KUNST: TAVIDAN – Georgien und Deutschland im künstlerischen Dialog im Juni 2017 (Georgien) - im September 2017 (Deutschland)

სახელოვნებო დიალოგი საქართველოსა და გერმანიას შორის

Gruppenausstellungen im Juni 2017 im CCA- Center for Contermporary Art Tbilisi, Georgien und im September 2017 im Museum Goch, NRW.

16. Juni 2017, 20.00 Uhr
CCA - Center for Contemporary Art & Medea Museum of Medicine
uznadze street, 51 Dimitri Uznadze St, Tbilisi 0102, Georgien
cca.ge

georgian translation: www.tavidan.net/tavidan-ge
english translation: www.tavidan.net/tavidan-artistic-dialogue

Zum Jubiläum der 200-jährigen Freundschaft zwischen Georgien und Deutschland beteiligen sich das Museum Goch, das CCA - Center for Contemporary Art Tbilisi und die Kuratorin Maria Wildeis mit dem Frauenkulturbüro NRW e.V. im Sommer und Herbst 2017 an gemeinsamen Gruppenausstellungen in Georgien und NRW.

TAVIDAN ist der georgische Ausdruck für „von hier aus, bzw. vom Kopf aus“ und beschreibt den Ausgangspunkt einer Idee oder eines Weges. Die direktionale Bedeutung des Ausstellungstitels verweist einerseits auf den Austausch zwischen zwei sehr unterschiedlichen Kulturräumen: dem streng westeuropäisch geprägten Deutschland und Georgien, dem geografischen und kulturellen Knotenpunkt zwischen Asien, Europa und Russland. An beiden Orten arbeiten Künstler/innen gemeinsam am Kunstbegriff der Gegenwart und bedienen sich einer globalen und kulturenübergreifenden Bildsprache.

Die Ausstellung möchte die Auseinandersetzung mit künstlerischen Praktiken in der Gegenwartskunst anregen und dabei unterschiedliche Herangehensweisen beleuchten. Der Titel referiert auch auf Kunstwerke, die sich als zeitbasierte Prozesse und atmosphärische Kompositionen begreifen und nicht allein an ein Objekt gebunden wirken. Fragen innerhalb des künstlerischen Austauschs richten sich an die vielfältigen Ausdrucksweisen in der Gegenwartskunst, die in Form von Installationskunst oder Performance, aber auch in Objekten und deren Platzierung oder der Integration der Besucher in das Werk eine ästhetische Erfahrung erzeugen.

Die ausgewählten Künstler arbeiten in nahezu allen Bereichen der Bildenden Kunst, wie Malerei, Neue Medien, Installation, Film, Fotografie, raumbezogene Objektkunst und sind darüber hinaus auch in anderen Disziplinen zu Hause, wie Musik, Mode, Biofarming oder in der Bildung. Ihre Arbeitsweisen befinden sich vielfach an einer Schnittstelle zwischen Kunst und Gesellschaft, Architektur, Bildung oder Musik.

"Weder allein das rezipierende Subjekt noch das solitäre Kunstwerk in seinen Grenzen konstituieren die Realität der Kunst." (Ludger Schwarte: Notate für eine künftige Kunst, Berlin 2016, S. 11)

Künstler:
CAROLINE BAYER (Berlin, DE)
LARS BREUER (Köln, DE)
ANA CHADUNELI (Rustavi, GE)
TAMAR CHADUNELI (Rustavi, GE)
NINO CHUBINISHVILI (Tbilisi, Ge)
HÖRNER|ANTLFINGER (Köln, DE)
MAMUKA JAPHARIDZE (Tbilisi, Ge)
GVANTSA JISHKIRIANI (Rustavi, GE)
NIKA MACHAIDZE (Tbilisi, Ge)
MICHAEL POHL (Berlin, DE)
KAI RHEINECK (Düsseldorf, DE)
PATRICK RIEVE (Köln, DE)
PETER SCHLOSS (Köln, DE)
SCULPTRESS OF SOUND (JULIA BÜNNAGEL, PATRICIA KÖLLGES, TAMARA LORENZ) (Köln, DE)
NINO SEKHNIASHVILI (Tbilisi, Ge)
KOTE SULABERIDZE (Tbilisi, Ge)
GIO SUMBADZE (Tbilisi, Ge)
WATO TSERETELI (Tbilisi, Ge)

Während des Aufenthaltes in Georgien finden Workshops mit Kunststudent/innen aus Georgien und den deutschen Künstlern statt.

Ein begleitender Katalog dokumentiert den künstlerischen Austausch und wird anlässlich der Ausstellung im Museum Goch, im Herbst 2017 präsentiert.

TAVIDAN wird gefördert vom Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen. Der Frauenkulturbüro NRW e.V. und das Museum Goch fördern seit 2013 den Künstlerinnenaustausch zwischen Deutschland, Georgien und Armenien und stehen so in einer persönlichen, freundschaftlichen Nähe zum Kaukasus.

www.tavidan.net



Kuratorin: Maria Wildeis
Assitenz: Leksi Sosela, Project Manager CCA

TAVIDAN: GE

Programm: 15. Juni, 7.30 p.m .: Gallery Nectar (Project Space): "Soul-tracks", butoh-dance by Wolfgang Schäfer
16. Juni 2017, 20.00 Uhr: Eröffnung TAVIDAN
21.00 Uhr: Performance Sculptress of Sound
Laufzeit: 17. Juni - 17. Juli 2017

Laufzeit: 17. Juni - 17. Juli 2017
Ausstellungsort: CCA - Center for Contemporary Art & Medea Museum of Medicine
uznadze street, 51 Dimitri Uznadze St, Tbilisi 0102, Georgien
cca.ge

TAVIDAN: DE

Eröffnung: 24. Sept. 2017
Laufzeit: 25.9. - 15.11.2017
Ausstellungsort: Museum Goch, NRW

Künstler:
KOTE SULABERIDZE (Tbilisi, Ge)
ANA CHADUNELI (Rustaveli, Ge)
CAROLINE BAYER (Berlin, De)
PATRICK RIEVE (Köln, De)


Akteure

Das Frauenkulturbüro NRW e.V. startete 2013 mit einem Internationalen Austauschprogramm. Zwei Künstlerinnen aus Nordrhein-Westfalen besuchen für zwei Monate die Länder Georgien und Armenien. Eine georgische und eine armenische Künstlerin kommen im Gegenzug für zwei Monate nach Nordrhein-Westfalen. Ziel des Stipendiums ist es, die Künstlerinnen auf internationaler Ebene zu fördern, ihr Netzwerk auszubauen und sie damit auf dem Kunstmarkt für weitere internationale Aktivitäten sichtbarer zu machen. Die Kooperationspartner sind das WELTKUNSTZIMMER in Düsseldorf und das Museum Goch.

Museum Goch: Mit seiner Sammlung spätgotischer Skulpturen des Niederrheins bis zur jungen Gegenwartskunst vereint das Museum 600 Jahre Kunstgeschichte. Seine spannungsreich inszenierte Sammlungsräume laden zu einem interessanten Dialog mit der Geschichte und Kunst ein.Wechselnde Ausstellungen insbesondere zur aktuellen Gegenwartskunst bereichern das Museum.

Maria Wildeis (*1984) studierte Kunstgeschichte, Philosophie und klassische Literaturwissenschaft in Köln und ist seit ihrem Magisterabschluss 2010 freiberufliche Kuratorin und Projektmanagerin in Köln und NRW. Seit 2015 leitet sie das Internationale Austauschprogramm für Bildende Künstlerinnen für das Frauenkulturbüro NRW e.V. und gründete im gleichen Jahr den Kunstraum Tiefgarage am Ebertplatz Köln, den sie seitdem leitet und kuratiert (www.tiefgarage.org). Andere Projekte, die sie verantwortlich leitete waren unter anderem: Heritage Heroes (eine Fotografieausstellung für die dt. UNESCO Kommission und das Auswärtige Amt 2015), 3. Kunstfestival Strom (Kunsthaus Rhenania 2013), Projektleitung Videonale.13 im Kunstmuseum Bonn (2011), Zeitzeugen, eine Ausstellung zum Anlass des Jubiläums des 1. Weltkrieges (2014) und TAVIDAN:Düsseldorf (im WELTKUNSTZIMMER Düsseldorf, 2014). www.mariawildeis.com

CCA – Center for Contemporary Art Tbilisi ist seit Oktober 2010 eine unabhängige gemeinnützige Einrichtung für Gegenwartskunst. Neben dem internationalen Ausstellungs- und Künstleraustauschprogramm fokussieren CCA ihre Arbeit besonders auf ihr eigenständiges Studienprogramm für georgische Kunststudent/innen.

Beide Ausstellungen werden vom Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen gefördert.


www.tavidan.org

ART: Two Exhibitions Capture Life in the Caucasus. By Nevdon Jamgochian (hyperallergic.com)

(hyperallergic.com) TBILISI, Georgia — This week in Tbilisi, there are two exhibitions worth checking out. They make a nice pairing for an afternoon, as the first deals with public memory while the second is a very intimate examination of hidden experience. Both are singular in that they reflect life in the Caucasus region yet have universal relevance.

Varhram Aghasyan, “Museum of the Revolution,” in ‘RE: Museum’ at the National Gallery (all photos by the author for Hyperallergic)

RE: Museum, showing at the Georgian National Museum’s National Gallery, was initiated by the Goethe Institute of Tbilisi and developed by Wato Tsereteli, director of the Center of Contemporary Art – Tbilisi (CCAT). He commissioned two artists, Sabina Shikhlinskaya from Azerbaijan and Vahram Aghasyan from Armenia, to co-curate 14 other artists for an exhibition reimagining a national museum. Over several months, the 17 participants, working with the Georgian National Gallery and its extensive archive, were given one set of instructions: “You are the director of the museum, you have access to everything. Make a laboratory relating to the future.”

As in any show with 17 artists and laissez-faire direction, the results are mixed — but there are more successes than duds.

The real winners in RE: Museum are the artworks that take an interesting artifact or fact of history and place it in a new context. There is a real human desire to look at neat stuff and have interesting stories told to us, but the way most museums’ structures have evolved has made attendance a chore (or a place for children), rather than seizing imagination and spurring thought.

A particularly striking example of this is “Medea’s Garden” by Mamuka Japharidze, which features ancient jars of pickled poisonous snakes in lovely vitrines on a plinth, with a projection showing the Colchian forest shot through and behind them. The installation relates to the story in the Argonautica Orphica that recounts the poisonous and healing plants of the Colchian forest, and points out that the Georgian words for poison and medicine come from the same root.

Also interesting, but more academic, are the artworks that make the viewer aware of the box-inside-a-box aspect of museums. Aghasyan’s “Museum of the Revolution” consists of a two-walled wooden shelter that looks like a hut from the front and a barricade/reader’s corner from the back. The text on the front informs the viewer about a revolutionary museum in Yerevan that was erased from history and the early Soviet idea of reader’s huts.

Tsereteli told me that the primary purpose of the show was to decolonize the museum — to make us aware of the obligations that the space of a museum imposes on us — and to return it to its original function as a place of muses. His tongue-in-cheek work underscores this: Tseretli framed a photograph of a room being remodeled at his current work in progress, the CCAT. Putting a picture of his future exhibition space/school in the show was the only way he could get the Goethe Institute to provide funding to build it. It’s a neat trick that accomplishes the goals of the exhibition nicely.

A 25 minute walk over the river, through a rundown neighborhood full of bridal dress shops, brings you to Tbilisi’s only contemporary art gallery, Nectar. Unmarked and without a sign (this seems to be something that just happens in Tbilisi — it was the third establishment I’d been to that day without a shingle out front), the gallery is currently showing Supra of Her Own by Polish PhD anthropology candidate Agnieszka Dudrak and Georgian artist Tamar Chabashvili, sponsored by the Heinrich Böll Foundation (the Germans are doing an excellent job funding arts in this region) and the Mondriaan Fund. Supra is a Georgian word that means both tablecloth and feast. In Georgian culture, supras are special tablecloths that are held onto as family treasures, despite the stains and tears and mends they accumulate.

The entire space of Nectar has been taken over by old supras, which are strung up as walls to recreate the floor plan of a house. The viewer must navigate the supras to enter the successive “rooms.” On each supra are fragments — embroidered, written on, and sewn — of stories of domestic violence recorded by the artists in Georgia. These oral histories range from acts against children or newlywed women to sustained violence that’s lasted decades.
 

Agnieszka Dudrak and Tamar Chabashvili’s ‘Supra of Her Own’

Chabashvili has created different canvases for the words, some in a graphic, manic style of repeating words relating to cycles of abuse, others with cheerful-looking rose embroideries that contain an ominous phrase about the first acts of violence perpetrated immediately after a wedding. They are stunning. Also jolting is the fact that the women who told these stories donated the supras, which now have their stories embedded in them.

Capturing stories in this way is visually arresting and effective. The act of seeing the words and the stains made by perpetrators, victims, and accessories — and having to touch them in order to move through the show — made the experience more visceral than visual art and text alone could. The writing is in Georgian and Chabashvili translated for me, but I think the show could work without knowledge of what exactly was written, as abuse is a universal experience. I asked if the artists planned to take the exhibition elsewhere, but they said they were afraid of a Western reaction of seeing this as an exotic problem of the East rather than a general human failing.

RE: Museum continues at the Dmitry Shevardnadze National Gallery (11 Shota Rustaveli Ave, Tbilisi, Georgia) through the end of September. Supra of Her Own continues at Gallery Nectar (16 Agmashenebeli Ave, Tbilisi, Georgia), through July 31.

Photos are here >>>

EXHIBITION: Georgian Contemporary Art on the Vilnius Summit (geoplatforma.blogspot.de)

(geoplatforma.blogspot.de) Georgian art world is also getting ready for the Vilnius summit; Gala Gallery, sponsored by the Georgian Ministry of Culture will present the Georgian Contemporary art to the wider European audience. Gala gallery belongs to the list of the few Georgian galleries who pay attention to the concept and context of their exhibitions. The series of Kote Sulaberidze, Vakho Bughadze and Murtaz Shvelidze take the central stage in the exposition curated by Dedika Bulia and Vato Tsereteli for the Kalnas gallery, Vilnius.

Dedika Bulia: ‘All three of the painters closely cooperate with the gallery and we have accomplished many projects together. All of them are the generation of 90s. These painters share the European value system and their art reflects their pro-European orientation, but at the same time do not lose their distinctiveness.’ Gala gallery is the first to have Georgian artan opportunity to present themselves to the European audience. The owner of the gallery and the author of the concept for the exhibition, Dedika Bulia claims to aim at presenting the good quality Georgian art and those artists, who strive for producing art of European standards.

The last two exhibitions - Jump by Murtaz Shvelidze and Vakho Bughadze’s Asprovalta are the two shows that the Lithuanian team have seen while visiting Georgia, consequently choosing the Gala gallery. The Jump is a series of 13 canvases. The 12 of them, dramatically cropped portray different people in various settings fixing their shoelaces. It is fascinating to see the shoes composing portraits of people. However, the point is that individuals regardless their social standing or the lifestyle, still create artificial problems and restrictions for themselves. The series culminates in a large canvas named Jump. The girl is portrayed in the process of jumping; as the other canvases, the depicted angle is unusual- her dress and legs floating in the air are the focus. The blue sky, green grass, thin dress create careless mood- such a contrast to the tight sneakers and uncomfortable shoes. This is the freedom, all of us have a potential of that we resist for no reason.

Asprovalta by Vakho Bughadze drastically differs from Murtaz Shvelidze's lively, almost toxic colours, however, it fits in perfectly in the gloomy palette of the painter. The focus of the series is the abandoned houses and homeless dogs, which echo many social problems of today. The faintly defined high-rise buildings translate the grey feel the city has attained; the windows indicated by grey rectangles hint on the non-existent life behind them; the dog alike figures on the foreground are destined for solitude. All of this is engulfed into pinkish mist, revealing a hint of hope that keeps these creatures alive. According to the painter these series reveal the memories from the past: the life he had been living and the unclear world, a desire or waiting for change and novelty.

The Sky-24 hours by Kote Sulaberidze has been exhibited in the Gala gallery while hosting the Artisterium V. The fragment from the painting is used as a poster for the exhibition. It is quite common for the artist to compose an artwork from multiple canvases; the Sky-24 Hours is made of 24 standard sized canvases, illustrating the sky and objects flying across it on different times of a day. Sometimes this is an airplane, angels or bombs, birds and strippers. Kote Sulaberidze: ' the Sky- 24 hours is a metaphor for life. Everything happens under the sky. All of us live under the sky. The bombs fall from the sky and the almighty God is also in the sky. Sometimes it rains and at times the warm sun is shining. This contrast makes it captivating and mysteriously beautiful.' Kote Sulaberidze is always modest when he has to talk about his art. His oeuvre reflects the lyricism, enthusiasm and inexhaustible optimism of the artist. His very aesthetic art never loses the humoristic touch, even when referring to some of the most acute social problems.

Kote Jincharadze has presented an installation System of Coordination- IV dimension. ‘The installation places Georgia on the geopolitical system of coordinates of the world.The ¾ of the coordinate system are the spaces reflected in the mirror, creating intersections of the trajectories- a kind of crossroad. The vectors of 4 different colours personifying countries, cross each other corresponding to the political interests and relations of these countries.

Red- Russia
Blue- West (Europe, USA)
Green- East (Asia)
Yellow- China

The mirror offers audience the visual trajectory of Georgia’s positioning and development. Each of the spectators can choose a rectangle and place it on the surface of the mirror, therefore, stating their opinion about the aspirations of Georgia.’ According to the artist this is the visualization of the value system. The interactive artwork is a kind of sociological research, when the audience reflected in the mirror record their opinion and the desirable future for Georgia. As Kote says every time he puts up the installation, the blue squares are always winning indicating the pro-European orientation of the Georgian society.

The Constructive Dialogue by Oleg Timchenko is about the newest history of Georgia, which exceeded the locality and became world news, namely the August war of 2008. Timchenko has summarised the provoking reasons, his attitude and the aftermath mood in the video collage. 'A fragment is taken from the film-ballet Othello. The flags of USA and Russia are inserted as the background. The most tragic fragment from the dance of Vakhtang Chabukiani, personifies Georgia. It is not accidental that this is the most dramatic, culminating moment in the ballet. The pain and the feeling of despair that the dancer has masterly translated is identified with the state of Georgia.' It was vital for the exposition presented on the summit to include the politics, especially the August war.

Vato Tsereteli curates Video Art section demanded by the Lithuanian side. Vato, artist himself is a head of CCA. The Center for Contemporary Art besides hosting some very interesting exhibitions takes students for a non-formal MA program. CCA provides the vital knowledge and freedom to the future artists that academy of fine arts in Tbilisi lacks. The artist sees the center as one of his artworks. 'I find it forced to discuss the contemporary art; art does not need specifying whether it is contemporary or not. What makes art contemporary is its relation to reality and time it is created in.’

Vato during his stay in Vilnius has to deliver a public lecture. 'It will concern the creative and art practices that are little known or defined, at least in Georgia. For example, we have an educational program, which in itself is an artistic product. I would like to talk about creativity not in terms of producing art, but other processes, for example creativity in the educational system. My lecture will be about the new territories in art. Our center is an exciting synthesis of the educational and exhibition practices, which in itself is an accidental discovery and has a promising perspective. Everyone is creative, but the artist is ingenious by profession, therefore, I think they should use this and it should exceed the gallery space and integrate into other spheres. For example we have a course of art and eco-farming; this is not about Land Art or exhibiting vegetables in a museum space, but about incorporating the capabilities and being productive into that domain.

Georgian society itself is marginalised and it is not the fault of people. I think this is a deeply traumatised society as a consequence of the Soviet Union and the following, 20 years; but we have agreed that this has to change. The society has to develop itself, has to awaken the sense of responsibility and desire to participate for us to form into a democratic country. Education plays the key role that's why we have the programs and courses. In my opinion contextual knowledge is vital, any human being needs to know and realise the context they wake up to, I mean awakening to the consciousness; when you do not have a clue about the reality you live in, the geo-political environment, historical and cultural heritage, you are not adequate; hence, the anachronistic moments in art as well as life. Art that is based on imagination has the ability to help the people lacking it. Koka Ramishvili has noticed that there is no science fiction genre in Post-Soviet countries, because this part of the brain, responsible for creative thinking is dumbed out. Art has the ability to activate it, so that people recognize their potential. This might prove crucial.'-Vato Tsereteli.

For the exposition Down Up Vato Tsereteli has chosen videos the Drawing Lesson, 2001 by Koka Ramishvili, Eye Trees,2003 Mamuka Japharidze and the Gripes, 2012 by Nino Sekhniashvili.

Vato Tsereteli: 'I have selected the artworks and not the artists. These videos are referential because of their complexity and visual quality. It is personal too; these are the artists I closely cooperate with. They relate to the exhibition contextually rather than thematically. The people living between the West and Georgia have produced these videos. Therefore, they seem to unite the two realities. The intensity and the accumulated energy of these works were the main attraction for me.'

Koka Ramishvili reverses the process of drawing and the video begins with the sketch being erased. The deconstructed painting stays in the memory. Therefore, art becomes writing, the drawing becomes a notebook; the story of an individual isolated from his usual habitat is written as a result. Ramishvili has created the Drawing Lesson after moving to Geneva. This video has marked the return to image that the artist had abandoned for 10 years. Koka Ramishvili:' back then this video went against the conventional video art production. I was creating something radical and eccentric. This was the biography I was writing with the drawn pictures. The sketches themselves were of quite low quality because my focus was the montage. I have created a sculpture in a virtual space, at that stage I was exploring compression and decompression. It was important for me to show the prohibited in the West, I wanted to portray the manual labor.' It is fascinating to observe Ramishvili opposing the drawing, as the traditional medium to the innovatory video; the two seemingly incomprehensible media create the art that highlights the craftsmanship in drawing. The soundtrack, the sound of lead pencil scratching the paper points to the acoustic side of the job. Employing the montage the artist breaks the central myth of the documentary and objective nature of video.

Nino Sekhniashvili is a very interesting conceptual artist. The Nectar Gallery is one of her projects in the Georgian Art scene. The expositions always manage to surprise the audience with the unlikely emphases. This is the only gallery that hosts the risky and alternative art, like the recent exhibition of Kutaisi and Tskaltubo artists.

The video Gripes was created while living in Zurich. 'In the Finnegan’s Wake there is an episode from Aesop's fable the Fox and the Grapes. Joyce customizes this with the different language, actually, no language at all. I have put the text onto the recording in the foam plastic factory- the huge objects were floating defying the gravity laws. At the time when I lived in Zurich on scholarship, I was attending the readings in the James Joyce society, which were quite comical for me, as they sounded delirious; therefore, I decided to work on the text. Gibberish is very important to me, as I often find myself incapable of expressing my thoughts.'- says Nino Sekhniashvili.

In Mamuka Japharidze’s video the trees resemble the human faces with the help of optical illusions. The mysterious feel of the video plays with the imagination of the spectator and lets them decide the narration and culmination for themselves. Mamuka Japharidze is the artist who has directed his creative potential into farming and has an Art farm in Shindisi, where he combines art and eco-farming; he also tries to engage the students and reads the lectures about soft farming to them.

The exhibition Down Up opened on the 20th of November, Vilnius,Lithuania, Gallery Kalnas and will last for a month. 

More Art here >>>

FESTIVAL: Fest i Nova International Festival Of Contemporary Art Garikula'09, Akhalkalaki, Georgia (garikula.org)

Fest i Nova will host artists from Austria, France, Georgia, Netherlands, United States of America.

The "Foundation of Revival and Development of Cultural Heritage of Shida Kartli / Georgia" will launch this year a new Festival of Contemporary Art in the Art Villa Garikula / Ahkalkalaki (5th of August - 25th of October '09). The Chairman of the Foundation - Karaman Kutateladze - will host artists from Austria, Georgia, France, Netherlands and the United States of America. The artists are invited to realize individual projects in the frame of the given context "pavilion". The goal of each project is to create a specific platform in order to faciliate the exchange of artistic views as well as to stimulate different practises of contemporary art.
The first part of the International Art Festival "FEST I NOVA - Garikula '09" will start on August the 5th with the Austrian project "ici GARIKULA", followed by American, Dutch, French and Georgian presentations.
An exhibition - dedicated to Kirill and Ilia (ILIAZD) Zdanevitch - will take place at the National Museum of Georgia, in collaboration with the French Embassy in Georgia, the Centre Alexandre Dumas and ART VILLA GARIKULA.

Participants:
AUSTRIA / Simonetta Ferfoglia & Heinrich Pichler (gangart), Gilbert Bretterbauer, Tina Bepperling, Isabel Becker and art critic Carola Platzek.
FRANCE / Jean Dupuy, Emile Laugier, Aurele "Lost Dog" and Elisa Fantozzi
GEORGIA / Oleg Timchenko, Guga Kotetishvili, Vakhtang Bughadze, Karaman Kutateladze, Givi Nonikashvili, Nino Morbedadze, Rezo Gogolashvili, Gogi Okropiridze, Vakhtang Tsereteli, Koka Ramishvili and Mamuka Japaridze
NETHERLANDS / Anouk Sluizer, Jeanette Groenedaal and Zoot Derks
UNITED STATES OF AMERICA /
Nanuka Tchitchoua, Travis Wade Ivy, Eva Salina Primack, Aurelia Shrenker Fest i Nova's new guest: HUMAN EMOTION PROJECT Human Emotions documented visually by international artists using film or video.
By employing the largest palette of creative possibilities, film and video artists from around the world strive to externalize those complex driving forces that we all enjoy and endure and that bind us, as humanity, together despite our differences.

Participants:
Joas Sebastian Nebe "Losing control" Germany (00:57)
Behjat Omar "Bird" Kurdistan/UK (01:14)
Bijan Moosavi "Urban ride" Iran (05:50)
Robertina Sebjanic & Nika Autor"Niro" Slovenia (02:16)
Danny Germansen "Isolation and loneliness" USA (01:59)
Alison Williams (with Lisa Walker) "White as snow" RSA (02:07)
Agricola de Cologne "Silent cry" Germany (03:05)
Lemeh42 "Et dukkehjem" (Faticart Group - Italy) (02:19)
Luca Curci & Fabiana Roscioli "Impossible love" Italy (06:07 )
Anders Weberg "Undisclosed beauty" Sweden (03:13)
Masha Yozefpolsky "Error lips" Israel (03:34)
Irina Gabiani "The slaves of the system" Luxembourg (02:29)
Bill Millett "The book" UK (06:46)
Debbie Douez "Sadness" Spain (02:18)
Richard Jochum "Mama" USA (01:34)
Alberto Guerreiro "Absent" Portugal (03:30)
Michael Chang "Concerto azzurro" Denmark (06:10)
Maryam Fakhimi "Untitled (In the name of God)" Iran (09:20)
Mads Lungdahl "The source" Denmark
Michal Brzezinski "Mnemosyne" Poland (14 min..)
Karina Smigla Bobinski "Routen" Germany

Director: Karaman Kutateladze / GE

Curators and coordinators of projects:
Tina Bepperling / Isabel Becker / Gogi Okropiridze / Guela Tsouladze / Ketevan Kvinikadze / Ketevan Okropiridze / Maya Simonia / Nanouka Tchitchoua / Alison Williams/ Irina Gabiani

Managers:
Revaz Gogolashvii / Khatuna Mzarelua

Collaborators:
Revaz Apkhazava

Partners & Sponsors:
Ministry of Culture, Monuments Protection and Sport of Georgia
Federal Ministry for European and International Affaires of Austria
Federal Ministry for Education, Culture and Sport of Austria
AIRZENA
French Embassy in Georgia
Centre Culturel Francais Alexandre Dumas
CGCCA Centre for Global Coordination of Culture and Art
PCN Platform for Cultural Networking
Kulturschmiede

Link: www.garikula.org

MUSIC: Clear Spot - Rolling Stones Lisbon, London and Tbilisi (resonancefm.com)

Last night Clear Spot was a live broadcast is a collaborative project by artist Mamuka Japharidze based on recordings of watermill-stones from rural areas of Georgia, Portugal and the UK. Sound artists working in these countries will contribute to this simultaneous-broadcast by working with vinyl pressings of these recordings, the idea presented that the DJ’s turntable is analogous to the stone mill of old.
Clear Spot, 8:00 - 9:00pm Wednesday April 22nd.

ART: communicative action ... Ein Brief aus München

bis donnerstag, 16. oktober läuft im zk-max noch tag und nachtdas video "tender transitory transport", das koka ramishvili, nika machaidze und ich für den 850. geburtstag münchens gemacht haben.

aber auch unsere compilation "tbilisiDEEPsound, music videos by tbilisi artists", die misha und olegs video "dancing in the streets" enthält, das heisst, es gibt ihr video z.zt. in münchen und in leipzig/dresden, das ist fantastisch und ebenso, dass sofi babluanis ( die nummer 1 von tbilisiDEEPARTmagazine) arbeiten bei diesem festival in leipzig zu sehen sind.

ab 25. oktober ist patricia london ante paris wieder in tiflis und bereite das projekt "communicative action" (siehe anhang) fuer die ausstellung artisterium vor, dessen 3. teil "refugee children paint with patricia london ante paris and koka ramishvili, collaboration, 2008", eine weitere zusammenarbeit sein wird.

auf der seite des goethe instituts ist die arbeit von simone westerwinter zu sehen, die gerade eine hervorragende show bei www.parrotta.de hat.

ausserdem wird auch tina bepperling, die sich zur zeit in tiflis aufhält, eine tolle arbeit"birsha" für die internationale ausstellung und konferenz "ARTISTERIUM" machen, die von 4. bis 9. november 2008 in tiflis stattfindet.

mit lieben grüssen
patriciapatricia london ante paris, elvirastr. 4/ rgb. 80636 münchen, tel. 123 3916

/ / / Z K M a x _ _ _ präsentiert:

24. September bis 16. Oktober 2008

"850" - CONTEMPORARY ARTS PROGRAM - REVISITED
mit Expedition Medora, Patricia London Ante Paris, Marius Pfannenstiel, Koka Ramishvili
Eröffnung: Dienstag, 23. September 19.30 Uhr
Einführung: Dr. Elisabeth Hartung und Christian Gögger

( Diavortrag "Löwen und Hunde" von Marius Pfannenstiel am Dienstag ca. 21 Uhr )
Aus dem Kunstprogramm für den Wittelsbacher Platz - kuratiert von Dr. Elisabeth Hartung anläßlich des Münchner Stadtjubiläums - präsentieren wir eine kleine Auswahl. Die Absicht diese Arbeiten nachträglich aus dem vielfältigen Trubel der 850-Jahrfeier herauszuheben ist, ihnen die gebührende Aufmerksamkeit zukommen zu lassen. Gelegenheit, dem feinen Witz Marius Pfannenstiels nach zuspüren, sich der Poesie des Umherschweifens in Tiflis, der georgischen Hauptstadt, in "tender transitory transport" aufzuschliessen und den starken Impetus der Gruppe “Expedition Medora" zu erfahren, der aus einem 'patchwork' individueller Sozialisation inmitten einer fremden Kultur entstand. Die teilweise als Auftragsarbeiten zum 850sten entstandenen Beiträge behaupten ihr Potential jenseits des Spektakels w.z.b.w.

Expedition Medora "Die Probe", 2008, 15' (im Zusammenspiel mit einem einstündigen Videoprogramm)
Für kurze Zeit verändert sich alles. In geliehenen Kleidern und mit Geschichten auf den Lippen, geht Expedition Medora die Herausforderung, das schwierige Unterfangen ein, sich Traditionen anzueignen. Die Stadt dreht sich nicht mehr um sich selbst, um scheinbar, wie sonst immer, alles Fremde zu verschlingen, Anpassung und gleichzeitige Verweigerung werden transparent und hinterfragt. Auch wenn die alltägliche "Leichtigkeit des Seins" bildhaft transportiert wird, sind kein einzelner Schritt und kein einzelnes Wort innerhalb dieser Choreografie auf die leichte Schulter zu nehmen. Ob die heutige Probe (auf dem Dach der Residenz zu München) gelingt, liegt im Auge des Betrachters, der humorvolle Ernst des neu erzeugten, ungewohnten Zustands in der besonderen Handschrift der Expedition Medora.
Expedition Medora: Shirin Damerji, Claudia Djabbari, Andrea Faciu, Sandra Filic, Peggy Meinfelder, Miriam Shiran und Christine Tanqueray.

Marius Pfannenstiel "Löwen und Hunde" (Diavortrag)
Der Bildhauer und Fotograf zeichnet den Alltag der Zivilisation fotografisch auf. Die Menschen selbst sind dabei lediglich durch ihre Produkte oder die Spuren ihrer Aktivitäten vertreten. Aus einem umfangreichen Bilderfundus kombiniert der Künstler für seine Diavorträge Bildsequenzen, die sich ohne Rücksicht auf zeitliche und örtliche Zusammenhänge, jedoch meistens einem konkreten Thema verpflichtet und von gesprochenem Text begleitet, zu visuellen Assoziationsketten formieren. Unter dem Titel 'Löwen und Hunde' wird Münchner Terrain durchstreift, das Oktoberfest besucht und der städtische Alltag ausgiebig von einem Fenster im Fünften Stockwerk aus betrachtet. Gelegentlich kann auch ein kurzer Ausflug stattfinden.

Patricia London Ante Paris (Text), Koka Ramishvili (Video), "tender transitory transport", 2008, 10 '
„Tender transitory transport“ ist ein filmisches Umherschweifen in der georgischen Hauptstadt Tiflis. Die grafische Bearbeitung der Bilder korreliert mit dem gesprochenen Text und der unterlegten Musik von Nika Machaidze. Die Erkundung der Stadt als Architektur, als politischer Raum und als Klimazone hat poetische Wurzeln. Es entsteht eine suggestive, psychosoziale Stadtlandschaft. Auch hier ist noch eine weitere Arbeit präsent: zusammengestellt und unter Beteiligung der beiden Protagonisten sind das Musikvideos von Künstlern aus Tiflis kompiliert 2008, Laufzeit 25 Minuten, mit: Natia Arabuli, Magda Guruli, Iliko Zautashvili, Mamuka Japhardize, sTia Nastia sartania, Misha Shengelia, Oleg Timchenko und Dima Dadiani.

Projektleitung ZKMax: Christian Gögger
Organisation: Verena Bader
Technik: Dirk Neumann, Achim Göbel (ZKM)

///ZKMax___
showroom: Passage Maximilianstrasse / Altstadtring
Adresse: ZKMAX, c/o Kulturreferat, Burgstr. 4, D-80331 München
email: christian.goegger@zkmax.de / web: www.zkmax.de

a cooperation of: Landeshauptstadt München Kulturreferat & ZKM Center for Art and Media Karlsruhe

ART: tbilisiDEEPART magazine5 (with Mamuka Japharidze)

tbilisiDEEPARTmagazine, an art transport project by patricia london ante paris
subscribe now at tbilisideepart@yahoo.de

dear friends,
wish you fun and happy soul with nr 5

aloha! patricia

tbilisiDEEPART magazine5 >>>
with Mamuka Japhardize (artist)

ART: Painting by Mamuka Japharidze, Didi Gallery Tbilisi, 2006

originally uploaded by grijsz.

Source: Hans Heiner Buhr http://newimages.blogspot.com/

More: http://exhib.internet-academy.org.ge/comp_gr/japaridze/eng/