The exhibition “Here There. Matters of Location"

Date: 15 Oct. 2016 – 27 Oct. 2016

Museum: Tbilisi History Museum

Georgian National Museum Tbilisi History Museum in the framework of the project "Contemporary Art Gallery" invites you to the exhibition "Here There. Matters of Location, Contemporary Georgian Art". The opening event will take place on October 15, 2016 at 5 pm. 

The project "Contemporary Art Gallery" aims to support the development of the Georgian contemporary art locally and regionally, as well as in the international arena.

This time, the Tbilisi History Museum will host the third international exhibition which is composed of five artists who live and work in Europe and Georgia. The question is: does their location make a difference to the character of their work? Is there specificity in each work determined by where it has been made? Does their place of birth and upbringing determine and shape their work? Or, perhaps place and location simply informs and artists work, as one of many factors influence a person's life and work.

Materiality is important to each of these five artists in different ways. In this regard location of Georgia is important wherever the work is made. For some, it has to do with aspects of the cultural history and traditions in Georgia. This can be seen by the breadth artisanal traditions which remain strong throughout the country. For others, the sense of materiality is tied to installation practices that have been a major part of contemporary art internationally. This materiality allows an artist to combine both an international language of form with the specificity of the local. It is the "Here There" that shapes the character of this exhibition.

The exhibition will last until October 27, 2016.

Address: Ioseb Grishashvili Tbilisi History Museum (Karvasla), 8 Grishashvili Str. Tbilisi, Georgia. 

 

SOPHIA TABATADZE

CONCEPT

What we thought was a wall turned out to be a curtain. And the converse was also true: the wall disappeared but a stronger wall remained, the one that exists in our minds – a transparent veil you can’t see through, the wall that turns into a curtain, the curtain that is sewn shut on both sides. Among the questions I asked myself in this piece were, how much can one really see of the other side, and how much of this is what one wants to see? To approach this theme, I put it in the context of Eastern and Western Europe, and of what happened when the old borders disappeared and the new ones emerged. To me, the east – west metaphor stands for how we tend to perceive the world only from our own viewpoint, and try to fit everything we see and experience into our pattern of thinking. Meanwhile, each side changes constantly and dramatically over very short periods of time, be it in respect of people, architecture or their respective social and political situations.

BIO

Tabatadze was born in 1997 in Tbilisi, Georgia. During 1997-2002 she studied and completed Gerrit Rietveld Academie in Amsterdam, the Netherlands. Tabatadze has shown her work internationally. She represented Georgia in the Venice Biennale in 2007 and participated in Istanbul Biennale in the same year. She participated in Museum shows at Fine Arts Museum, Nantes, France; Boijmans van Beuningen Museum, Rotterdam, the Netherlands and Tbilisi History Museum, Georgia. Her personal shows took place in galleries, “kunstvereins” and art-fairs in Germany, the Netherlands and China. She lives and works in Berlin.

KOKA RAMISHVILI

CONCEPT

My B/W photoს Aeolus (Sculpture as an Event) show the phenomenon of light as a frozen statue. The sculpture-paintings from the ‘Lost Landscape’ series stand for my current investigation of landscape painting and show light as a color in three-dimensional sculpture.

BIO

Koka Ramishvili (1956 in Tbilisi, GE) got wide attention thanks to his participation in the Venice Biennial of 2009. Apart from that, institutions such as the MAMCO in Geneva (2004) or he M HKA in Antwerp (2011) showed his work extensively. Lives and works in Geneva.

MAMUKA JAPHARIDZE

CONCEPT

There are no islands on the Georgian coast of the Black Sea, that’s why I imagined them and now I am drawing. This imagination revives the images buried in deep cultural memory; the imagination creates motivation that translates into pictures. And why? The coastal line of this sea is occupied by the railway and automobile tracks. Ports and industries destroy any trace of wilderness. The remaining places are occupied by the leisure industry. And the wish emerges to create uninhabited islands to preserve the wild nature. This idea can be implemented and one day we might observe the “wild artificial” island or this idea might stay as an idea and such painted pictures. This is my response to the problem that I feel and represents the driving force steering me to paint.

BIO

Mamuka Japharidze is conceptual/multimedia artist also known for environmental art practice and art education. He is focused on language, ecology and processed-based art. He runs Shindisi Field Academy, also known as ‘Cloud Library’, 7 km from Tbilisi, where, together with CCA Tbilisi, he is teaching a special course on bio-farming in relation to art. He was born in Tbilisi, Georgia in 1962, studied at Tbilisi Academy of Arts, was one of the founders of the Meate Sartuli (Tenth Floor) artists’ group. Since 1987 he has exhibited nationally and internationally, attended many international artists’ workshops and residencies, made performances and ‘actions’, coordinated arts projects and exchanges, and curated exhibitions. He was selected to represent Georgia at the 48th Venice Biennale.

LADO DARAKHVELIDZE

CONCEPT

Living in Arnhem (The Netherlands) these past 8 years, I have been getting familiar with annual activities in connection to the remembrance of WW2. This has made me wonder what the children in the Caucasus region learn in history classes concerning their joint past. What is being taught in our (Georgian) schools and those of the neighboring countries? After reading Georgian history books, I turned my attention to the complex school education in the region and their shifting contours in the present. Initial research shows that history in the region is being changed according to the political/ideological views of the establishment. The long term effect should be a matter of concern.

BIO

Darakhvelidze studied at the Dutch Art Institute (DAI), his work was shown at the 11th Istanbul Biennial, What Keeps Mankind Alive (2009), Biennale Cuvee, Linz (2010), The Kitchen / One Big City (2013) and Manifesta 10, St Petersburg (2014) among others. In 2012 Darakhvelidze joined the Artist Pension Trust.

TAMUNA CHABASHVILI

 

CONCEPT

Taking traditional Blue Tablecloth as one of my reference points I focus on the existing gap between ‘tradition’ and ‘everyday life’. The patterns on the Blue Tablecloth tell old stories. They are attributes to the rituals active in the past. At present the patterns carry a decorative function, endlessly retelling old narratives. For me they represent conventional socio-cultural patterns that tend to influence and often violate our lives. In order to question this role of the patterns, I deconstruct the traditional form of the Blue Tablecloth to its components (fabric, patterns, colors). By doing so, my attempt is to reintegrate the function and the technique charged with new content into our present social context.

The work focuses on the lives of women with all their daily duties and uses collection of photographs of women conducting daily activities and rituals as its source.  I collected those images from Internet. I started to trace the silhouettes of the women’s bodies and abstract them from their original context. Turning them into signs (patterns) engraved individually on the woodblock. The woodblock stamps as abstracted forms outline the layer that I want to communicate. It speaks about social daily problems of those women, which remains mostly underrepresented or unnoticed.

If in traditional Blue Tablecloth the attention goes to the larger narrative, in my work I focus on individual patterns and create enough space for each of them to tell their own story. By means of woodblock printing technique I construct a nonlinear narrative in the form of a book to bring all those stories together.

BIO

Tamar Chabashvili is a visual artist based in Amsterdam and Tbilisi. Her art practice consists of individual and collaborative projects. After graduating from the Jacob Nikoladze Art School, she studied at the Tbilisi State Academy of Arts. She has obtained her BA in Fine Art at the Gerrit Rietveld Academy in Amsterdam. In 2003, she co-founded artists’ initiative ‘Public Space with A Roof’ (PSWAR), which functioned as a research project space until 2007. From 2004, PSWAR has been producing large-scale projects, and shown internationally. Her current works evolve around the topics of tradition, routine and silence seen from the gender perspective. It is based on mapping private stories, memories and questions into visual and tactile narratives. She uses traditional artifacts and methods and tries to modify them and offer a new narrative that can challenge adopted positions on collective and personal level. In 2014, in collaboration with anthropologist Agnieszka Dudrak, she conducted a research project ‘Supra of Her Own,’ concerning gender-based violence against women in Georgia. Her exhibition in 2016, ‘The Book of Patterns,’ at the State Silk Museum in Tbilisi focused on the representation of ‘everyday life’ of women, who remain mostly unnoticed.