www.ocula.com:
Thea Djordjadze.
Pampel, 2006.
Acrylic glass, steel, motion detector, stereo.
300 x 800 x 300 cm.
www.widewalls.ch:
Creating hybrid compositions that respond to the modernist aesthetics, Djordjadze uses the materials as ceramic, wood, glass conjoined with different fabrics, sponge or soap, indicating the realm of feminine domesticity. Assembled by the intuition, these pieces collide with strict architectural forms. The interesting characteristic of her work is the titles that always refer to popular culture, films, literature. She often invites the viewer to participate in some kind of research in which is included the transformation and installation of the objects. As Sagas Sa is a perfect example of her sculptural micro-universe a combination of some old museum s vitrine and strange object from the 70 s sci-fi classic.
www.ocula.com:
For her multipartite sculptural ensembles, Djordjadze uses everyday materials such as foam, steel, fabric, glass and plaster along with found objects which refer to the classical materials of sculpture but also the traditions of arts and crafts. The artist's sculptures themselves are situated between form and anti-form, a combination of stable structures and fragile, gestural renderings typically exhibited together in a carefully choreographed setting. The installations, incomplete and fragmentary in character, oscillate between open spatial designs and dense performative gestures, emphasizing the contrasts between mental and actual interior spaces, between intimacy and public presence.
www.widewalls.ch:
Creating installations of sculptural objects, Thea Djordjadze creates works that are placed so as to depend on each other and on space of their installation. Combining common sculptural materials, as wood or plaster with the household objects like foam and linoleum, she finds her inspiration in modernist architecture and design. Her geometric constructions convey a certain tension between materials and forms. The linoleum floor covering, typical for the kitchens from the early 20th century somewhat reveals the influences of growing up in former communist Georgia. The form and layout of her works often mimic the exhibition furniture, including vitrines and plinths.
www.ocula.com:
For her recent presentation at Documenta 13, Thea Djordjadze worked in a glass greenhouse situated in the gardener's compound of the Karlsaue park in Kassel, a geometrically ordered pleasure garden used by Documenta as a venue for outdoor projects. Working on-site for several weeks to assimilate and react to the conditions of the space, Djordjadze developed a new large scale installation entitled As sagas sa, composed of found and sculpted material brought from her studio or added in Kassel, creating an ongoing dialogue between the studio and the exhibition space. In this installation, the artist focused on the transition of time, reworking her collected materials into an interactive arrangement which responded to chance and the inevitability of change and disintegration.
Despite the use of similar materials and recurring formal and spatial qualities, each of the artist's installations are created as very separate entities. Djordjadze's working method dictates that she often finalises the production process of her work in situ, so that her installations have the condition of being conceived and developed in the moment, and retain a perspective on the future. Once positioned on public view, the process of the objects continue as they interact with reality and come to terms with the conditions in which they have been placed.
www.ocula.com:
Thea Djordjadze (*1971, Tbilisi, Georgia) lives and works in Berlin. Selected solo exhibitions include Kunst Museum Winterthur, Switzerland (2019), Portikus, Frankfurt (2018), Pinakothek der Moderne, Staatliche Graphische Sammlung, Munich (2017), Secession Wien, Vienna (2016), MoMA PS1, New York (2016), South London Gallery (2015), MIT List Visual Arts Center, Cambridge, MA (2014), Aspen Art Museum, CO (2013), Malm Konsthall (2012), The Common Guild Glasgow (2011), Kunsthalle Basel (2009) and Kunstverein Nürnberg / Albrecht D rer Gesellschaft, Nuremberg (2008). In addition, important group exhibitions include Tai Kwun-Centre for Heritage and Arts, Hongkong (2020), Deichtorhallen Hamburg (2019), the Triennale di Milano (2017), Staedtische Galerie im Lenbachhaus, Munich (2017), 56th Venice Biennale (2015), Kunsthalle Wien, Vienna (2014), 55th Venice Biennale (2013), Palais de Tokyo, Paris (2013), Documenta 13, Kassel (2012), Sculpture Center, New York (2011), Hayward Gallery, London (2010) and the 5th Berlin Biennial for Contemporary Art (2008).
Text courtesy Spr th Magers.
www.wikipedia.org:
Thea Djordjadze (Georgian, born 1971 in Tbilisi, Georgia) is a contemporary German-Georgian artist based in Berlin, Germany. She is best known for sculpture and installation art, but also works in a variety of other media (drawing, painting, printing, performance, video, music).
Thea Djordjadze works with a wide range of materials such as steel, plaster, wood, aluminum, ceramic, glass, fabrics, foam, cardboard, papier-m ch , and found objects. Her sculptures and installations can often be described as assemblages. Her working process is intuitive and informed by influences that reach from art to architecture, design, and literature. Her works contrast organic forms and geometric structures, as well as finished and rough surfaces. Over the years, her work has developed from smaller formats to a comprehensive installation practice that responds to the architectural peculiarities of the respective exhibition space. Another characteristic of her work is the ongoing experimentation with a formal vocabulary that is located at the intersection between sculpture and display.
References to popular culture can be detected in her works and their titles: film (e.g. Augen ohne Gesicht, 2000), architecture (e.g. le Corbusier in Mondi Possibli 2006), (popular) science and hermeticism (e.g. edition Die Mathematik, 2001, installation o.T. (Dipol), 2003, or performances WahrSagen, 2001, and Kaffeesatzlesen, 2008), literature (e.g. Je n'ai besoin de personne pour me souvenir Lilya Brik and Vladimir Mayakovsky or in Arch ologie, Politik, Politik, Arch ologie, Arch ologie, Politik, Politik, Arch ologie Andr Malraux and Joseph Brodsky), as well as Georgian arts and crafts and culture (e.g. in incorporating carpets in her work or in quoting Niko Pirosmani in 2001).
Although an older work from 2007, Der Knacks (i.e. the crack) shows the artist's working method: a broken plaster sculpture subsequently is reassembled into an unstable formation. The title of the work refers to Francis Scott Fitzgerald s The Crack-Up, in which a fissure or a failure is indicated as the center part of the creative process.
Thea Djordjadze.
Pampel, 2006.
Acrylic glass, steel, motion detector, stereo.
300 x 800 x 300 cm.
www.widewalls.ch:
Creating hybrid compositions that respond to the modernist aesthetics, Djordjadze uses the materials as ceramic, wood, glass conjoined with different fabrics, sponge or soap, indicating the realm of feminine domesticity. Assembled by the intuition, these pieces collide with strict architectural forms. The interesting characteristic of her work is the titles that always refer to popular culture, films, literature. She often invites the viewer to participate in some kind of research in which is included the transformation and installation of the objects. As Sagas Sa is a perfect example of her sculptural micro-universe a combination of some old museum s vitrine and strange object from the 70 s sci-fi classic.
www.ocula.com:
For her multipartite sculptural ensembles, Djordjadze uses everyday materials such as foam, steel, fabric, glass and plaster along with found objects which refer to the classical materials of sculpture but also the traditions of arts and crafts. The artist's sculptures themselves are situated between form and anti-form, a combination of stable structures and fragile, gestural renderings typically exhibited together in a carefully choreographed setting. The installations, incomplete and fragmentary in character, oscillate between open spatial designs and dense performative gestures, emphasizing the contrasts between mental and actual interior spaces, between intimacy and public presence.
www.widewalls.ch:
Creating installations of sculptural objects, Thea Djordjadze creates works that are placed so as to depend on each other and on space of their installation. Combining common sculptural materials, as wood or plaster with the household objects like foam and linoleum, she finds her inspiration in modernist architecture and design. Her geometric constructions convey a certain tension between materials and forms. The linoleum floor covering, typical for the kitchens from the early 20th century somewhat reveals the influences of growing up in former communist Georgia. The form and layout of her works often mimic the exhibition furniture, including vitrines and plinths.
www.ocula.com:
For her recent presentation at Documenta 13, Thea Djordjadze worked in a glass greenhouse situated in the gardener's compound of the Karlsaue park in Kassel, a geometrically ordered pleasure garden used by Documenta as a venue for outdoor projects. Working on-site for several weeks to assimilate and react to the conditions of the space, Djordjadze developed a new large scale installation entitled As sagas sa, composed of found and sculpted material brought from her studio or added in Kassel, creating an ongoing dialogue between the studio and the exhibition space. In this installation, the artist focused on the transition of time, reworking her collected materials into an interactive arrangement which responded to chance and the inevitability of change and disintegration.
Despite the use of similar materials and recurring formal and spatial qualities, each of the artist's installations are created as very separate entities. Djordjadze's working method dictates that she often finalises the production process of her work in situ, so that her installations have the condition of being conceived and developed in the moment, and retain a perspective on the future. Once positioned on public view, the process of the objects continue as they interact with reality and come to terms with the conditions in which they have been placed.
www.ocula.com:
Thea Djordjadze (*1971, Tbilisi, Georgia) lives and works in Berlin. Selected solo exhibitions include Kunst Museum Winterthur, Switzerland (2019), Portikus, Frankfurt (2018), Pinakothek der Moderne, Staatliche Graphische Sammlung, Munich (2017), Secession Wien, Vienna (2016), MoMA PS1, New York (2016), South London Gallery (2015), MIT List Visual Arts Center, Cambridge, MA (2014), Aspen Art Museum, CO (2013), Malm Konsthall (2012), The Common Guild Glasgow (2011), Kunsthalle Basel (2009) and Kunstverein Nürnberg / Albrecht D rer Gesellschaft, Nuremberg (2008). In addition, important group exhibitions include Tai Kwun-Centre for Heritage and Arts, Hongkong (2020), Deichtorhallen Hamburg (2019), the Triennale di Milano (2017), Staedtische Galerie im Lenbachhaus, Munich (2017), 56th Venice Biennale (2015), Kunsthalle Wien, Vienna (2014), 55th Venice Biennale (2013), Palais de Tokyo, Paris (2013), Documenta 13, Kassel (2012), Sculpture Center, New York (2011), Hayward Gallery, London (2010) and the 5th Berlin Biennial for Contemporary Art (2008).
Text courtesy Spr th Magers.
www.wikipedia.org:
Thea Djordjadze (Georgian, born 1971 in Tbilisi, Georgia) is a contemporary German-Georgian artist based in Berlin, Germany. She is best known for sculpture and installation art, but also works in a variety of other media (drawing, painting, printing, performance, video, music).
Thea Djordjadze works with a wide range of materials such as steel, plaster, wood, aluminum, ceramic, glass, fabrics, foam, cardboard, papier-m ch , and found objects. Her sculptures and installations can often be described as assemblages. Her working process is intuitive and informed by influences that reach from art to architecture, design, and literature. Her works contrast organic forms and geometric structures, as well as finished and rough surfaces. Over the years, her work has developed from smaller formats to a comprehensive installation practice that responds to the architectural peculiarities of the respective exhibition space. Another characteristic of her work is the ongoing experimentation with a formal vocabulary that is located at the intersection between sculpture and display.
References to popular culture can be detected in her works and their titles: film (e.g. Augen ohne Gesicht, 2000), architecture (e.g. le Corbusier in Mondi Possibli 2006), (popular) science and hermeticism (e.g. edition Die Mathematik, 2001, installation o.T. (Dipol), 2003, or performances WahrSagen, 2001, and Kaffeesatzlesen, 2008), literature (e.g. Je n'ai besoin de personne pour me souvenir Lilya Brik and Vladimir Mayakovsky or in Arch ologie, Politik, Politik, Arch ologie, Arch ologie, Politik, Politik, Arch ologie Andr Malraux and Joseph Brodsky), as well as Georgian arts and crafts and culture (e.g. in incorporating carpets in her work or in quoting Niko Pirosmani in 2001).
Although an older work from 2007, Der Knacks (i.e. the crack) shows the artist's working method: a broken plaster sculpture subsequently is reassembled into an unstable formation. The title of the work refers to Francis Scott Fitzgerald s The Crack-Up, in which a fissure or a failure is indicated as the center part of the creative process.