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2019 _ December
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designtbilisi
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What Do We Have In Common
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Tbilisi Architecture Biennial 2020_September
Maka Batiashvili
The Moment of Narcissism
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Project ArtBeat Gallery 13 December, 2019 - 26 January, 2020
Caricature in the Caucasus:
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The Life and Work of Oskar Schmerling December 19, 2019
propaganda.network
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Print Room – Tbilisi Residencies program - Collective studios – Laboratory of Sonic Arts -
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Stefanie Heinze RULER
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03.11.2019 - 15.01.2020
David Kakabadze Archives 2 November 2019 – 15 January 2020
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David Kakabadze Archives by Nina Akhvlediani 2 November 2019 – 15 January 2020 Tbilisi, 18 S. Rustaveli Av
Project is funded and supported by TBC Bank
Contribut Page __
Kunsthalle Tbilisi
In one of his research publications, published in 1924, David Kakabadze writes about the diversity of the avant-garde attached to interactions between science, cinema and the visual arts - “Science defining the essence of everyday life is absolutely new in the history of mankind. Modern life, its social and political aspects, is the result of scientific achievements. And science, as we know, is a positive concept. Art has also embarked on this natural course and has mastered all the methods of science.” [Painting is – Art and Science, Paris, 1920-1923] David Kakabadze spent the five years between 1910 and 1915 in Saint Petersburg where he was enrolled in both the faculty of natural sciences and in the private art studio of Lev Dmitriev-Kavkazsky (under the auspices of the Academy of Art), all the while, maintaining a keen interest in photography and cinematography. Kakabadze initiated numerous artistic and scientific projects. He also worked on electro-technical experiments, creating a stereo-cinematic apparatus and refining the means of expression in cinema. Founded in 2012, Kakabadze Foundation actively promotes a broader understanding of David Kakabadze’s artistic legacy by providing access to the artist’s family’s collection as well as to various resources, and by developing scholarly and educational programs. The Foundation’s collection and archives comprise various materials including, artworks, sketches, manuscripts, and printed matter (reference books, catalogues, periodicals, brochures and ephemera). For more than a year, the foundation has been working on a strategy that would enable the creation of a digital archive within a context where the preservation of memory is under constant threat. Due to the turbulent aftermath of the dissolution of the Soviet Union, Georgia has lacked the kind of initiatives that would have gradually created expertise in storage, conservation and digitalization methodologies. We are constantly dealing with the challenge of putting all of our historical artifacts together into a coherent whole. Thus, in Georgia’s more recent history, artists themselves were forced to become their own art historians and archivists. This included collecting and archiving documents, whether of one’s own art or in certain cases, of broader artistic movements, usually ones that were marginalized. As part of a large-scale, multifaceted project marking the 130th anniversary of the artist’s birth, Kakabadze Foundation created a web-platform, with an extensive image library of its collection and archives. Many of the works available online, have rarely been exhibited, including family archives, manuscripts and scientific research material, among them Kakabadze’s research and designs for the flag of the Georgian Soviet Socialist Republic and the Genesis of Georgian Ornaments (conducted in 1914).
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archive.kakabadze.ge
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With the initiative and support of TBC Bank, part of the project’s intent was to research the challenges and opportunities related to digital archives in general. As well as to examine the digital archive not merely as a physical structure but as a system of how different processes and individuals influence what can and cannot be seen, accessed, distributed and re-used. By exploring the limits of building a digital infrastructure, one gradually comes to discover how new technologies shape knowledge in various ways. Most of the work has been aimed at creating adequate structural principles for the recordkeeping system. However, it has also considered the role of human intervention in creating a richer archival presentation (with multi-relational, contextual links). On November 2nd of this year, within the framework of an interdisciplinary symposium that was organized by the educational platform BAZA, Kakabadze Foundation presented a showcase of David Kakabadze’s archives. The exhibition brought together the artist’s collages, scientific experiments, photos, diverse written documents and writings about the interrelation between architecture, art and science. Research is facilitated through working with an open-structured archive, activating the archive as a means of research and education, curatorial practice as well as artistic production. The design of the displays and spatial solutions was informed by the content and attempted to integrate Kakabadze’s archives into a contemporary reading and practice. Importance was given to engagement and intuition and less so to the institutional framing of the archives. A senior research fellow at Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation - Dr. Nana Kipiani, mentioned during the symposium that we often talk about David Kakabadze, but mainly about his famous works and scientific inventions, while being mostly unaware of all the works that were exhibited or kept in private collections in France after Kakabadze’s return to his homeland in 1928. We continue to inquire about the whereabouts of these works and of what is left of his legacy. During the anniversary year, a publication of Kakabadze’s work was published concurrently with the artist’s retrospective exhibition. The publication includes an essay by Kipiani, sharing new research about the first international exhibition of dimensionalist artists that took place in Paris in the fall of 1936. During the exhibition a Manifeste Dimensioniste was published and the participants of the show and those who signed the manifesto included: Hans Arp, Alexander Calder, Robert Delaunay, Naum Gabo, Marcel Duchamp, Wassily Kandinsky, Nina Negri, Francis Picabia, Pablo Picasso, Sonia Delaunay, Joan Miró and others. Among the artists was David Kakabadze and the exhibition presented two of his works, which were apparently left behind in France after his return to Georgia. The manifesto indicated his name, though of course without his actual signature and it is likely that Kakabadze did not even know about this act. Kakabadze Foundation provides access to a wide range of records and archives, focusing on their accessibility for future uses, including historical research, and it will continue to play a critical role in elucidating the relevance of both existing and new ideas, with an attempt to preserve and expand access to the artist’s heritage.
www.archive.kakabadze.ge
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Stefanie Heinze RULER 03.11.2019 - 15.01.2020
Contributors’ Page __
In proposing a coagulation of relationships that eschew coherence, we distort the straightedge ruler, manipulate it into a web or a bog, a configuration of points coexisting inter-dimensionally, a line stretched so thin as to create an emptiness. Installed across the gallery’s two spaces, Stefanie Heinze’s exhibition RULER organizes itself around rulership in both its meanings; dominion and measurement. Looking at the ruler through the psyche, Heinze’s paintings articulate a tension between release and constraint, resistance and exhaustion, domination and desire. In Lauren Berlant’s essay ‘Risky Bigness’, she writes about the need to periodically evacuate from one’s own will, ‘both the body and ‘a life’ are not only projects, but also sites of episodic intermission from personality, ways of inhabiting agency differently in small vacations from the will itself, which is so often spent from the pressures of coordinating one’s pacing with the pace of the working day, ‘(34-35). Heinze’s paintings take up this space of evacuation, allowing agency to shapeshift, revealing forms at once specific and difficult to define. In the center of a murky neon and iridescent backdrop squats a creature with a giant pair of legs. The right leg wears what looks like a stiletto with a bubble on the toe. It rests its contoured calf against a grey concrete form, radiating solidity. The other leg, elongated and frail, with a listless hand instead of a foot caresses a purple globe. Heinze allows these formal polarities - transparency and opacity, aggression and feebleness, solidity and gaseousness - to coexist without resolution. The figure maintains itself at once as a unified being and as an assemblage of disparate parts, the individual and the collective, the powerful and the powerless. In this delicate uncanny balance, the paintings become propositions, prompts to take a break from playing with possibility and allow the edges of the familiar to split and expand. Let space, form and self to show off their plasticity. Keep moving forward in gratified recline.
Tsinamdzgvrishvili st. 49, Tbilisi, Georgia www.lc-queisser.com
LC QUEISSER
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The Oskar Schmerling Digital Archive
Caricature in the Caucasus: The Life and Work of Oskar Schmerling Chubinashvili Centre 9/6 Atoneli St. December 19, 2019 5 PM – 8 PM schmerling.org
Source: The National Parliamentary Library of Georgia
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_ What Do We Have In Common
Tbilisi Architecture Biennial is Co-funded by the Creative Europe
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Holidays and Observances:
1 Jan
Calendar generated on www.timeanddate.com/calendar
Tbilisi Architecture Biennial 2020 _ September d___e__s_i___g___ n_t___b i l i s i 2019_12 6
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November 30, 2019 – January 10, 2019
Tbilisi Architecture Biennial
MAUDI 140 tsereteli ave., Tbilisi, Georgia
Group Show - Tbilisi Flows Researches and depicts emerging social dynamics in the city
Participants : Liza Zhvania, Lado Shonia, Dimitri Eristavi, Bubu Mosiashvili, Kniko Grdzelishvili, Davit Datunashvili. Exposition Designer : Aleksi Soselia Image: Bubu Mosiashvili - Future Utopian map of Tbilisi Underground
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Budka
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Project ArtBeat Presents
The Moment of Narcissism Maka Batiashvili Opening: 13 December, 18:00 - 21:00 13 December, 2019 - 26 January, 2020 Address: Project ArtBeat Gallery 14 Pavle Ingorokva Str., Tbilisi
Project ArtBeat
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International Design School (IDS)
Furniture of XXI century made in Georgia Author: Georgian Woodworkers and Furniture manufacturers Association Executive Director, International Design School invited Professor, Doctor Mamuka Khoshtaria
“Furniture of the future” are pieces that support our lifestyle, as opposed to merely looking pretty or conforming to how we traditionally think a space or item should serve us. Smart furniture is a trend that will soon be here to stay. Electronics will be an important part of their design and a way to upgrade and offer new possibilities to consumers. Green, high-quality and creative furniture will always be in trend. Powerful, intuitive software for furniture design and construction are most modern tools today for interior and furniture designers. Today in Georgian furniture industry field you can see such software as Imos, Woodwop and 3CAD Evolution. “The future is one where mass customization is promised.” “Thanks to new technology and the improvement of production methods like 3D-printing, you can create very personalized spaces.” Innovations such as Microsoft HoloLens (the world’s first self-contained holographic computer that enables you to engage with digital content and interact with holograms in the world around you) could change the way we buy furniture forever. As the climate changes, the furniture of the future will have to be sustainable, multi-functional and efficient and today’s top designers are already starting to explore these three areas, paving the way for future developments. Day by day Georgian companies are using modern software and hardware. In Georgian companies you can see modern furniture making machines from European machine builders. Georgian Designers have more practice worldwide. Many of them are participating in world leading fairs. Some Georgian companies exporting in Europe and USA semi-finished furniture parts. Georgian furniture market is very small, but potential of furniture manufacturers is big. I am sure that if there is a support from the Georgian Government to export, I hope that this industry will become one of the leading. Besides the Government, designers can also play a big role in export support.
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propaganda.network
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December _
GALLERIES, TBILISI November 03 - January 15, 2020 LC QUEISSER 49 Tsinamdzgvrishvili street Stefanie Heinze RULER PATARA GALLERY Vake Park Underground Passage
December 19, 2019 – January 19, 2019
Camille Lévêque and Lucie Khahoutian - Summit Meeting November 21 – January 19, 2020 Georgian National Museum 8, Sioni Street Iliko Zautashvili’s Exhibition October 25 - December 10, 2019 ERTI GALLERY 19 P. Ingorokva str. Andro semeiko - Blue Horns Poets December 17, 2019 – January 24, 2019 Opening: December 17, 7 p.m
E.A. Shared Space P. Ingorokva Street 10/2
“In-between Conditions” -- Post.Digital.Dreams
13 December - January 26, 2020 Opening: 13 December, 18:00 - 21:00
Project ArtBeat gallery 14 P. Ingorokva str.
The Moment of Narcissism Maka Batiashvili December 16 – February 20, 2020 Simon Janashia Museum of Georgia Opening: December 16 | 17:00 3 Shota Rustaveli Ave. Tbilisi, Georgia The exhibition “Svaneti-Khalde Revolt 1875-1876” October 19 – December 31, 2019
Gallery Nectar 89 Bochorishvili st. Tbilisi 0160 (next to the presidental library)
Vakhtang Beridze Exhibition November 2, 2019 – January 15, 2020 David Kakabadze Foundation 18 Rustaveli Avenue David Kakabadze Archives November 30, 2019 – January 10, 2019
MAUDI 140 tsereteli ave., Tbilisi, Georgia
Group Show - Tbilisi Flows Researches and depicts emerging social dynamics in the city December 6 - December 15, 2019 STATE SILK MUSEUM 6 Tsabadze Street Dilyara Kaipova’s solo exhibition December 14, 2019 – January 24, 2019 Opening: December 14, 7 p.m
Art & Innovation Hub 10 Dodo Abashidze st.
“In-between Conditions” presents a new media exhibition Post.Digital.Dreams
December 15, 2019 - January 24, 2019 Opening: December 15, 6 p.m
WINDOW PROJECT GALLERY 9 E.tatishvili street
“In-between Conditions” -- Post.Digital.Dreams
December 21, 2019 - January 20, 2019 4710 with The Why Not Gallery 19 amaghleba street Giorgi Geladze solo show
PRESENTATIONS December 19, 2019 Chubinashvili Centre 5 PM – 8 PM 9/6 Atoneli St. Caricature in the Caucasus: The Life and Work of Oskar Schmerling Presentation by Naomi Caffee (Reed College, USA) and Robert Denis (independent researcher)
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