It appears that the two principal forces keeping sculpture alive today are: firstly, the art market which always needs new objects to sell; and, secondly, the art education system which is largely unable to provide students with skills in the newer media that are more able to critically communicate in the culture in which we live. It was the sculptor Carl Andre who said why produce new objects when there are already too many, but if you can turn them into gold, and it doesn’t really matter what they look like, then why complain?
Against the background of such dark observations I would like to examine the work of Thea Djordjadze exhibited in the Neue Nationalgalerie aspect of the 5th Berlin Biennial.
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