  It wasn't an habital museum with old custodian ladies on duty and exhibits
behind glass. It was a Maestro's House where his exhibits lived as people and
visitors at times became part of the exhibition. That high rest was guarded
by the puppetts reincarnating now Lila Brick, how Chengiz-Khan and even the maestro himself. We’ve got in time in space, in cultures and names- having found ourselves in that postmodernist realm of spirit where Gothic self-portrait was neighbouring Svetlana’s portrait in Empire style and all around the domain of Baroque. We felt us children, probably the same way as many visitors did: childrfen cognizing the world in all its glory, unable to explain or analyse things around but just to be happy and wander its casy showrooms with mouths wide-open of delight.
When we left no longer as children but rather as teenagers we still childishly wanted to help the managers of the museum Zaven Sarkisyan and Karen Mikalyan - nice, open and kind people whose faithfulness to the Master’s memory had made the museum that warm and attractive. It goes with saying that all of high art lovers Know Paradzhanov but we would like to an opportunity to everybody who hasn’t been yet in Yerevan and far away to have short walk along the showrooms of that marvellous house.
 Elza-Bair Goutchinova, Elista,
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