custodianship Over Commerce

Highlighting a unique collaboration with Tate, Calel shared his decision to loan an artwork for 13 years rather than sell it. This act underscores the importance of maintaining cultural legacy over financial transactions.

Djon Mundine – Always Was, Always Will Be

Australian artist, curator, and activist Djon Mundine offered a rich narrative of Aboriginal visual traditions and their connection to land.

  • Cultural Heritage

Mundine recounted the ancient practice of identifying footprints, emphasizing how these acts reflect a deep relationship with place and community.

  • Performance and Memory

His work Always Was, Always Will Be incorporates red ochre prints, calling upon millennia-old traditions to reclaim identity and history through performance art.

Pablo José Ramírez – Exhibition Making and the Question of Difference

Curator Pablo José Ramírez critiqued the limitations of multiculturalism in museums, proposing new curatorial strategies rooted in intersectionality and commonality.

  • Challenging Inclusion

Ramírez argued that the logic of “inclusion” often reinforces existing hierarchies. Instead, he advocated for performative practices that prioritize shared experiences and histories.

  • Brown Ontologies

Drawing on José Esteban Muñoz’s concept of the Brown Commons, Ramírez discussed

how anticolonial histories and diasporic narratives can reshape exhibition-making.

Taloi Havini – Meeting the Matriarchy: Extractivism Exposed

Taloi Havini, an artist from Oceania, exposed the colonial legacies embedded in museum collections and the ongoing challenges faced by Indigenous communities.

  • Historical Violence in Collections

Havini criticized the Western canon for relegating Indigenous cultures to the past, often reducing their artifacts to mere aesthetic inspiration for modernist movements.

  • Repairing the Matrilineal Legacy

She posed vital questions about how museums can address the disruptions caused by colonial rule, calling for a reimagining of museum practices that centers Indigenous matrilineal systems and cultural continuity.

Respondents: Michelle LaVallee and Stephanie Rosenthal

The session concluded with reflections from Michelle LaVallee and Stephanie Rosenthal, who synthesized the presentations into broader themes. They emphasized the importance of Indigenous-led governance and called for museums to embrace frameworks that prioritize community and ecological health.

Afternoon Activities

· Lunch at LACMA

While delegates enjoyed boxed lunches on the LACMA plaza, it was nice to have a farewell lunch with organisers and other travel grantees. We shared our thoughts about the conference and also contacts for future possible collaborations. Most of us were sure they would be visiting the conference in 2025, wherever it would be.

  • It was also nice visiting exhibitions such as Mapping the Infinite and We Live in Painting. I enjoyed this enormous space, both the collection and the temporary shows, especially the exhibition featuring Simone Leigh.
  • The General Assembly wrapped up the conference, allowing participants to reflect on the three days of dialogue and actionable steps for their institutions. We also found out that the next annual conference will take place in Turin, Italy.

· Tours of PST ART Shows and LA Spaces

Groups visited a variety of cultural landmarks and exhibitions. including David Horvitz’s Garden, the Autry Museum of the American West, Brand Library & Art Center and the California African American Museum (CAAM). These visits showcased the rich diversity of Los Angeles’ art ecosystem. I even met some local Armenian teenagers at the Brand Center in Glendale.

Farewell Dinner & Party

The conference concluded with a farewell dinner hosted at BCAM, LACMA, by Jarl Mohn. The evening was a celebration of the connections made and the conversations sparked over the three days, leaving delegates with a renewed sense of purpose and collaboration. It was amazing to have this wonderful dinner next to the monumental piece by Richard Serra, a piece I only saw in books and online as an art history student.

Key Takeaways from Day 3

The final day of CIMAM 2024 underscored the transformative power of Indigenous knowledge systems in shaping sustainable futures. From Candice Hopkins’ call for non- museum models to Taloi Havini’s critique of colonial legacies, the day’s discussions offered profound insights into how museums can realign with community, culture, and ecology.

DAY 4: December 9 – Artist Studio Visits: South LA Tour

The final day of the conference took a deeply personal turn with studio visits that immersed us in the creative processes and intimate environments of six remarkable artists. Tour #3 in South LA offered an unforgettable glimpse into the minds of Todd Gray, Kyungmi Shin, Rosha Yaghmai, Analia Saban, and Paul McCarthy. These visits were not only an exploration of their groundbreaking work but also a testament to their openness, generosity, and eagerness to engage with us.

Todd Gray

Todd Gray’s studio was a striking start to the tour. His photo-based works felt like an elaborate puzzle of history and identity, masterfully interweaving images from imperial European gardens, West African landscapes, and rock culture.

What left the deepest impression was Todd’s passion for discussing the layers of meaning within his work. His assemblages aren’t just visually compelling; they’re vehicles for exploring colonial legacies and diasporic dislocations. Todd’s ability to

balance a critical dialogue with a subversive beauty in his pieces resonated strongly. His hospitality added a warmth to the visit—he invited us to ask questions freely, making sure everyone felt included in the conversation.

Kyungmi Shin

Kyungmi Shin’s studio radiated a sense of quiet intimacy. Her work, centered on marginalized bodies and immigrant narratives, was both personal and universal. Using family photo archives and historical imagery, she creates powerful juxtapositions that challenge dominant narratives.

Kyungmi’s gentle yet enthusiastic demeanor made the experience incredibly engaging. She was eager to walk us through her process, sharing not just her techniques but also the stories behind her pieces. One particularly touching moment was when she spoke about how her personal history as an immigrant informs her art. It felt like she wasn’t just showing us her work but inviting us into her life.

Rosha Yaghmai

Rosha Yaghmai’s studio was a world of material exploration and psychedelic undertones. Her use of translucent silicon and resin gave her works a bodily, almost otherworldly quality. Each piece seemed to exist in a space between the familiar and the strange.

What stood out most was Rosha’s enthusiasm for discussing the transformative potential of materials. She described her sculptures as thresholds—metaphors for change and transcendence. Her excitement was infectious, and she was incredibly patient in answering even the most intricate questions about her process. Rosha’s

willingness to share both her technical expertise and the philosophical ideas behind her work made this visit particularly enriching.

Analia Saban

Analia Saban’s studio was a playful yet meticulous space, filled with works that blurred the boundaries between painting and sculpture. Her process-oriented approach to art- making was fascinating, especially the way she uses trial and error to explore the limits of materials.

What made the visit memorable was Analia’s eagerness to involve us in her thought process. She shared the challenges and joys of her experimentation, showing us pieces that hadn’t worked out alongside her triumphs. This openness made her work feel even more relatable and inspiring. Her ability to transform everyday objects into profound artistic statements was nothing short of impressive.

Paul McCarthy

The tour concluded with a visit to Paul McCarthy’s studio, a sprawling space that mirrored the complexity and ambition of his work. Known for his provocative and boundary-pushing art, Paul’s studio was filled with pieces that challenged conventional norms and explored themes of identity, humor, and power.

Paul’s willingness to share his thoughts on some of his most controversial works was striking. He spoke candidly about his motivations and the societal critiques embedded in his pieces. Despite the often heavy themes of his work, Paul’s humor and warmth shone through, making the visit both intellectually stimulating and unexpectedly lighthearted.

Reflections on the Day

What made these studio visits so special was not just the art but the artists themselves. Each one welcomed us into their creative spaces with an openness and generosity that was deeply moving. They didn’t just showcase their work; they shared their philosophies, processes, and vulnerabilities.

This day was a reminder of the power of personal connection in understanding art. Seeing the spaces where these pieces are born and hearing directly from the artists gave a depth and context that can’t be replicated in a gallery or museum. It was the perfect way to end the conference, leaving me inspired and grateful for the experience.

Bonus

On my last day in LA, I also visited the studio of LA based Armenian artist, Zadik Zadikian, whose piece Path to Nine is at the moment featured in Brooklyn Museum in the scope of the exhibition Solid Gold. We are working on a monumental installation to be featured at the Cafesjian Center for the Arts in Yerevan in 2025. If not the CIMAM Conference, I would not have the chance to visit his studio in LA.

Conclusion

Attending CIMAM 2024 was an eye-opening experience that affirmed the importance of global collaboration in addressing the museum sector's challenges. From rethinking governance and funding to embracing Indigenous perspectives, the conference offered a wealth of ideas to take back to the Cafesjian Center for the Arts.

I am grateful to CIMAM and its travel grant program for this opportunity and look forward to implementing these insights into our future projects. Together, we can create a more sustainable and inclusive future for museums worldwide.

I have made great connections not only among the grantees but also other participants of the conference. I was very happy and surprised to meet Marko Daniel from Fundació Joan Miró, who was one of the organizers of Tate Intensive in 2017 in London. He was the one who gave me recommendation for Chevening Scholarship which later shifted my career. So I am grateful to CIMAM for this encounter as well.


Biography

Armen Yesayants (b. 1986) is an art historian, arts/cultural manager, lecturer, and curator based in Yerevan, Armenia. He completed his BA, MA, and PhD in Art History at Yerevan State University between 2002 and 2011. From 2018 to 2019, he pursued a second MA in Arts and Cultural Management at King’s College London as a Chevening Scholarship awardee.

He participated in various local and international conferences, workshops, and programs, including 'Creating Contemporary Art Exhibitions' at Whitechapel Gallery, London (2016), and 'Tate Intensive: Art Matters' at Tate Modern, London (2017). Since 2012, Armen has been associated with the Cafesjian Center for the Arts (CCA), serving as the Director of Exhibitions since 2016.

He has lectured at Yerevan State University, Russian-Armenian (Slavonic) University, and The University of Cinema and Theatre in Yerevan, Armenia. He has been involved in numerous local and international projects as a curator, consultant, and jury member. He founded and co-hosted the ArtASOVOR video podcast, the only project of its kind on modern and contemporary art in Armenia. Over the years, he has curated or contributed to the organization of nearly forty exhibitions and has extensively written on modern and contemporary Armenian art, and beyond.

In 2023, he was selected as the curator of the National Pavilion of the Republic of Armenia at the 60th International Art Exhibition – La Biennale di Venezia. Currently, Armen is working on a series of curatorial projects including the National Pavilion at La Biennale 2024, 'Quinta del Sordo' by Sahak Poghosyan at CCA, and 'The Gate' by Georgii UVS at CCA. He is also working on a series of publications and catalogs, and an art film on the 'Echo' project by Nina Khemchyan for the Armenian Pavilion at the Venice Biennale. His current curatorial projects also involve planning the exhibition programming at CCA for 2024-2026.

Armen Yesayants, Director of Exhibitions, Cafesjian Center for the Arts, Yerevan, Armenia, has been awarded by the Getty Foundation, Los Angeles.