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.Read More
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.
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), Malmö Konsthall (2012), The Common Guild Glasgow (2011), Kunsthalle Basel (2009) and Kunstverein Nürnberg / Albrecht Dürer 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), Städtische 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 Sprüth Magers.
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It’s fitting that Georgia-born Berliner Thea Djordjadze makes careful use of the greenery behind this gallery without ever inviting the viewer outside. She knows that the looming windows to the backyard garden are usually hidden with drywall and she exposes them, save for the silver hinged shutters and a sheet of Plexiglas covering one...