Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .
After structural issues forced The Armory Show into last-minute relocation pirouettes last year, the fair returns between 5 and 8 March 2020 with a flourishing programme, complemented by stand-out shows across New York City.
For her second solo exhibition at Thomas Dane Gallery in London, Ella Kruglyanskaya's compositions signal the many possibilities of paint.
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 (b.1971 in Georgia) lives and works in Berlin. Major solo exhibitions include the Kunstverein Nurnberg, 2008, Kunsthalle Basel, 2009, westlondonprojects, London, 2009 - 2010, The Common Guild, Glasgow, 2011, and a solo project at dOCUMENTA (13), Kassel, 2012. Major group exhibitions include Venice Biennale, 2003, Biennale Lyon, 2008, the BB5–5th Berlin Biennial for Contemporary Art, 2008, Barbican, London, 2008, Centre Georges Pompidou, Paris, 2010, Hayward Gallery, London, 2010, Contemporary Art Museum St.Louis, 2011, Sculpture Centre, New York, 2011, Talbot Rice Gallery, Edinburgh, 2011, the Carre D’Art, Musee D’Art Contemporain, Nimes, 2011, and the ACCA, Melbourne, Australia in August 2012.
Text courtesy Sprüth Magers.
'What’s amazing is that in this climate, all these fairs—the Armory Show, ADAA, Independent—are the best they have been in years,' said Sandy Rower, Alexander Calder’s grandson and the head of the artist’s foundation. 'The dealers are just trying harder.' He was just off the lobby at Spring Studios, where Independent, as iconoclastic as its name...
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...
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