ART: Kamikaze Loggia. Pavilion of Georgia at Venice Art Biennale 2013 (youtube.com)

(youtube.com) The Pavilion of Georgia at the Venice Art Biennale 2013 is an extension to an old building in the Arsenale site of the Biennial. The structure is called a "kamikaze loggia [facebook.com]", designed by Gio Sumbadze, who is a researcher of the typology of these vernacular architectural additions, which have been created since the 1990s after the fall of the Soviet Union to increase the living space. It's said that a Russian journalist named them "kamikaze", drawing a parallel between the romantic and suicidal character of these extensions and the typical ending of most Georgian family names "-adze". In the case of the Georgian Pavilion, the "kamikaze loggia" hosts an exhibition of the artists the Bouillon Group, Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, and Gio Sumbadze. The exhibition, curated by Joanna Warsza, looks at the creation of informal architecture such as the "kamikaze loggia" and aims at presenting the extraordinary range of informality, bottom-up solutions and the concept of self-organization in Georgian art and architecture.

© Foto: Haupt & Binder

more photos contemporaryartdaily.com

more links:
e-flux.com
geoplatforma.blogspot.de 
art-magazin.de
Biennale in Venedig: Georgische „Kamikaze“-Architektur [de.blouinartinfo.com]
i-april.de
landerart-italy2013.weebly.com
artslant.tumblr.com
moussemagazine.it
designcontext.net
culture.pl 

CURRENT EXHIBITION: Thea Djordjadze in Colorado (USA) May 3–July 14, 2013 (aspenartmuseum.org)

(aspenartmuseum.org) Originally trained as a painter, Thea Djordjadze is best known for creating sculptural installations that combine found and constructed elements in carefully choreographed settings. Employing materials ranging from the elegant to the everyday, Djordjadze’s installations often suggest fragmentary arrangements of furniture and other functional objects, oscillating between such categories as abstraction and decoration, model and reality, process and product. And while her works may develop out of her interests in cinema, architecture, and literature, their references remain oblique, in effect setting a mood rather than telling a story. This is Djordjadze’s first major solo exhibition in North America.

This exhibition is organized by the AAM and funded in part by the AAM National Council with additional support provided by Ali and Lew Sanders. General exhibition support is provided by The Andy Warhol Foundation for the Visual Arts. Exhibition lectures are presented as part of the Questrom Lecture Series and educational outreach programming is made possible by the Questrom Education Fund.

AUSSTELLUNG: Thea Djordjadze - our full. In der Kunsthalle Lingen (kunsthalle-lingen.de)

Thea Djordjadze - our full

23. Februar bis 28. April 2013

Eröffnung Freitag, 22. Februar 2013 um 18 Uhr

Pressegespräch am Donnerstag,

21. Februar 2013 um 16 Uhr

(kunsthalle-lingen.de) Die Kunsthalle Lingen freut sich sehr, das Ausstellungsprogramm 2013 mit einer Einzelpräsentation der international bekannten Künstlerin Thea Djordjadze zu eröffnen, deren Werk spätestens seit ihrer Teilnahme an der dOCUMENTA ( 13) einem breiten Publikum bekannt ist. Sie wurde 1971 in Tiflis geboren und absolvierte ihr Studium sowohl an der Kunstakademie in Tiflis als auch an der Gerrit Rietveld Akademie in Amsterdam und an der Kunstakademie in Düsseldorf, wo sie Meisterschülerin von Rosemarie Trockel war. Heute lebt Thea Djordjadze in Berlin. Sie präsentierte ihre Arbeit in Einzelausstellungen in den Institutionen The Common Guild, Glasgow (2011), westlondonprojects, London (2009-2010) und Kunstverein Nürnberg (2008) sowie in Gruppenausstellungen im Carré d’Art, Musée d’Art Contemporain, Nîmes (2011), Sculpture Centre, New York (2011), im Centre Georges Pompidou, Paris (2010) und der Biennale von Venedig (2003).

Ihre Ausstellung in der Kunsthalle Lingen entsteht in Kooperation mit der Kunsthalle Malmö und dem Museum für Moderne Kunst Luxemburg und stellt insofern die zweite Station auf einer längeren Ausstellungstournee mit aktuellen Werken von Thea Djordjadze dar. Die Präsentation wird von einem Katalog begleitet, der gemeinsam von allen beteiligten Institutionen herausgegeben wird.

Für ihre Skulpturen verwendet Thea Djordjadze häufig vergängliche, fragile, alltägliche Materialien, wie zum Beispiel Gips, Keramik, Silikon, Schwamm, Karton, Textilien und Seife. Die Regale, Geländer, Wände und Boxen, welche die skulpturalen Objekte stützen oder umgeben, sind einfache, aber zarte architektonische Strukturen aus Holz und Metall. Ihr Aussehen steht in starkem Kontrast zu den organischen Formen und „unvollendeten“ Oberflächen der bescheiden bemessenen Skulpturen. Oft entstehen sie in direkter Auseinandersetzung mit den gegebenen architektonischen Bedingungen der Orte, für den sie entstehen. Diese passiv-aggressiven Anordnungen von Objekten, die gleichzeitig miteinander in Konflikt stehen und voneinander abhängig sind, erstellen eine kryptische und elliptische Referenz zu den Skulpturen der Klassischen Moderne. Es ist, als wären die Skulpturen lebende Körper, die eine endgültige Form angenommen hätten, in der sie für einen Moment bewegungslos verharrten.

Die Ausstellung wird großzügig unterstützt durch die OLB Stiftung. Ebenfalls fördern das Land Niedersachsen, der Landkreis Emsland, die Stadt Lingen (Ems), die Kulturstiftung Heinrich Kampmann und die Erdöl-Raffinerie Emsland das Ausstellungsprogramm der Kunsthalle Lingen. 

links:
spruethmagers.com/artists/thea_djordjadze 
i-april.de/tea 
Artist of the week 206: Thea Djordjadze (guardian.co.uk)
Video: zdf.de/Thea Djordjadzes Skulptur im Gewaechshaus 
Thea Djordjadze – endless enclosure (kunsthallebasel.ch) 

Thea Djordjadze'ssculptures, organisms and indeterminable landscapes on view at Malmo Konsthall (artdaily.org)

Thea Djordjadze. Our Full (we-find-wildness.com) 
Thea Djordjadze (frieze.com) 
Thea Djordjadze’s “Spoons Are Different” (art-agenda.com) 
Thea Djordjadze (pinterest.com) 
Thea Djordjadze, ‘Lost Promise in a Room’ (thecommonguild.org.uk - pdf) 
Thea Djordjadze (monopol-magazin.de)

SCULPTURE: Thea Djordjadze interview at ACCA 2012 (accaonline.org.au)

(accaonline.org.au) Berlin based artist Thea Djordjadze sculptures are situated between form and anti-form, a combination of stable structures and fragile, gestural renderings typically exhibited together in a carefully choreographed setting. Here, she speaks about her practice prior to the opening of Sculptural Matter at ACCA.

Sculptural Matter

Australian Centre for Contemporary Art

11 August - 23 September 2012

Including video and photography, cast and found forms, installations and assemblages, Sculptural Matter explores a sculptural way of thinking and making from both a historical and contemporary perspective. It includes such iconic works as Richard Serra 's Hand Catching Lead (1968) and Alina Szapocznikow's Photosculptures (1971) and new works by contemporary artists, Thea Djordjadze, Nairy Baghramian, Carol Bove, Gabriel Kuri, Sarah Lucas, Shahryar Nashat, and Tatiana Trouve.

Video Production: Emma Sullivan

ART: Artist of the week 206: Thea Djordjadze. By Skye Sherwin (guardian.co.uk)

(guardian.co.uk- By Skye Sherwin) This Georgia-born artist works quickly and intuitively, creating poetic, allusive arrangements that hint at ever-shifting stories.

A greenhouse emptied of plant life provides the perfect setting for Thea Djordjadze's As sagas sa. Photograph: David Meskhi ©/courtesy Sprüth Magers Berlin London

It's rare that art as apparently spartan as Thea Djordjadze's can be so tantalising. The thin wooden or metal frames and glass vitrines that frequently star in her sculptural assemblages suggest a minimalist sensibility and evoke the pristine, poker-faced displays of museums. Yet these elements of her art rub shoulders with more worn-in, personal fare, including rugs, reconfigured furniture and rough, hand-moulded lumps of uncooked clay. Things look fragile and faded, like relics from a lost civilisation.

Djordjadze's materials are worked fast and arranged intuitively, with an eye for colour, texture and lines drawn through space that hints at her early training as a painter. Growing up in former communist Georgia has also left its mark on the Berlin-based artist's sensibility. Her work often features the country's local carpets, while its pared-back appearance and flimsy materials echo the clean, definite forms of eastern-bloc architecture, belying a shaky political regime. In place of modernist purity, she creates poetic, allusive arrangements of objects, hinting at stories that never sit still.

As sagas sa, her contribution to the current Documenta (13), uses the perfect setting for her sculptural micro-universe: a cavernous greenhouse emptied of plant life, with a gravelly dry-dirt floor and stained panes. It's like a cross between some millennia-old museum's vitrine and a wasted version of the vegetation-filled glass domes travelling through space, in the 1970s sci-fi classic Silent Running.

Wandering through the installation she's created in response to the site, you're in a self-contained world. Tableaux of furniture, glass cases and paint-smeared blocks of foam suggest the enclosed realms of both domestic life and theatrical display. A faded, cheap, gauzy fabric hangs across one end of the arid greenhouse like a stage curtain, or a waterfall.

All these objects soon start to shapeshift in your head. A sharp rectangle and square become a neatly geometric bed and pillow. Yet for all its minimalist precision, the piece is made of squidgy, vulnerable foam and smeared with gooey white pigment. It's unnervingly physical, begrimed, sexual. The plastic chair sitting at its foot might be a nurse at a sickbed, or the aggressive master to this passive, prone form.

With dust underfoot and in your lungs, it's like being in an ancient burial chamber, and yet those urgent white plaster smears are very much in the present tense. There's the electric sensation that all is held in suspense, while perpetually shifting between one state and another.

Why we like her: For Deaf and Dumb Universe, which echoed the chic glass and steel architecture of Berlin's Neue Nationalgalerie, with blocky foam chairs tottering on black spidery legs, lumpy bits of clay perched on clean white shelving, and a metal frame shaped like a wendy house.

Two Heads: Beyond her solo projects, Djordjadze has long collaborated with her friend and former teacher, feminist art icon Rosemarie Trockel

Where can I see her? At Documenta (13) in Kassel, Germany, until 16 September, and Sprueth Magers, London, until 29 September.

AUSSTELLUNG: IMAGO - Curated by Nini Palavandishvili (gfzk.de)

click on the flyer for a larger version!

Nini Palavandishvili ist die erste Preisträgerin des dr.-klaus-schaffnerpreises. Er wendet sich an junge KuratorInnen und ist mit 5.000 Euro dotiert. Der Preis wird alle zwei Jahre vergeben. (Congratulations!!!)

Vom 09-APR -2011 bis 13-JUN-2011, GfZK-2
Eröffnung am 08-APR -2011 um 19:00 h
Kuratiert von Nini Palavandishvili

From 09-APR -2011 to 13-JUN-2011, GfZK-2
Opening on 08-APR -2011 at 7 p.m.
Curated by Nini Palavandishvili

KünstlerInnen / Artists: Group Bouillon, What’s (Vajiko Chachkhiani), Thea Djordjadze, David Meskhi, Salome Machaidze, Koka Ramishvili

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Eine Reihe von georgischen KünstlerInnen haben ihr Land verlassen und Karriere im Ausland gemacht. Viele werden nicht nach Georgien zurückkehren. Andere blieben in ihrem Geburtsland und kämpfen um Anerkennung und Aufmerksamkeit. Staatliche oder auch private Unterstützung, wie sie in westlichen Ländern nach wie vor üblich ist, gibt es kaum. In der Ausstellung wird danach gefragt, wie sich lokale und globale Kontexte in den Arbeiten von KünstlerInnen aus unterschiedlichen Generationen widerspiegeln. Der Titel „IMAGO” spielt auf Bilder an, die man sich vom jeweils Anderen macht, von Georgien und den GeorgierInnen, von sich selbst bzw. vom „Westen“. Dieser dient in erster Linie als Hoffnungsträger für bessere Möglichkeiten. Diese Vorstellungen sind auch wesentlich medialer Natur. Die Ausstellung geht dem Einfluss von Massenmedien und neuen Kommunikationsformen auf Identitätskonzepte nach. Ferner untersucht sie die MediatorInnen-Rolle georgischer KünstlerInnen, die häufig zwischen den unterschiedlichen Projektionen – zwischen Authentizität und Klischees – vermitteln.

+++

A number of Georgian artists have left their country to build a career abroad. Many of them will never return to Georgia. Others have remained in their native country, struggling for acceptance and recognition. Very little support is given by the state or private individuals, unlike the situation in Western countries where this is still common practice. The exhibition addresses the question of how local and global contexts are reflected in the works of artists from various generations. The title “IMAGO” alludes to the picture each side has of the other world, of Georgia and Georgians, of ourselves or “the West”. First and foremost, the latter appears to carry the hope of more favourable possibilities. This image is mainly projected by the media. The exhibition examines the influence of mass media and new forms of communication, on images of identity. It also looks at the mediator role of Georgian artists, who often moderate between the differing images - between authenticity and clichés.

Mit freundlicher Unterstützung:
IFA (Instituts für Auslandsbeziehungen)
GeoAIR

Galerie für Zeitgenössische Kunst Leipzig
Museum of contemporar by art leipzig
Karl-Tauchnitz-Straße 9-11
D-04107 Leipzig
Telefon: +49 341.140 81-0
E-Mail: office@gfzk.de www.gfzk.de

EXHIBITION: BOAT, NOW - new works by THEA DJORDJADZE

17 Sept. - 27 Nov.
Opening Friday September 17, from 6 to 10 pm
Vernissage Vendredi 17 Septembre, à partir de 18h

Thea Djordjadze also takes part this season in the (quite certainly) remarkable exhibition "Mental Archaeology. Matti Braun, Thea Djordjadze, Jean-Luc Moulène" curated by Claire Le Restif and Kathleen Rahn at le Credac, Ivry-sur-Seine (September 22 - December 19) www.credac.fr

castillo/corrales
65, rue Rébeval, 75019 Paris, France.

Metro Belleville

www.castillocorrales.fr
castillocorrales@gmail.com

ART: Thea Djordjadze: Pampel, Mohrvilla München (i-april.de/tea)

(Abb.: Marienplatz München, January 2006 - April 2006)


Thea Djordjadze - Showrooom

SHAPE OF THINGS TO COME
April - July 2010 The Promises of the Past, Centre Pompidou Paris 2010

CURRENT
Thea Djordjadze, West London Projects London, 09. Oct. - 05. Dec. 2009
Thea Djordjadze - Occasional Exercise, Micky Schubert Berlin, 24. Sep. - 21. Nov. 2009
Thea Djordjadze - Explain away - , ე.ი., Monika Sprüth Philomene Magers Berlin, 21. Sep. - 07. Nov. 2009

THEATER: Kreidekreis im Kaukasus. Interview mit Gia Kitia. (youtube.com)

Ein OpenAir Theatermärchen in der Altstadt von Tbilisi/Georgien mit 200 Akteuren und tausenden Wanderzuschauern auf 15 Bühnen

KUNST: Thea Djordjadze - Showrooom

shape of things to come

21 Mar. - 21 Jun. 2009 All That Is Solid Melts into Air / Al het Vaststaande Verdampt, De Garage Mechelen

22 Mar. - 24 May 2009 Thea Djordjadze, Kunsthalle Basel

Sep. - Oct. 2009 Monika Sprüth Philomene Magers Berlin

Sep. - Oct. 2009 Micky Schubert Berlin

historia

Jahresgaben 2008/2009, Kunstverein Nürnberg/ Albrecht Dürer Gesellschaft Nuremberg, Dec. 2008 - Jan. 2009

Vom Gehen in viele Richtungen, Kunst im Tunnel, Düsseldorf, Nov. 2008 - Jan. 2009

Francesca Kaufmann, Milan & Elisabeth Dee, New York, 2008 - 2009

Image Movement Berlin, store design, Rosemarie Trockel & Thea Djordjadze, from Oct. 2008 on

Thea Djordjadze, Galerie Sprüth-Magers Cologne, Oct. - Dec. 2008

Art TLV 08, Helena Rubinstein Pavilion and Yacob Garden Tel Aviv Museum of Art, 27 Sep. - 18 Oct. 2008

1. Schwerter Profile Stahlkunst Award, Hoesch Verwaltung und Bürgersaal Schwerte, Sep. 2008

Kaffeesatzlesen, Performance, Kunsthalle Zürich, Sep. 2008

abc, art berlin contemporary, Postbahnhof am Gleisdreieck Berlin, Sep. 2008

Thea Djordjadze, Kunstverein Nürnberg/ Albrecht Dürer Gesellschaft Nuremberg, Jul. - Sept. 2008

Deaf and Dumb Universe, Schinkelpavillon, 5. berlin biennale, Berlin, Apr. - Jun. 2008

Fold b (large), Skulpturenpark, 5. berlin biennale, Berlin, Apr. - Jun. 2008

Martian Museum of Terrestrial Art, Barbican London 2008

On Interchange - Zwischenspiele einer Sammlung. Museum Kurhaus Kleve, Jan. - Mar. 2008

"Un soir, j'ai assis la beauté sur mes genoux. and I found her bitter and I hurt her.", Galerie Sprüth-Magers Munich, Mar. - May 2008

Auktion, Neuer Aachener Kunstverein Dec. 2007

Automne Frotteé 06/07, Elegance, Kölnischer Kunstverein Cologne, Nov. - Dec. 2007

"Un soir, j'ai assis la beauté sur mes genoux. and I found her bitter and I hurt her.", Gallery Sprüth-Magers London Sept. - Oct. 2007

9. Lyon biennale Lyon, Sept. 2007 - Jan. 2008

Possibility Nansen, Studio Voltaire London, Jun. - Aug. 2007

Objects, Karma International Zürich, May - Jun. 2007

History of an Encounter, Micky Schubert Berlin, Mar. - Apr. 2007

Der Ficker, Fortescue Avenue/Jonathan Viner London, Feb. 2007

Mondi Possibili, Sprüth-Magers Cologne, Jan. - Mar. 2007

Let's stay alive till Monday, Children National Gallery Tbilisi, Oct. - Nov. 2006

Automne Frotteé 06/07, Modus, Neue Kunst Halle St. Gallen, Sept. 2006

A room of ones own, Züpicher Platz Cologne, Aug. 2006

Gregor Schneider: Totalschaden, Bonner Kunstverein Bonn, Aug. 2006

The New Vernacular - Contemporary art meets popular culture, Zentrum Paul Klee Bern, Jul. 2006

Customization #2 - Thea Djordjadze, Comme des Garcons Guerrilla Store Cologne, Apr. - Jul. 2006

Pampel, Munich Jan.-Apr. 2006

Mondi Possibili, Sprüth-Magers Cologne, Jan. - Apr. 2006

Auktion, Neuer Aachener Kunstverein Dec. 2005

Je n'ai besoin de personne..., Young Talents - Art Cologne, Cologne Nov. 2005

11, Bar Ornella, Cologne 2005

7, Sprüth-Magers-Lee, London Jul. - Sept. 2005

Open Garden, Fortesque Avenue, London Jun. - Aug. 2005

PLAY! Stadtmuseum Duesseldorf May - Aug. 2005

I Will, theatre-play, Düsseldorfer Schauspielhaus May 2005

2, Bar Ornella, Cologne 2005

Südstadtvirus, Studio Voltaire, London Apr. 2005

Rheinschau, Cologne Nov. 2004

Auf dem Berlich Auf dem Berlich 20-22 Cologne, Oct. - Nov. 2004

Djordjadze Elfgen Scheepers, Sprüth-Magers Projekte Munich, Sept. - Oct. 2004

Für die Konstruktion des Unmöglichen, European Kunsthalle Cologne, Oct. 2004

Tombola, kjubh e.V. Köln 2004

o.T. (Dipol), Fröhliche Wissenschaft. Brandenburgischer Kunstverein, Potsdam 2003

Tba, Adeline Morlon Art Direction, Düsseldorf 2003

l'ananas bianco, Palazo Zenobia, La Biennale di Venezia, Venice 2003

Utopia Station - Postersection, Arsenale, La Biennale di Venezia, Venice 2003

20th Anniversary Show, Galerie Sprüth Magers, Köln, 25 April - 18 October 2003.

1999 - 2003 member of artist group hobbypopMUSEUM

Salon du Thé, Hamburg 2002

Augen ohne Gesicht, Kölner Strasse, Düsseldorf 2002

Zero Gravity, Kunstverein für die Rheinlande und Westfalen Düsseldorf 2001

Peter Mertes Stipendium, Kunstverein Bonn 2001

3 Performances (Wahrsagen - Kaffeesatz, Haareschneiden, ich habe keine Kraft für London), Düsseldorf, London 2001

Due Dimensioni, Nuova Pischeria, Rovigo 2000

Due Dimensioni, Deutsche Welle, Köln 2000

Wuckenhof - Klasse Trockel, Kunstverein Schwerte 2000

Klasse Trockel, Kunstraum, Düsseldorf 2000

ArtGrus, Dom, Moscow 2000

Galerie Institut, Düsseldorf, 1999

Champion Arnheim Bar, Arnhem 1999

Spiel des Lebens, Hauptpost Düsseldorf 1999

Due Dimensioni, Academia di Belle Arti, Venice 1998

Mayday, Böhlerwerke Düsseldorf 1998

Klasse Krieg, Galerie Timm Gierig, Frankfurt 1997

REVIEW: Thea Djordjadze at the Berlin Biennial by Graham Coulter-Smith

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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NACHTRAG: Konzert von Nikakoi

Leider ist das Konzert schon gewesen am 16.05.2008, 22:00 - 23:30. Doch rein informativ möchte ich es hier nachreichen.

Nikakoi, geboren 1972 in Tbilisi (GE), studierte Bühnenregie und ist Mitglied von Goslab, einer Gruppe junger georgischer Musiker aus Tiflis. Seine elektronischen Musikkompositionen weisen Bezüge zur georgischen Volksmusik auf. Zu dem Konzert eingeladen wurde Nikakoi von Thea Djordjadze, deren Arbeiten im Rahmen der 5. berlin biennale in der Neuen Nationalgalerie und im Skulpturenpark Berlin_Zentrum ausgestellt sind.

Babette Bar, Karl-Marx-Allee 36, 10178 Berlin, U5 Schillingstraße
Freier Eintritt