ARTISTS: Meeting With Two Georgian Artists in Berlin - Tolia Astali & Lado Beroza

Some days ago I was together with two nice young artists from Georgia in Berlin. Lado Beroza invited me in his flat. Tolia Astali came later ... and we had a nice conversation about many themes. It was amazing to speak with both about their experiences between Europe and Georgia and also about their artwork. They spoke about the difficults with modern sculptors in Georgia and much more. I was very glad for me to know this georgian artists and I am very exciting about the development of their work in the future.

Both are very competent to reflect promblems in artworld and as well as in their homecountry.
Next time I hope I can give here more news about Tolia Astali & Lado Beroza. You can visualize your own insight in the art of sculptors in follow links.

LINKS:
http://ladoberoza.com
http://www.petrarinckgalerie.de/tolia-astali
http://www.siebenachtneun.de

Astali / Peirce, II II IX 2009, dust, aluminium, carton, ca.70 x 60 x 45 cm

Ein echtes Highlight: das extrem reduzierte und fragile dreiteilige Ensemble von Tolia Astali und Dylan Peirce. Und trotz der qualitativen Schwankungen tut es hier ganz gut, eben nicht 40.000 Jahre Kulturgeschichte von den Bildern abkratzen zu müssen, bevor man die Kunst zu Gesicht bekommt. (taz.de)

The works of Tolia Astali and Dylan Peirce are built as part of a process that involves the simultaneous construction and destruction of forms, that are then coalesced into structures that carry the mark and journey of their making. To this extent the works are as open in their direction as they are in the history that is inscribed within and on the surface. With the use of materials such as fiberglass and polyester, epoxy, cardboard, paper, clay, lead, glass and liquids, they cultivate a vocabulary of marks, surfaces and events such as breakage, flaring, the bent, the corrugated, that speak motifs both organic and mechanistic. With a particular emphasis on decay (when objects perish the surface cracks to reveal the interior structure of its making), the artists aspire to create structures that might serve as a starting point for associative speculation, as well as offer a sort of inner map to the forms that inform them. Of particular importance to the two artists, is the thought that beneath the level of semiotic and narrative meaning, there is a more elementary level of forms that communicate with each other, interacting, echoing, reverberation, transforming one into the other... as Zizek would have it, it is this background and working of "proto-reality", this pre-narrative sphere, that provides the fiber and density of artistic, cinematic and literary experience—it is this density, and the anxious feeling that ensue from its relentless forming, that they seek through their work methods and the materials they make use of in their effort to situate this experience in space and time.
Astali & Peirce have been collaborating since 2000, when they met on the graduate program at Chelsea College of Art in London, UK. Together they have shown work consisting of sculptures, drawings, photographic prints, as well as sound and video installations, throughout Europe and North America, including at Fordham Gallery, London, UK (2001), Kunstwerke, Berlin (2003), galerie l'Oeil de poisson in Quebec city (2007) and Glassbox in Paris (2008). Tolia Astali was born in Tbilisi, Georgia and Dylan Peirce was born in Paris, France. They live and work in Berlin, Germany.
La Centrale would like to thank our artists, members, the Conseil des arts et des lettres du Québec, the Canada Council for the Arts, Conseil des arts de Montréal, les Brasseurs RJ and, for the transportation of the artists, the Goethe-Institut Montreal and the Consulat général de France à Québec. (lacentrale.org)

Eiserne Bögen von Astali und Peirce in der Galerie Petra Rinck
Das Künstlerpaar Tolia Astali and Dylan Peirce vertritt einen neuen Minimalismus. Zwei Bolzen werden in den Boden der Galerie gedübelt. Daran werden zwei schmale Eisenbleche mithilfe von Schrauben befestigt.
Mit diesem geringen Aufwand an Material und Handwerkskunst gelingt es den Bildhauern, eine neue Vitalität zu erzeugen. Die Bleche schnellen in den Raum und beugen sich dabei leicht zueinander.
Es entsteht ein architektonisches Gebilde in der Art eines Torbogens, der jedoch in seiner Spitze offen bleibt. Aus einem ähnlich minimalistischen Konzept sind auch Reliefs entwickelt. Astali und Peirce haben gefärbten, schwarzweißen Kunststoff auf Glasplatten gegossen.
Der Betrachter meint, merkwürdige, dick-pastige Fotos vor sich zu haben und sucht in der undefinierbaren Masse vergeblich nach dem Sinn der Augentäuschung. (wz-wuppertal.de)