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2019 _ June
designtbilisi
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Tbilisi Architecture Biennial Thirty years after the first architecture ‘Biennial’ in Tbilisi
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Tbilisi Art Fair Key Figures
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Kunsthalle Tbilisi Tabula Rasa. Gabriela von Habsburg 20 years in Georgia
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ROOMS | Blind Alley Exhibition Rooms presents their first exhibition in their hometown
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School of Gelati Lesson without a teacher
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Maudi - multifunctional space for Contemporary Art Collective production of space
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REARMIRRORVIEW. Anna K.E. the 58th International Art Exhibition, la Biennale di Venezia in 2019
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Contemporary Art Archive
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Project ArtBeat
Anna K.E. REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation… Curated by Margot Norton
Photos by Dario Lasagni
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For the 58th International Art Exhibition, la Biennale di Venezia in 2019, Georgian artist Anna K.E. (b. 1986, Tbilisi, Georgia) creates REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation… (2019), a new, large-scale architectural environment for the Georgian Pavilion. The work, her most ambitious to date, brings together many of the major motifs in the artist’s work, which she has been avidly producing throughout her career in a dynamic and diverse practice that engages equally with video, sculpture, performance, drawing, and installation. K.E., who was trained as a classical ballet dancer, has an acute sense of how the body moves through space, and her fluid architectural environments suggest a choreography, leading viewers to weave in and around her installations. Her whimsical videos often feature her own body as protagonist, restricted, contorted, or isolated, often pointing toward an evolving interdependency between our corporeal and digital selves. Absurd yet poignant allegories for contemporary life, K.E.’s works invite us to consider unconventional vantage points, illuminating how seemingly incongruous notions can coexist. K.E.’s structure for REARMIRRORVIEW… will be equal parts public stage, ascending and descending tribunal platform, communal fountain, and sculptural object of observation. Her rising plateaus constructed of steel framework and brightly colored powder-coated tiles will recall a matrix of digital pixels at low resolution, transporting viewers into an environment that suggests a sleek synthetic model. As her title suggests, K.E. here creates a mirror whereby transitional processes are inverted and a flat simulation is crafted into a vibrant multi-dimensional landscape. Interspersed throughout the installation will be a compendium of her videos produced throughout her career, as well as steel faucet-like sculptures based on the original Georgian alphabet, Asomtavruli, which phonetically spell the English word “deranged.” In keeping with the concept of the Venice Biennale, “May You Live in Interesting Times,” K.E. here questions the structures of language and translation, methods by which information and meaning are conveyed. The word “deranged” itself refers to something that has become disturbed, irrational, or unstable—a mistranslation or “alternative fact” that may unhinge commonplace connections between language, form, and perception. As systems and institutions we once thought to be bedrock-stable now reveal themselves to be mere facades, artificial and precariously balanced, or even on the verge of collapse, K.E.’s works remind us of those fundamental idiosyncrasies we share, and which keep us human. The project is commissioned by Ana Riaboshenko (Creative Georgia) and is organized by Simone Subal Gallery and Project ArtBeat. The project is supported by Creative Georgia, Werk5, SternAuto, TBC Bank, Stamba Hotel, Goethe Institut, EY, Sammlung Philara, Carbo Kohlensaure, Dr. Ulrich and Nathan Kostlin, Irakli Kiguradze, Mikheil Chkhartishvili, Ignacio J. Lopez Beguiristain and Laura Guerra, Deborah Goodman Davis and Gerald Davis, Simone Subal Gallery.
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Tbilisi Architecture Biennial
In October 2018, an ambitious set of exhibitions, installations and events took place at the first Tbilisi architecture Biennial since Georgia’s independence. The Biennial transformed Gldani into an architectural playground, highlighting the particularities of the existing urban fabric and talent of invited architects.
and punctuated the unused space to instigate forms of inhabitation from visitors and locals. In front of a former KGB building located in the middle of Gldani, Georgian collective Copy Paste built an installation addressing the multiplicity of styles present in Gldani, notably through self-made extensions or ‘Kamikaze loggias’. A field of interlocked panels fragmented the entrance space of the KGB building and juxtaposed various materials - reflecting the sometimes clashing material expressions and human coexistence of Gldani.
Thirty years after the first architecture ‘Biennial’ in Tbilisi - which included in the jury Italian architect Massimiliano Fuksas who went on to design several eccentricities in the city center - a team of architects and researchers set about organising a new architecture Biennial under the theme ‘Buildings Are Not Enough’. The event proposes to focus on a practice of architecture which goes beyond buildings.
Within the former KGB building the exhibition ‘Built Temporality’ gathered Georgian and international artists who occupied the space with installations and performances. The exhibition made visible the unstable character of social conditions in Georgia, where war and political unrest have created a consciousness of unpredictability among citizens. The myriad of self-built garages are one example - built in response to widespread insecurity and a desire for an extended private territory, many later transformed into shops or workshops, bringing activity and life to the undefined spaces between the housing blocks.
“In recent years, Georgian authorities have been attempting to generate modern values through new ‘starchitectural’ contexts, these are however rootless and disconnected from local society. The architectural Biennial wished to show and study the ignored socio-economic environment that lies beyond Tbilisi’s expensive décor.” Gigi Shukakidze, Biennial co-curator For a week in October 2018, a combination of installations and exhibitions occupied a variety of incongruous venues: inside private apartments, outside crumbling housing blocks, on rooftops, across a busy road, and within a former KGB building. The project of the Biennial is an ongoing collaboration between local and international architects, with the support of four international partners through the Creative Europe programme; Realizasom, Medium, Copy Paste and MistoDiya. It focuses on Gldani and its transformation from a rigid and compartmented masterplan during the Soviet period, to its contemporary adapted urbanism and multiplicity of informal extensions.
Photo credit: Benjamin Wells, Sandro Sulaberidze, Tako Robakidze, Sandro Sulaberidze, Medium, Anka Gujabidze
The kick-off to the Biennial was a two day symposium of keynote lectures and panel discussions. Guests and visitors addressed, among other themes, the radical transformations in Tbilisi from the former centralised soviet planning to current market-led developments, as well as the possibility for architecture institutions (such as the Biennial) to develop and establish an agency in future spatial plannings of the city. Two radically different keynotes punctuated the symposium: one by AMO co-founder Reinier de Graaf, who spoke of the complicity of architects in creating and enforcing power apparatus; and the other by Russian architect Alexander Brodsky, who whispered of secret spaces and poetical architectures. Portuguese participants Realizasom extended these themes into the surrounding urban fabric, through the creation of a mobile application gathering all events and installations. The interactive map invites visitors to explore Gldani beyond the specific Biennial projects, and discover first hand the context common to all of them. The Copenhagen based collective Medium built 8-23-VI, a multi-leveled plinth which extends from the shared entrance of a housing block in Gldani, for local inhabitants and Biennial visitors to sit, meet and discuss. 8-23-VI attempts to establish a dialogue between the semi-private circulation space of the housing block and the surrounding public exterior. In the coming months the plinth will become a permanent pavilion with the addition of movable panels and a partial roof, forming an outdoor room for inhabitants to share and occupy. This extends the spirit of the Biennial beyond its initial duration, by using it as an opportunity to form a permanent common space for Gldani. In contrast, artist Nika Kutateladze spoke of uncommon and unwelcoming spaces with his installation “To Protect My House while I’m away”. A replica of a home from the rural region of Guria was filled with dried spiky branches, creating a sinister but fascinating atmosphere. The installation was inspired by a common practice in Guria: when planning to go away, local inhabitants sometimes fill their homes with freshly cut branches from lemon trees. With time the branches dry out, becoming a razor-sharp barrier that protects the house from potential intruders. While aestheticising this practice for its powerful enigmatic character, the work of Kutateladze also defines it as the symptom of insecurity and alienation between inhabitants. Georgian artist Lado Lomitashvili created the installation ‘Water and Everything Resistant’ on the roof of a half completed kindergarten, currently occupied by two families. Objects extracted from everyday life and elementary shapes were scattered on the grey surfaces of the abandoned rooftop. Lomitashvili modified
As part of the exhibition, the Ukrainian collective MistoDiya designed a game of dominoes about processes of appropriation in Gldani, called ‘Not Enough Building’. With building parts instead of classic domino tiles, players transform the given grid of a micro rayon into a disorganised sprawling, until they reach a dead-end and can not make a further move. Using the allegory of dominoes, the game interrogates the inhabitant-led transformations of Gldani, and the lack of a collective overview. MistoDiya also participated with 17 other artists in the curation of Block 76: an ‘open apartment’ event with installations inside each home. Whether by clashing with ornately decorated interiors by means of a remote controlled inflatable shark, or ambiguously merging with them through a trompe l’oeil photo installation revealing the original layout of an apartment before its inhabitant-led adaptation, the event exposed the singular richness of these interiors. This might be one of the key points of the Biennial project: to bring attention to the existing context as much as to its interpretations by various architects,
like an open invitation to further probe into current potentials and problematics. Even the installation of Alexander Brodsky, built on the roof of a multifunctional pedestrian bridge, was an opportunity to observe the melancholic beauty of the surrounding housing blocks and their glowing kamikaze loggias. Inside this bridge building, Russian architect Maria Kremer built a perched refuge from where to observe the city, extruded from the arcades of the pedestrian overpass. Further along the bridge a photo exhibition gathered the work of eight photographers, focused on providing a broad context to informal architectures in Gldani. With photographs from differents parts of Tbilisi as well as Georgian rural areas, the exhibition illustrated the social and political background to contemporary processes of inhabitation. Nika Mchedlidze photographed an abandoned car dismantling factory occupied by refugees - capturing the meeting of brutalist architecture and fragile informalities. Georgian architect David Brodsky transformed his first floor apartment into a late-night public meeting space: the Boiler. A staircase brought visitors directly from the street into his living room through an open window. “During and after the Biennial days, hundreds of different kinds of people passed into my house” said David Brodsky. An ephemeral and intimate public venue was created through the apartment’s reorganisation and perforation. Biennial visitors were also invited to take part in a tour of the Mukhatgverdi cemetery complex, designed by architect Victor Jorbenadze a few years before he built the Palace of Rituals - known as a masterpiece of late Soviet Modernism. Designed as a crematorium, the decaying buildings have been partly transformed by local workers into a stone workshop. “After the collapse of the Soviet Union, the urban landscape of Gldani became a rough canvas for self-expression, and led to the development of informal architectures driven by instincts, values and necessities. Thorough analysis of these expressions can contribute to healthy urban reforming, involving professionals and local communities.” Gigi Shukakidze, Biennial co-curator The theme of the Biennial “Buildings Are Not Enough” encapsulated the multifaceted aspects of the built environment and our relation to it. Architectural thinking was celebrated and questioned through the week’s events, from exhibitions, installations and talks, to film screenings, guided tours and workshops. Rather than defining architecture solely as a form-making and representative practice, this Biennial and the ones to come have an important role in establishing a critical direction for architectural and urban thinking in Georgia.
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kunsthalletbilisi.com
Kunsthalle Tbilisi and Goethe-Institute Georgia are pleased to present Tabula Rasa, an exhibition of stainless steel sculptures by Gabriela Von Habsburg Exhibition dates May 4 - June 29, 2019 Location: Georgian National Museum courtyard, Rustaveli av. 3 Exhibition includes works by: Giorgi Geladze, Salome Chigilashvili, Liza Tsindeliani Giorgi Vardiashvili Curated by: Irena Popiashvili
Photo by Guram Kapanadze
As well as a sculptor, Gabriela von Habsburg is a diplomat and was Georgia’s ambassador to Germany from 2009 to 2013. She is also a professor at Free University of Tbilisi. In her many roles, Von Habsburg has said her goal has been to raise the international profile of Georgia and its art scene. This exhibition marks 20 years of her involvement with the country. On display in the courtyard of the Georgian National Museum, the show contextualizes her work with that of four students from the Visual Art, Architecture and Design School at the Free University of Tbilisi: Giorgi Geladze, Salome Chigilasvhili, Liza Tsindeliani and Giorgi Vardiashvili. Tabula Rasa explores common ground between von Habsburg and the young artists. Title of the show refers to the freedom of context, the clean slate, Georgia provided for her. Twenty years ago when Georgia has been a place with its own distinct artistic identity, independent of the Western art scene, where she too could be free to create and exhibit without the pressure of influences back home. Similarly, the young Georgian artists in this show are starting from zero, without reference to their immediate predecessors, simply responding to their time and environment. In addition to her work on show at the museum, Von Habsburg has three public sculptures on show in Georgia. Most notable is the revolving sculpture in front of the former presidential palace in the capital Tbilisi. Another is installed in the center in Mziuri Park. The third work is to be found in the Sculpture Park in the Black Sea port city of Poti. Salome Chigilashvili is exhibiting a readymade sculpture with a sound installation. Lisa Tsindeliani’s steel sculpture echoes the surrounding space of the museum courtyard. Giorgi Vardiashvili has constructed a triumphal arch with scaffolding bars, veiling it with industrial fabric. Giorgi Geladze paints on the wrapping for construction materials and this serves as a backdrop for the exhibition. Gabriela Von Habsburg’s work has recently been on show at the following locations: Museum Schloß Mochental, Museum Meiningen, Schlosspavillon Ismaning and Diözesan Museum Freising. Her work is also part of Biennale Internationale Donna in Triest, Italy. The exhibition is accompanied by catalogue with essays by Kimberly Bradley and Saul Anton. This exhibition is supported by the Georgian National Museum.
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Maudi - multifunctional space for Contemporary Art
Collective Production of Space
Contemporary art space MAUDI presents “Collective production of space�, led by three artists, Dimitri Eristavi (Author), Liza Zhvania and Lado Shonia. The project presents space-making as a continuous, evolving, interactive and spontaneous process, focusing on its architectural, sculptural and social elements. For the duration of one month, participants were building an inhabitable structure, within the given space. The final shape of the structure was not defined during the first stage of the process and is rather a result of collective decisions made by participants throughout the process. The final stage of the process - exhibition- invites the viewers to inhabit the space and to inspire the ever-evolving set of new functions.
Participants: Sergo Kazaryan (Constructor), Bubu Mosiashvili Ekaterine Enukidze, Elene Shelia, Giorgi Targamadze, Giorgi Vardiashvili, Kakhi Pachoshvili, Kote Gaprindashvili, Levan chilashvili, Konstantine Vacheishvili, Mariam Dzimistarishvili, Nini Chutlashvili, Mariam Lortkipanidze, Nata Vasadze, Nutsa Gagnidze Qetevan Qutateladze Tamar Samkharadze Nita Ivanishvili Tata Zakaraia Girogi Evsia
Photos by Angus Leadley Brown
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tbilisiartfair.art
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International Design School IDS
Workshop Heritage of Tbilisi with Ferrante Ferranti In association with GTU Faculty of Architecture Urban planing and Design & International Design School
We were able to ask Ferrante Ferranti few question What is difference between heritage and property from a contemporary point of view? In my view, there is no difference between the two: they are inextricably linked. In any building by a contemporary architect, whether the link is concealed or apparent, it should always be present. Architects need to be aware and respectful of the past in all their designs. What kind of role can photography competitions play in encouraging an awareness of our cultural heritage? During my workshops, I chose as subjects either old buildings or buildings whose ‘servitude’ (Louis Kahn) is important. A single building can spark an infinite number of ways of seeing, depending the student’s sensibility and understanding of the past. These different ways of seeing invite viewers of the photos to look at the subjects in a new light. What would your wishes be for GTU and IDS students? I saw that my students have a good knowledge of architecture and that they could become involved in the preservation of their heritage. My wish for them is that they remain always committed to the fight against the destruction of the past. I am fascinated by Georgia’s cultural heritage, but, as in many places where history has been destroyed, I have seen that it is in danger. Georgians should never have to say, ‘It is too late’.
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gallerynectar.ge
Elene Chantladze. Untitled. Gouache, Paper. 2017
<POSTA> Publishing presents Gallery Nectar’s New Books ISBN 978 9941 8 1305 4
Poetics of Architecture - Shota Bostanashvili
ISBN 978 9941 8 1305 4
Elene Chantladze
ISBN 978 9941 8 1304 7
Elene Lukhutashvili’s Gallery in Telavi
You can find in: The National Gallery book store 11 Shota Rustaveli Ave, Tbilisi STAMBA’S BOOKS 14 Kostava St Tbilisi Black Dog Shop 8, Ninoshvili Str. Fabrika, Tbilisi, Georgia 0108 gallerynectar.ge
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ROOMS | Blind Alley Exhibition
Blind Alley is an off-location piece within the frames of OXYGEN_Tbilisi No Fair
Title of the show reflects the physical location of the exhibition, as well as the exposition itself, where an actual dead-end was constructed into the Rooms Studio gallery space. ‘Blind-Alley’ is also used as a metaphor to always find new paths when facing life’s cul-de-sacs. DNA Archives: Going back to the essence of what is undeniably in our DNA, it’s an inner journey, exploring the blueprint of our visual memory. Handcrafting and reflecting on our visual experiences and hidden ‘DNA treasures’, we translate the hypnotic 1001 Nights, the great antiquity of Empire Style and our imagination into the primitive, unconventional shapes. The whole collection is a balance, or a conversation between the objects that carry different attitudes, shapes and volumes expressed by contrasting brutalist furniture, fluffy blankets from careless childhood and simple geometric objects. It is a monument to everything human, down to human body parts, intuition, clarity of mind and simplicity. Revival, game-play, irony and monumentality - are the concepts explored and expressed through sculpted and hand-carved pieces like - Cave Side Table, Guard Pedestals, Oversized Chess Table, King Size Sofa, Mother Vessel and Historical Benches (whose final look will be revealed after the public interaction with them during the exhibition). Capsule collection of Dowry Blankets consists of three pieces - Pray, Love and Spring. Simplistic metal shapes bound our Simple Chairs, Armored Table and Metal Armchair into more linear part of the collection, that is pure, geometric and minimal. DNA Archives is an endless process of trying to comprehend hidden treasures and complex instincts of human kind. The collection consists of 17 objects. Materials used: Georgian old Oak, clay, black metal, glass, textile, composite material and Eklar stone. Huge thanks to: David Tskhadadze, Lasha Sulakvelidze, sculptor David Natidze and our Artisans: Tamaz Chanturidze, Tamar Bebia, Sergo Slivin, company “Jiji”, Emzar labadze and Kakha Nonikashvili and Tornike Nikoleishvili
Photos by Guram Kapanadze
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Lesson without a teacher Zura Tsofurashvili
In the year 1106, during the reign of King David IV of Georgia, a new structure was built based on maximal reflection and transfer of the respective spiritual and material circumstances. In unison to the geopolitical conditions at the time, the space transformed into a unique, unprecedented hub for cooperation; for exchange of knowledge and opportunities. Intellectual dynamics from the Byzantine Empire fused with local experience and knowledge; the orthodox discourse within its structures gained an additional profile – a school. Thus, „Gelati“ was born. Resulting from the teaching material generated by the educational processes of the Gelati school, the analysis, translation, renewal, return of certain educational structures strikes as crucial. Gelati is located 10 km from the then-capital Kutaissi. The work which was created in March in ZK/U is an example/model of a school. The structure and idea of the area comes out of the Gelati content/structure, transforms into the form of ZK/U - Berlin and considers the child’s involvement in actual processes. School character was physically revealed in one lesson, with no teacher and the process relies on several key issues: connection, recording, publication. The main weapon of the lesson was the sound. Taking into account the time, language, text and communication capabilities. The school encompasses one 45 minute-lesson, where learning will be based upon listening. The given time and space will serve as an opportunity to be utilized according to content and format by each student individually. At the lesson/meeting, only one thing will be obvious for the students – for 45 minutes, every voice will be recorded, preserved and published equally in a digital recording/albom/CD format. The whole process will be transparent to all participants. Each participant will use earphones and a microphone. In this context, voice, language and text become the main weapons; only increasing their impact on the listener. The materialization, presentation, recording of voice within a certain space renders its function endless and timeless.
Photos by Zura Tsopurashvili
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Workshops 15 July - 30 July, 2019 Tushetian Rug Weaving Workshop _ To participate send an email to the following address: aqtushetii@gmail.com until the end of June
AqTushetii residency is offering a unique two-week workshop to learn the ancient craft of Tushetian rug weaving! Commencing July 15, the course will be conducted by local specialists, combining both practical and theoretical lessons.
August 2 – August 11 Black and white photography workshop _ To participate send an email to the following address: aqtushetii@gmail.com until the end of June
An open call for photographers living and working in Georgia and abroad to apply for a 10 day black and white photography workshop in Omalo, Tusheti.
Alternative Tours of Tbilisi June 18, 2019 / starting at 11:00
Lost Heroes of Tbilisi: Soviet Period Mosaics _ Registration deadline: June 17, 2019 Starting point: at the entrance of Akhmeteli Theater Metro station (exact details to be provided upon registration)
Guide: Nini Palavandishvili is a curator of contemporary art projects and author of several publications in and about Tbilisi. She is the co-author of the book: Palavandishvili, N. and Prents, L., 2019. Georgia. Art for Architecture. Soviet Modernist Mosaics from 1960 to 1990. Berlin: DOM publishers.
23, 2019 / starting at 11:00
Gldani – a City Inside a City _ Registration deadline: June 22, 2019 Starting point: at the entrance of Akhmeteli Theater Metro station (exact details to be provided upon registration)
Guide: Ana Ramazashvili is a researcher in urban and economic anthropology, who conducts ethnographic work in different markets of Tbilisi.
To register send a message on facebook or an email to: aretbilisi@gmail.com For more details please visit: attbilisi.ge/
Galleries, tbilisi 16 May - 6 July 2019 LC Queisser Tsinamdzgvrishvili St. 49 Tbilisi, Georgia
Thea Gvetadze. ‘Subtropical Ushguli’
May 20 - September 10, 2019
Simon Janashia Museum of Georgia 3 Shota Rustaveli Ave. Tbilisi, Georgia
Museum Fest. Story told by postage stamps
May 31 – August 31, 2019 Simon Janashia Museum of Georgia 3 Shota Rustaveli Ave. Tbilisi, Georgia
Georgian National Museum presents a multimedia technology exhibition “IMMAGICA. A journey into beauty”
1 June - 25 August, 2019 Project ArtBeat gallery 14 P. Ingorokva str., Tbilisi, Georgia
John Riepenhoff. Handler. With 9 Georgian artists of different generations, who have been invited by the artist to collaborate with him on the exhibition
June 4 – July 4, 2019 Dimitri Shevardnadze National Gallery 11, Shota Rustaveli Ave, Tbilisi, Georgia
Georgian National Museum presents solo exhibition “Zero” by Georgian artist Vakho Bugadze
June 15 6:00 PM – June 18, 2019 Gallery- Warehouse Tabukashvili 35 Tbilisi, Georgia 0102
Maka Kiladze. Artist, Curator of platform - Circe always alef
June 17 7:00 PM – July 17, 2019
Zurab Tsereteli MoMa Tbilisi Rustaveli Av. 27 Tbilisi, Georgia
Jonas Bendiksen. “The Last Testament”
May 15 – July 15, 2019 ERTI Gallery 19 P. Ingorokva str / 5 9April str, 0108 Tbilisi, Georgia
Uta Bekaia. The Present (“Superhumans” trilogy)
May 17 – July 20, 2019 Window Project E.Tatishvili 9, Tbilisi, Georgia
Salome Machaidze . Vancouverian Vendetta
May 4 – June 29, 2019 Kunsthalle Tbilisi Location: Georgian National Museum courtyard, Rustaveli av. 3
Tabula Rasa. Gabriela von Habsburg 20 years in Georgia
May 17 – June 30, 2019 Georgian Furniture Cluster Zurab Tsereteli Museum of Modern Art. 27 Rustaveli Ave., 0114 Tbilisi, Georgia Publisher: Operators:
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